![]() Alexandros Gavrilakis also uses this “wobbly” nature is good effect in the branding for the Tears for Ears radio show, which bends the baseline path to create an abstraction of an ear. When a typeface always seems a bit drunk on its feet, what’s the harm a bit more wobbliness can do? On the cover for Paul Sahre’s Two-Dimensional Man, Aperçu is lying askew amongst the pile of assorted geometry, amplifying the loose, casual nature the typeface has. ![]() The general sense of instability that’s core to Aperçu’s design allows it to handle slanted or curves baselines quite well. There are a few subtle oddities with the type setting that add to the general unease of the typeface and make uncomfortable details like the awkward “r” a feature, not a bug. N✡4 - Aperçu’s skeletal, stripped down construction is well-leveraged in this cover for The Power of Images designed by Yuma Harada. The way the “l” curls up is playful and the distinctive “g” carries through from the standard weights, lending what is typically a buttoned-up genre of typeface a more care-free personality. It’s in the lowercase set that the family’s charm returns. In the monospace version, the geometric capitals feel more rigid and formal and characters like the “S” are more conventional (through the “R” retains its long-legged stature). In designs that want to feel tech-y, like the STRP Biennial branding by Raw Color, Aperçu Mono can play a straight man with a knowing wink. Designed by Inhouse, 2014.Īperçu’s monospace weights bring over much of the personality of the family. ![]() N✡3 - Aperçu Mono set in bronze foil in packaging for The Bone Line winery. I’ve heard this described as a “your mileage may vary” font, but a lot of designers have traveled quite a distance with it, and I that makes it worth diving into. Like many popular typefaces, Aperçu is often used in designs where it might not be the ideal choice. I want to focus on the in-use cases that I think accentuate what Aperçu does well, which includes amplifying playful colors, illustrations and type settings, as well as designs which directly contradict that assumed usage and pair the typeface with stripped-down materials and minimalist compositions. Selecting the artwork to use in this review was a difficult task, because Aperçu has been used quite extensively in its relatively short lifespan, and a large percentage of the in-use is likely driven by the overwhelming popularity of the typeface than a result of designers choosing it with specific intent (maybe the “g” is just so fun that no one could resist). It’s not often that a typeface with geometric heritage can be described as “loose,” but Aperçu is-each glyph feels like a coil that’s been unwound and become a bit deformed in the process (comparing it to a Shrinky Dink might be more appropriate, depending on your childhood experiences). The happy ovoid shapes love to be paired with bright colors and geometric illustrations, and even with it’s used in more restrained settings it can’t help but project a relaxed voice. It’s a typeface without an ounce of pretension and even when it is shouting in all-caps it’s hard to take it too seriously. It melds facets of more geometric designs like Johnston with grotesque characteristics and the result is an awkward tween of a typeface that is both trying too hard yet not trying at all. Aperçu is a grotesque sans-serif that’s found immense popularity since its release in 2010.
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