Never throw out your sketches!
Initially drawn in 1997 as a 10-letter study for Gia, Havelock wasn’t tonally correct for that idea—but still wasn’t a throwaway. Upon re-finding the sketch in 2016, the shapes still looked fresh.
The interesting thing about pure geometry in letterforms is: it’s real hard. Balancing form with readability becomes a big challenge—the eye can easily stumble over a too-stiff letter, while gliding over others. During Havelock’s design process, I allowed some of its forms to retain pure geometry: O is perfectly circular, A and M fill a square space. But other forms, like S and B, look too stiff on the grid, so those sorts of complex forms are optically corrected for beauty and flow. While working, I adjusted the stroke weight to balance interior spaces with that dark stroke, then amplified the sense of stillness with generous letterspacing.
Havelock draws upon ideas I’ve always loved from other designers, like Cassandre, Brody, Lubalin, and Glaser. It’s a family made specifically for layering and play, and I hope Havelock brings you much joy in using it.
Special features that work as well in CSS as INDD
Each font includes instructions for calling special features in CSS. Design on the web doesn’t need to be any less detailed than print.
easy to understand, easy to choose
If you need a face for one purpose only, buy the XS license. If you want web, print, app and eBook-ready licensing, look at S to XL. Details are here.
From Dallas to Maputo, you’re covered
Every character with an alternate or small cap form in the primary Latin-based scripts has a matching accented companion in lesser-spoken languages, so you can ensure your work translates accurately and fluidly wherever you publish.