Lexon Gothic
Lexon Gothic      Lexon Gothic Italic      Lexon Gothic Bold      Lexon Gothic Bold Italic	$44.00
Lexon SC + OSF
Lexon SC + OSF      Lexon SC + OSF Bold	$29.00
Lexon Headline
Lexon Headline	$19.00
Lexon Xylo
Lexon Xylo	$19.00

Design Credits

First seen on MyFonts: April 10th, 2001
Designed by: František Štorm
Contained in Categories: Legible, Transitional
Design owned by: Storm
MyFonts Keywords: czech, legible, news, news text, serif, swash, transitional

Lexon Gothic

Lexon Gothic is a typical newspaper, dictionary and magazine type face. It is also very suitable for children’s books and posters. The large x-height, condensed shapes and darker colour of the basic design guarantee its legibility already in small sizes and even in morning twilight.

The line is bitten into the surface by the marked "slippers"of the letters. The lower- case letters have flattened upper and lower limbs, just like in letterpress. Their bellies are quite round and their knees are lightened by slight incisions. The type face is rather archaic in expression and its italics are dynamically flamboyant. The “juicy” design of the alphabet is achieved by strengthening the elements of variety, sometimes even in exaggerated form.

When reading newspapers, we are interested in the surface of things, in their, as far as possible, unbiased description. We forage for arid facts which do not require our spiritual or emotional participation. That is why the type face must be neither dull nor expressive, but absolutely huckstering. For - seen from the other side - if we are publishers, we sell information, or else merchandise just like any other. The type face is its packaging, its outer form which here has all manner of functions except for the aesthetic one. The apparent proportional disharmony between the upper-case and lower-case letters is a question of habit. The view that the upper-case and lower-case letters must have the same width proportions is prejudice. On the contrary - the history of type faces enlightens us on the fact that the two alphabets did not have much in common. To prove this it is sufficient to look briefly at their forms - we will find out that only 8 out of 26 pairs of letters resemble each other and, moreover, the ones which do are less frequent in the text.

The bold design does not need serifs, because the upright finial of the wide stroke already sits well on the surface. Moreover, the sans-serif bold design better sets off the basic, more picturesque design. Both sets of italics have non-aligning figures, so that in a small number of designs we have everything that is required of a dependable type face which is not exactly intended for the setting of poetry. The design called “Headline” has sharp edges in place of hidden serifs and is darker, which predetermines it for use in headlines. The complementary SC & OSF will be welcomed when we design headings, by-lines and captions to illustrations.

An original newspaper type face must also create an impression of uninterchangeability of the typographical appearance of the periodical, but not to the detriment of legibility and technical reliability, even when printing on bad quality paper. Under such conditions there is nothing worse than a banal type face of fragile strokes. A newspaper type face should be original and uninterchangeable in order that the subscribers might feel a certain “snugness” in the pages. An original type face also extricates the printed matter from the omnipresent graphic anonymity and endows it with a more intimate character.

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