How Type Systems Make Designing Easier

Not every typeface must be expanded into a comprehensive building block system. But the coupling of two styles has become quite common. Diverda™, designed by Daniel Lanz of Switzerland, first appeared in Linotype Library in 2004. It consists of one slab serif and one sans serif style. Diverda Sans is a geometric family of typefaces that are all free from ornament. Swiss designer Daniel Lanz optimized Diverda Sans for maximum legibility. In contrast to many other modern typefaces, which try to squeeze the traditional rounder forms of the alphabet into square designs, and which often attempt to equalize the widths of the capital letters, Diverda Sans remains true to the proper proportions of the Roman alphabet. The x-heights of Diverda’s characters are low, and the differences between curved, square, and triangular elements are very clear. Like the more calligraphic typefaces of the past, Diverda’s strokes exhibit contrast that is inspired by movements of the pen on paper; down strokes are heavier than up strokes. Possible applications for the Diverda Sans include magazine design, as well as advertising for fashion, design, or architectural products. Because of its 10 different individual styles or weights, Diverda Sans is also a good fit for Corporate Identity solutions.

Other “buddy systems” include Timothy Donaldson’s striking ITC Humana™ (1995), which is well suited to a wide range of uses where clarity is important yet a certain friendliness is desired, and the classicist-style Charlotte™, designed by Michael Gills (1992). Charlotte is perfect for almost any text application and particularly effective in bringing across a formal atmosphere.