BACK STORY
Grand Gothik is a postmodern, multiscript, multifaceted and variable type system which pays homage to the development of grotesque (gothic) typefaces over the years. Taking late 19th and early 20th century European and American grotesques as a starting point, it traces this typeface genre up to mid-century movie theater marquees, new wave cinematography, American highway signage and telephone directories, adding some historical references for good measure.
The new wave Cinematic Typography of Jean Luc GodardGrand Gothik’s design space includes 3 axes for weight, width and one for italics. It is available as a variable font or as 5 separate opentype families. Designed with 3 stylistic alternates, each variation of Grand Gothik depicts a specific period and style: from the less calculated appearance of late 19th century grotesques all the way to their gracefully-shaped contemporary counterparts. Originally designed in 2017 as a bespoke typeface for a bilingual, black and white magazine on surfers, waves and landscapes, it was later reimagined and redesigned leading to the release of its commercial version.
The name reflects Grand Gothik’s versatility as a fully functional variable font and its depiction of a vast array of gothic styles found in American and European grotesques, particularly Venus by the Bauer Type Foundry, the ATF gothics such as Franklin Gothic or the lesser known Times Gothic and Title Gothic No.9. The Grand Gothik type system supports an extended array of languages and scripts such as Latin, Greek and Cyrillic. Keeping up with the ever-evolving virtual and digital landscape, Grand Gothik comes with a large character set of weather icons, numeral symbols, wayfinding arrows, movie rating stars and emojis.
DETAILS
Its first variation (ss01) retains the squared-off stems of the default version, while letter "a" and "G" lose their spur, the curved tail of "y" becomes straight and the crotch of "M" sharp-pointed, altogether imbuing the typeface with a clean corporate texture. The second variation (ss02) is more eclectic, exchanging the squared-off stems for slanted stem endings, ultimately becoming more angular.
Open counters with enhanced white space and curved strokes with oblique terminals instead of horizontal were used in order to increase clarity of characters at small sizes. The ascenders were extended and the descenders shortened. The contrast was adjusted to reflect Grand Gothik’s personality as a revamped grotesque, the numbers were redesigned according to their historical references and letter "a" was designed with a spur to increase readability. Contrary to most grotesques, Grand Gothik implements sharp joints, as curved strokes and stems merge into each other with a sharp instead of a smooth connection.
The third variation (ss03) is vibrant, uncalculated and constitutes a nod to early 20th century European grotesque styles, particularly Venus by the Bauer type foundry or the ATF gothics such as Franklin Gothic or the lesser known Times Gothic and Title Gothic No. 9. The middle stroke on letters such as E, F and H sits higher, pushing the design of other characters such as B, K, P and R, in the same design direction. An alternate version of letter "a" and "k" was designed to reflect that era, along with alternate forms for lowercase letter "t".
DEFAULT VARIANT
Its first variation (ss01) retains the squared-off stems of the default version, while letter "a" and "G" lose their spur, the curved tail of "y" becomes straight and the crotch of "M" sharp-pointed, altogether imbuing the typeface with a clean corporate texture. The second variation (ss02) is more eclectic, exchanging the squared-off stems for slanted stem endings, ultimately becoming more angular.
DEFAULT VARIANT
Its first variation (ss01) retains the squared-off stems of the default version, while letter "a" and "G" lose their spur, the curved tail of "y" becomes straight and the crotch of "M" sharp-pointed, altogether imbuing the typeface with a clean corporate texture. The second variation (ss02) is more eclectic, exchanging the squared-off stems for slanted stem endings, ultimately becoming more angular.
DEFAULT VARIANT
Its first variation (ss01) retains the squared-off stems of the default version, while letter "a" and "G" lose their spur, the curved tail of "y" becomes straight and the crotch of "M" sharp-pointed, altogether imbuing the typeface with a clean corporate texture. The second variation (ss02) is more eclectic, exchanging the squared-off stems for slanted stem endings, ultimately becoming more angular.
