We're counting down the 100 greatest typefaces in existence. Here is number 68...
FontShop AG, the renowned type foundry, conducted a survey based on historical relevance, sales at FontShop.com, and aesthetic quality. With a few additions from the experts at Creative Bloq and Computer Arts magazine, the best fonts ever were selected for the new book, 100 Best Typefaces Ever.
Here we are counting down the 100 greatest fonts, but you can read interviews with some of the typefaces' creators, a brief history of type, the anatomy of a font, and much, much more in the book – find out how to get your copy in print or digital formats at the foot of this post.
But without further ado, here is the 68th best typeface…
Released by Berlin-Zurich-based foundry and publisher Milieu Grotesque in 2010, Maison is a monolined grotesque typeface based on a constructed principle to achieve an industrial flavour, with a minimum amount of details and optical corrections. The typeface was originally designed as a monospaced grotesk for the use in the corporate design of Thomas Bendel Architects in Berlin.
The original Maison face contains eight styles, whereas a reworked version – Maison Neue – by Timo Gaessner released in 2012 contains 12 styles, with an extended Latin character set and a variety of OpenType features.
Bedow (www.bedow.se), a Swedish design agency founded by Perniclas Bedow in 2005, used Maison Neue in this poster for More Than Human — a Canadian record label releasing electronic music on vinyl
The 100 Best Typefaces Ever
This is an extract from The 100 Best Typefaces Ever, the definitive guide to the greatest fonts ever created, in association with FontShop AG. Over 180 premium pages, the book dissects the world's greatest typefaces, bringing you some insightful background on each and interviews with their creators.
You can pick up the book at all good newsagents today or order it online. Or you can download a digital edition directly to your iPad from the Computer Arts app on iTunes.
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Rob is editorial, graphic design and publishing lead at Transport for London. He previously worked at Future Publishing over the course of several years, where he launched digital art magazine, ImagineFX; and edited graphic design magazine Computer Arts, as well as the Computer Arts Projects series, and was also editor of technology magazine, T3.
