There was a feeling among Fontsmith’s clients that the principles of modernism needed to find fresh voices. In response to this, Phil asked whether the time might be right to move away from the deliberate neutrality of the classic fonts of the 30s and 50s, towards something with a visibly more contemporary and human character. Throughout the design process, two central ideas competed for attention.
Firstly, Jan Tschichold’s contention that a good letter is “one that expresses itself, speaking with the utmost distinctiveness and clarity”. Secondly, a belief that a font can be personally expressive without compromising its functionality. This underlying tension became the fuel that drove the project to its conclusion.