Calluna is a Rising Star




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10 responses to “Calluna is a Rising Star

  1. mk2

    Congratulations Mr. Buivenga! Calluna really deserve it. 🙂

  2. Oscar Schrover

    Interesting font. Some of its pecularities are familiar to those who have studied the work of the great Dutch typographer S.H. de Roos. The ascenders and ligatures however seem to be formatted alongside newspaper-standards, viz. small and compacted. Stately booktypography may really endure more elongated shapes. The p’s and q’s have linger too much in what seems a too rigorous design-concept. That peculariaty Jos Buivenga underlines, was an idiosyncrasy of De Roos, and of the main reasons why many of his wonderful designs were slanted, a.o. by van Krimpen. There is now only one revival worth using, van Maanen’s De Roos medieaval. But to get back to calluna, Jos is really a very promising designer. Oscar Schrover

    • Oscar, thanks for the mini critique. I myself am not familiar with de Roos’s work, but I guess familiarities easily arise when people look at type. I can imagine people finding the descender lenght short, but the statements about the ascenders (and ligatures) I find quit strong, especially because Calluna’s brief was set up broader then only to serve as a typeface for stately book typography. Now… about p and q: assuming you are referring to the serifs of the descenders, let me say that it *is* a matter of taste —not something designed rigorously. Also you might want to have another look at p and q of Van Maanen’s Dutch Mediaeval.

      • Oscar Schrover

        I really like to use the Dutch fonts as Scala, Trinité, or more contemporary type from the US-designer Kent Lew, the Whitman, inspired by that great W.A. Dwiggins; and Slimbach’s Slimbach. The Haarlemmer revival from DTL or ascender fonts is nice, just as the Albertina, drawn by Chris Brandt
        But I would really want to use a truely Dutch modern type to make modern books, with type that is modern in its outlook but has a thoroughly classical touch and feel. Calluna has a lot of grandeur going for it. But the p’s and q’s are not my taste. Alas. But great work Jos, great work. Keep going, keep going. I am convinced I will use one of your fonts for a book in the near future.

  3. Oscar Schrover

    Some part went missing when pushing that blog-button. My remarks about de Roos, Dick Dooijes fonts etc. all was wiped away. So again, I am not using de Roos mediaeval for bookdesign. It is lying in wait, just as the Fell-types from Marini. More of an old work of tool that you can only use on a restauration-project. De roos used, as a result of his calligraphy, that curled, slightly slanted foot near the serif. Jan van Krimpen was not very enthousiastic about this, and said it was an idiosyncracy that disturbed him. But try to get an old letter-proof from the Lettergieterij Amsterdam. Great stuff.

  4. I can imagine that van Krimpen considered that a kind of calligraphic habit and thus not being fond of it, but in the case of Calluna those serifs are shaped out of the direction model and to be somehow consistent with the rest of the serifs. Numerous tests were done before I eventually came up with those final shapes. FWIW I don’t think they will become an habit for me 😉

  5. Mariusz

    Good font as usual. Congratulations!