Fiction

Originally designed for Formist’s Ficciones Typografika publication, Fiction is just that: a fiction, a distortion, an imposter. Mark Gowing originated the concept to automate a new typeface from the bones of three beloved classics. As a result, Fiction is essentially generative. That is to say, no letters have been manually drawn, spaced or kerned in the making of these fonts. Born out of a punk ethos, Fiction was created as both a homage, and a challenge, to the established sans-serif status quo. It is a response to the recent proliferation of neutral sans-serifs, along with the desire for the type to be simply more conceptually neutral than anything previously existing.

In order for Gowing to execute his concept, the basis of the typeface was created by interpolating the averaged centre line of the three mainstays in modernist sans-serif type: Akzidenz-Grotesk (Hermann Berthold, 1898), Helvetica (Max Miedinger, 1957) and Univers (Adrian Frutiger, 1957). The resulting centre line was then used as the spine of each glyph, with varying stroke widths applied to create the desired type weights. The proportions of these three type titans provided a skeleton onto which a new flesh was grown.

Despite Gowing’s conceptual intentions toward neutrality, Fiction emerges with character. The letterforms stand uncorrected, without the presence of any optical enhancements. However it is this lack of correction that creates Fiction’s own unique character, while its origins provide an uncanny familiarity.

Usage Notes

The sixteen style Fiction family consists of a broad range of weights that vary progressively in their aesthetic, due to the arbitrary nature of the applied strokes. The stroke-based drawing technique creates a variety of character heights that are aligned on the centre of each stroke, rather than the baseline, x-height and cap-height. This creates unorthodox and unique typographic outcomes that will vary in subtlety depending on the chosen type weight and size.

At text sizes Fiction feels familiarly utilitarian and sets in very much the same way as its contemporaries—it is reliable and legible in most situations. The Hairline and Thin weights may be too fine to be used at small sizes, but work exceptionally well at headline and display sizes. At these larger sizes the type comes alive and exhibits its idiosyncratic character. The Extra Bold is the most exaggerated in its form and is particularly varied in the character heights, but it has a playful wiggle that is also excellent for headlines.

Overall the punk feel of Fiction can be used to create a unique typographic tone that honours and recycles our cultural heritage.

Styles

Fiction Hairline
Fiction Hairline Oblique
Fiction Thin
Fiction Thin Oblique
Fiction Extra Light
Fiction Extra Light Oblique
Fiction Light
Fiction Light Oblique
Fiction Regular
Fiction Regular Oblique
Fiction Medium
Fiction Medium Oblique
Fiction Bold
Fiction Bold Oblique

Design

Mark Gowing

Mastering

Ben Kiel

Features

Sixteen styles

Trial Fonts and Specimen

License terms apply. By downloading these trial fonts you agree to not distribute, reproduce, or use these files for any commercial purpose.
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