a special 25th anniversary issue featuring typography, the february 2010 HOW contained a great article titled "who shot the serif?" by allan haley. according to haley, right now everybody's using sans serif or script typefaces. (part of me begs to differ, because lately i see itc lubalin graph and its imitators everywhere, but whatever...) word on the street is that sans serifs are more flexible, allow greater latitude in character spacing, and "keep their good looks in a wide range of sizes." serifs, on the other hand, are quite "finicky." however, haley explores several new cool serifs on the scene.
this one's called trilby (maybe named after svengali's automaton, played woodenly well by marian marsh in the early 1930s version of the movie, but i digress). designed by david jonathan ross, trilby is an interpretation of "the formal constraints of the french clarendon reversed-stress on a foundation of clear, open, and contemporary letterforms." i don't quite understand this (yet), but it's playful and a little quirky.
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