Worldwide: classic type
with a 'breasty' quality
By Tony
Sutton
Readers
are aware that we change the headline faces in each issue
of Design magazine. With this issue we've gone further: every
bit of editorial type in this issue (except cover blurbs)
is set in a single typeface Worldwide.
The typeface was born when I asked Nick Shinn to produce a
single weight headline face with two weights of text for the
Worldwoman project. My brief, from Worldwoman editor Lesley
Riddoch, was to generate a familiar-looking, classic news
type, with a "breasty" quality. Everyone knows what
that means, but it's hard to put into words - so I left it
to Shinn's intuition.
Here's what he says about the face, which was later enlarged
to include a Bold headline style, and Italic, Bold and Black
text weights: "Worldwide is a typeface in the Century
or 'Modern' idiom, designed with present day newspaper usage
in mind. That's to say, it's somewhat condensed and combines
a strong, traditional form with subtle finish. The characters
follow the Century genre closely, although there is more variety
in the width of the capitals: a narrowing of the E and a widening
of the M, for instance, which gives a more even color and
less distortion.
"There are no straight lines in the construction of Worldwide.
Vertical strokes
are subtly 'cinched' in the middle, and the outside serif
corners are lightly Ôbarbed.Õ
Acute joints between strokes are hollowed out with 'ink traps.'
These devices counteract the softening of the type that occurs
with press gain, and the clogged-up, dirty impression it can
cause.
"The same detailing which works imperceptibly to create
clarity at text size provides visual interest in the headline
fonts. These styles are also a bit more condensed and lighter
than their text counterparts. ThereÕs really not a
lot of difference between the headline and the text versions,
but what there is makes all the difference in the world.
"What else is there for a commissioning designer to say?
This article
originally appeared in design magazine.