About Bradley Font Family
Oddsorts is delighted to present Bradley Wayside and Bradley Chicopee as its début offerings. Begun in 2000 as a wedding gift for the designer’s wife and used privately for years, they’re finally available to the public.
The fonts were inspired by the masterful art nouveau lettering of Will H. Bradley, whose posters for Ault & Wiborg printing inks and Victor Bicycles continue to draw collectors after more than a century.
Wayside and Chicopee expand the twenty-odd characters Bradley drew into a comprehensive multiscript system that includes modern Greek and extended Cyrillic alphabets, ordinals, automatic fractions, and ornaments.
Bradley Wayside and Chicopee derive much of their charm from an organic mix of shape and spacing intrinsic to hand drawings. Mimicking that spirit in type used to mean painstaking substitution and adjustment of characters. The Bradley fonts make imaginative use of OpenType’s power to achieve the same effect — minus all the work.
Wayside and Chicopee contain alternate forms for every letter — up to seven for some characters. Part of what makes these Bradley types delightfully “smart” fonts is that the fonts themselves actually choose the variation best suited to a letter’s place in a word. All you need to do is turn on your software’s “Ligatures” or “Contextual Alternates” option and the Bradleys do the rest. The alternates even work in most word processors.
Bradley Wayside and Chicopee are available in “Standard” and “Pro” editions. The Pro editions sport all the bells and whistles, including the alternates. They support over one hundred forty languages and include localized forms especially for setting Bulgarian, Serbian, Polish, Romanian, and Turkish. The Standard editions are geared toward casual use and are ideal for license as webfonts, where streamlined character sets mean faster load times.
Oddsorts is the imprint of type designer, teacher, and graphic designer Charles Gibbons.
Asked what distinguishes his work, Chuck says that he mates aesthetic craft with technically innovative and user-friendly fonts. Studying with master stone letterers like John Hegnauer at RISD hooked him on the exacting rigors of visual craft. Working with his own students now helps him develop tools for fellow designers.
“As a teacher, I see young designers grapple with using fonts, trying to figure out which is suited for what purpose (like we all do) but also how to actually operate the things. That experience reveals the importance of treating fonts like the software they are. Fonts that are easy to use are likely to get used, so I make mine as ‘smart’ as possible. Intuitive character layouts, robust OpenType features that do a lot of the grunt work — maximizing the font’s capabilities saves seasoned designers time and helps casual users look like pros.”
Chuck has partnered with such notable type foundries as Bitstream, Filmotype, Sideshow, Tart Workshop, Device, and Cultivated Mind — sometimes in the limelight and sometimes behind the scenes. The Ciao Bella ornaments he designed with Cultivated Mind’s Cindy Kinash represent the first commercially available “auto-chromatic” fonts: each font can be set in two colors. Working with Stuart Sandler and Crystal Kluge at Tart Workshop, he developed the method by which their Aya Script delivers its characteristic curlicue ribbons.
His types grace book covers, greeting cards, film titles, museum façades, and even the seal of the United States Copyright Office. They appear in textbooks like Kristin Cullen’s Typography Fundamentals, have been awarded the Type Directors Club Certificate of Typographic Excellence, and even frequent MyFonts’ bestseller lists.
Chuck’s personal interest in type stems from a fascination with aspects of visual communication that “lie below meaning”, seeing lettering as a meditation on the place where sound meets silence. That, and letters are just plain cool. Whatever his motive, he’s happy to share his lifelong passion with… well, everyone.