Font Designer – Michael Stacey
American designer Michael Stacey created the fonts ITC True Grit™ (1995) and ITC Wisteria™ (1995).
ITC True Grit is a bold distinctive typeface. An enthusiastic collector of vintage graphic design, Stacey says that he is especially intrigued by lettering styles from the days when most display typography was done by hand. The style for ITC True Grit was taken from the 1930s and updated for digital imagine. Stacey say his goal was to retain the casual feel of handlettering yet impart “the crisp finish of current precision typography.” ITC True Grit is a hybrid design, a cross between German Blackletter and brush script with a hint of Jugendstil thrown in.
Wisteria appeared in the ITC library in 1995. It is a robust script font with doubled strokes which look as though they were written with a broad split pen tip. The figures are both energetic and rich in contrast. Such typefaces became popular in the 1930s and were distinguished by the informal sketchiness atypical of calligraphic alphabets. Wisteria has both the grace of a calligraphy font as well as the brusqueness caused by its sharp-edged stroke endings. This contrast makes the overall image interesting and lively. Wisteria is best used for headlines and short texts in point sizes of 14 and larger.
These Font Familes are part of the ITC Library OpenType Edition.
ITC True Grit is a bold distinctive typeface. An enthusiastic collector of vintage graphic design, Stacey says that he is especially intrigued by lettering styles from the days when most display typography was done by hand. The style for ITC True Grit was taken from the 1930s and updated for digital imagine. Stacey say his goal was to retain the casual feel of handlettering yet impart “the crisp finish of current precision typography.” ITC True Grit is a hybrid design, a cross between German Blackletter and brush script with a hint of Jugendstil thrown in.
Wisteria appeared in the ITC library in 1995. It is a robust script font with doubled strokes which look as though they were written with a broad split pen tip. The figures are both energetic and rich in contrast. Such typefaces became popular in the 1930s and were distinguished by the informal sketchiness atypical of calligraphic alphabets. Wisteria has both the grace of a calligraphy font as well as the brusqueness caused by its sharp-edged stroke endings. This contrast makes the overall image interesting and lively. Wisteria is best used for headlines and short texts in point sizes of 14 and larger.
These Font Familes are part of the ITC Library OpenType Edition.