The future is squarish. Georg Trump knew it in 1930 when he designed City. Hermann Zapf knew it in 1952 when he designed Melior. Aldo Novarese knew it in 1962 when he designed Eurostile. Center isn’t about to argue. Based on a rounded rectangle, its geometry has been subtly refined for smoother reading. Angled branches pay homage to OCR-A. Terminals are gently softened. Early versions had a somewhat science-fictiony look, but over time Center evolved into a crisp and useful text/display family with just a hint of futurity. A combination of open counters, unequivocal curves, and ruler-straight vertical and horizontal strokes suit it admirably for onscreen display. Its seven weights range from the taut, elegant Thin to the massive Ultra, each with a matching italic. Tabular figures duplex across all weights, case-sensitive forms keep punctuation in line, and a variety of alternative glyphs let designers vary its mood at will. A full range of diacritics provides support for over 130 languages.
Roll over, Lance Wyman, and tell Bridget Riley the news. Designed by an old hippy for maximum dazzle, Vibro is an ice cream headache of a typeface which exploits the principles of chromatic vibration to send streams of high voltage through the viewer’s visual cortex. The exigencies of pattern-making have been permitted to trump those of classical construction. In the interest of greater stripiness, counters have been dispensed with. A full range of diacritics has been mortised into the bodies of the letters, enabling Vibro to trample basic standards of legibility in over 130 languages.