Do you fancy extremely fat mathematical operators? Maybe you need a fat, inverted interrobang, to set bold sentences of disbelief, even in Spanish? How about some ultra-fat small caps and a full set of very heavy superiors?
Look no further than Pufff.
It was just a matter of time until someone did it. Mauritius was the last typeface designed by German lettering artist Georg Trump. First shown in 1967 as trials for a “Barock-Antiqua” (Transitional serif) by the Stuttgart Weber foundry, it remained largely unrecognized. Trump, then in his 70s, completed his oeuvre with the design, as though ticking off the third grand genre of text faces after his rational Schadow and Trump Mediaeval. Last year, Canada Type released a revival, ticking off the last remaining Trump face not yet digitally available.
I hate this typeface.
I hate it because I wish I had drawn it myself. But I didn’t. And even if I had, who is to say whose would be better? It doesn’t matter, because this is excellent, and there is no need to even try.
To say that Magasin is not your average script font is stating the obvious. It is quirky and totally irreverent. It sits stock-straight upright and follows very few rules when it comes to connection between the letterforms. You get a real sense of Mid-Century Modern and French perfume packaging, along with the echoes of Quirinus/Corvinus and Fluidum in its contrast and terminals.
Commercial Type knows how to look at old type with fresh eyes. They may do it better than anyone. Three of the foundry’s recent releases clearly demonstrate this rare ability: Paul Barnes stripped traditional models to their bare bones to make Marian; Christian Schwartz recreated Antique Olive from memory for Duplicate; and Berton Hasebe imagined French Renaissance types from a modern, minimalist perspective when he drew Portrait.