DEFAULT VARIANT
Its first variation (ss01) retains the squared-off stems of the default version, while letter "a" and "G" lose their spur, the curved tail of "y" becomes straight and the crotch of "M" sharp-pointed, altogether imbuing the typeface with a clean corporate texture. The second variation (ss02) is more eclectic, exchanging the squared-off stems for slanted stem endings, ultimately becoming more angular.
DEFAULT VARIANT
Its first variation (ss01) retains the squared-off stems of the default version, while letter "a" and "G" lose their spur, the curved tail of "y" becomes straight and the crotch of "M" sharp-pointed, altogether imbuing the typeface with a clean corporate texture. The second variation (ss02) is more eclectic, exchanging the squared-off stems for slanted stem endings, ultimately becoming more angular.
DEFAULT VARIANT
Its first variation (ss01) retains the squared-off stems of the default version, while letter "a" and "G" lose their spur, the curved tail of "y" becomes straight and the crotch of "M" sharp-pointed, altogether imbuing the typeface with a clean corporate texture. The second variation (ss02) is more eclectic, exchanging the squared-off stems for slanted stem endings, ultimately becoming more angular.
SS01 + SS02 VARIANT
Open counters with enhanced white space and curved strokes with oblique terminals instead of horizontal were used in order to increase clarity of characters at small sizes. The ascenders were extended and the descenders shortened. The contrast was adjusted to reflect Grand Gothik’s personality as a revamped grotesque, the numbers were redesigned according to their historical references and letter "a" was designed with a spur to increase readability. Contrary to most grotesques, Grand Gothik implements sharp joints, as curved strokes and stems merge into each other with a sharp instead of a smooth connection.
SS01 + SS02 VARIANT
Open counters with enhanced white space and curved strokes with oblique terminals instead of horizontal were used in order to increase clarity of characters at small sizes. The ascenders were extended and the descenders shortened. The contrast was adjusted to reflect Grand Gothik’s personality as a revamped grotesque, the numbers were redesigned according to their historical references and letter "a" was designed with a spur to increase readability. Contrary to most grotesques, Grand Gothik implements sharp joints, as curved strokes and stems merge into each other with a sharp instead of a smooth connection.
SS01 + SS02 VARIANT
Open counters with enhanced white space and curved strokes with oblique terminals instead of horizontal were used in order to increase clarity of characters at small sizes. The ascenders were extended and the descenders shortened. The contrast was adjusted to reflect Grand Gothik’s personality as a revamped grotesque, the numbers were redesigned according to their historical references and letter "a" was designed with a spur to increase readability. Contrary to most grotesques, Grand Gothik implements sharp joints, as curved strokes and stems merge into each other with a sharp instead of a smooth connection.
SS01 + SS02 VARIANT
Open counters with enhanced white space and curved strokes with oblique terminals instead of horizontal were used in order to increase clarity of characters at small sizes. The ascenders were extended and the descenders shortened. The contrast was adjusted to reflect Grand Gothik’s personality as a revamped grotesque, the numbers were redesigned according to their historical references and letter "a" was designed with a spur to increase readability. Contrary to most grotesques, Grand Gothik implements sharp joints, as curved strokes and stems merge into each other with a sharp instead of a smooth connection.
SS01 + SS02 VARIANT
Open counters with enhanced white space and curved strokes with oblique terminals instead of horizontal were used in order to increase clarity of characters at small sizes. The ascenders were extended and the descenders shortened. The contrast was adjusted to reflect Grand Gothik’s personality as a revamped grotesque, the numbers were redesigned according to their historical references and letter "a" was designed with a spur to increase readability. Contrary to most grotesques, Grand Gothik implements sharp joints, as curved strokes and stems merge into each other with a sharp instead of a smooth connection.
SS01 + SS02 VARIANT
Open counters with enhanced white space and curved strokes with oblique terminals instead of horizontal were used in order to increase clarity of characters at small sizes. The ascenders were extended and the descenders shortened. The contrast was adjusted to reflect Grand Gothik’s personality as a revamped grotesque, the numbers were redesigned according to their historical references and letter "a" was designed with a spur to increase readability. Contrary to most grotesques, Grand Gothik implements sharp joints, as curved strokes and stems merge into each other with a sharp instead of a smooth connection.
