Tag Archives: Freight

Great Pairs Revisited: Freight and Edward

The Great Pairs series started out on a whim, and turned out to be one of the things I most look forward to writing each week. Some have been rocky relationships, others, a natural fit, and with each I learn something. Just to pull out one of my favorites and offer a little postscript today, and since hardly anyone will be reading this anyway, here’s what I’ve come up with:

Great Pairs, in Edward and Freight

Freight, Edward styles

Dutch/American English/German: Freight and Edward

Here I look back at Joshua Darden’s Freight with Hendrik Weber’s Edward, and If I were to rewrite the piece today, I think I’d offer more suggestions on how to refine the pairing to achieve exactly the range one’s seeking. For example, if one wanted to take the text slightly more Dutch, I’d suggest Charles Gibbons’s Fleischman or Christian Schwartz’s Farnham. Tamer? James Todd’s Garvis. Wilder? Dino dos Santos’s Glosa. More British, perhaps William Berkson’s Williams Caslon with Matthew Carter’s Big Caslon, or Frantisek Storm’s Baskerville Original. If the sans needs adjusting here as well, Edward offers quite a lot of alternatives, for which we keep a running FontList. My advice as always is keep trying different approaches until something works. That’s all for this week. Have a great holiday. Another great pair will drop here on Wednesday.

Dutch/American English/German: Freight and Edward

Freight is Joshua Darden’s robust text family, done in the style of Johann Fleischmann’s sparkling baroques, with a few of its own tricks. You’ll notice if you look through our Freight offerings, that there is in fact a Freight Sans, which pairs quite well if you’re going for more of an Americanized humanist feel, but I thought I’d stretch the range of Freight [serif] a bit more toward a British sensibility. To do that, I’m pairing it with the latest riff on Edward Johnston’s ‘block’ lettering, Hendrik Weber’s Edward. If I were keeping score, and clearly I am by the title, Hendrik is a German designer drawing from an English face, and Joshua is an American designer working from a Dutch one. Taking these additional lenses into consideration can help inform why certain characteristics of the faces are played up or deemphasized. Together, the two create an approachable and inviting atmosphere in their in-between weights, and a comical harmony when each bares its more extreme side.

Quick historical note: If you’re thinking, ‘This looks awfully familiar,’ It’s likely because it looks a lot like Gill Sans. Edward Johnston and Eric Gill were contemporaries, and their sanses look a lot alike. Johnston’s came first. End historical note. In nine weights, Edward captures well the quirks of the British sign painter and letter cutter, without trying too hard to be a faithful revival.

Because Freight comes in a range of optical sizes, you can either use them for their stated purpose, or use a more robust cut at a given size, for a coarser texture. See above Freight Micro, next to Freight Text. And below: Given the chance, Edward is quite capable of delivering texts of moderate length.

That’s all for now. Catch another Great Pairs here on Wednesday. PS. Did you spot the almost Erbar a?