SS03 VARIANT
The third variation (ss03) is vibrant, uncalculated and constitutes a nod to early 20th century European grotesque styles, particularly Venus by the Bauer type foundry or the ATF gothics such as Franklin Gothic or the lesser known Times Gothic and Title Gothic No. 9. The middle stroke on letters such as E, F and H sits higher, pushing the design of other characters such as B, K, P and R, in the same design direction. An alternate version of letter "a" and "k" was designed to reflect that era, along with alternate forms for lowercase letter "t".
SS03 VARIANT
The third variation (ss03) is vibrant, uncalculated and constitutes a nod to early 20th century European grotesque styles, particularly Venus by the Bauer type foundry or the ATF gothics such as Franklin Gothic or the lesser known Times Gothic and Title Gothic No. 9. The middle stroke on letters such as E, F and H sits higher, pushing the design of other characters such as B, K, P and R, in the same design direction. An alternate version of letter "a" and "k" was designed to reflect that era, along with alternate forms for lowercase letter "t".
SS03 VARIANT
The third variation (ss03) is vibrant, uncalculated and constitutes a nod to early 20th century European grotesque styles, particularly Venus by the Bauer type foundry or the ATF gothics such as Franklin Gothic or the lesser known Times Gothic and Title Gothic No. 9. The middle stroke on letters such as E, F and H sits higher, pushing the design of other characters such as B, K, P and R, in the same design direction. An alternate version of letter "a" and "k" was designed to reflect that era, along with alternate forms for lowercase letter "t".
SS03 VARIANT
The third variation (ss03) is vibrant, uncalculated and constitutes a nod to early 20th century European grotesque styles, particularly Venus by the Bauer type foundry or the ATF gothics such as Franklin Gothic or the lesser known Times Gothic and Title Gothic No. 9. The middle stroke on letters such as E, F and H sits higher, pushing the design of other characters such as B, K, P and R, in the same design direction. An alternate version of letter "a" and "k" was designed to reflect that era, along with alternate forms for lowercase letter "t".
SS03 VARIANT
The third variation (ss03) is vibrant, uncalculated and constitutes a nod to early 20th century European grotesque styles, particularly Venus by the Bauer type foundry or the ATF gothics such as Franklin Gothic or the lesser known Times Gothic and Title Gothic No. 9. The middle stroke on letters such as E, F and H sits higher, pushing the design of other characters such as B, K, P and R, in the same design direction. An alternate version of letter "a" and "k" was designed to reflect that era, along with alternate forms for lowercase letter "t".
SS03 VARIANT
The third variation (ss03) is vibrant, uncalculated and constitutes a nod to early 20th century European grotesque styles, particularly Venus by the Bauer type foundry or the ATF gothics such as Franklin Gothic or the lesser known Times Gothic and Title Gothic No. 9. The middle stroke on letters such as E, F and H sits higher, pushing the design of other characters such as B, K, P and R, in the same design direction. An alternate version of letter "a" and "k" was designed to reflect that era, along with alternate forms for lowercase letter "t".
SYMBOLS
Keeping up with the ever-evolving virtual and digital landscape, Grand Gothik comes with an extended character set of weather icons, numeral symbols, wayfinding arrows, movie rating stars and emojis.
FAMILIES + STYLES
FAMILIES + STYLES
Cinematography is a limited edition 156-page flipbook which implements PF Grand Gothik and analyzes historically significant movie titles with 70 postmodern typographic images/posters, aiming to reflect and comment on cinematic content through type. In the midst of current developments in variable font technology, important questions on the correlation between type and concepts of movement need to be addressed. As typography seems to gradually emerge in moving formats around us, it is perhaps time to reexamine the age-old question: Are letterforms ultimately images or have images always constituted forms of type?
Contrary to the traditional use of type in communicating written language, this 16:9 publication acts as a reference point on type’s creative implementation as a visual element in the (de)construction and communication of visual language. A collector’s item for designers and cinephiles alike.
©2024 Parachute Typefoundry
©2024 Parachute Typefoundry