A minor correction:

"Greta and Flama are modern typefaces, designed in 2007"

That's not entirely accurate. Flama may have been edited as recently as this year, but the basis of the typeface was drawn years ago.

Nice to see that people are interested in portuguese typeface designs. :) Unfortunately, portuguese don't even know who Mário Feliciano is... Well... it's life.

About pics/details why you need it for? If it is really important you can always ask Feliciano, he is a nice guy.

Joel Santos // youremin
sound & visual

> Any pics/details on the Sunday Times Modern?

Yes,

http://www.emtype.net/images/STM2.png

Sunday Times Modern is a powerful but elegant display typeface, with many original details...

Soon I will write a text about the process...

Best regards,

Eduardo Manso [ www.emtype.net ]

"The Sunday Times Modern typefaces were created by Emtype Foundry for The Sunday Times newspaper in London. © Times Newspapers Limited 2008"

Sweet!

I'm becoming concerned with the health of 'older' S's in our modern world. Either the lowercases have to get smaller where appropriate, or glyph substitution has to help here, or glyph substitution has to help in all-cap settings. "Shakespeare" in the the cited proof and the word "Search", in the current FF Pitu, of this sight, are examples of an older S, that is, in my opinion, not holding up to the lowercase, in two otherwise fabulous designs.

Cheers!

Sii,
Thank you,
Here another example: http://www.emtype.net/images/STM3.png

David,
my English is not very good and I'm bit confused with your comment,
thanks anyway :)

Regards,

Eduardo Manso [ www.emtype.net ]

my English is not very good and I’m bit confused with your comment

"I’m messin' concerned wit tha health of Rappa s’s in our modern world yaba daba dizzle. eitha tha lowercizzles have ta git pusha where appropriate, or glyph substitizzle has ta hizzle here, or gliznyph substitizzles has ta help in all-cap sippin'. “shakespizzles in tha tha cited proof n tha word “search”, in tha current ff pitu, of this sight, is examples of an olda s, that be, in mah opinion, not messin' up ta tha lowercizzles in two otherwise fabulous designs n shit."

Word.

It's not English you need to know to understand David, it's Berlow. What he's saying, I think, is that the 'S' is too narrow, perhaps too classical in proportion.

Oh, thank you Stephen!
This explains everything...

Yes, the 'S' and 's' are relatively narrow, but for me it's not a problem.
I think is good that not everyone make the things in the same way : )

regards, em.

Read some more about the typography here, in this blog post by Mario Garcia.

Nick, you’re all up in the kool-aid and you don’t know the flava

Mikey :-)

For Mark Porter's view on it:

The typography is an uneasy mixture, there's a new custom font for headlines, which they're calling Sunday Times Modern. I don't know yet who's responsible and it's an odd-looking thing with a Dutch feel, somewhat calligraphic but with aggressive spiky serifs. The bolder weights are not so bad, but the light looks awful.

—K

>For Mark Porter’s view on it:

Who would have thought the Guardian wouldn't like it?

>I don’t know yet who’s responsible

Eh, isn't that the job of a journalist, has he not heard of typophile? :-)

C'mon, Mr. Porter. All it would have taken to discover the designer was a quick Google search and 30-second read.

> The bolder weights are not so bad, but the light looks awful.

If Mr. Porter wants to make a serious criticism of the Sunday Times Modern should do something more to say "I don't like"

em.

"... not everyone make the things in the same way..."
agreed.

"... serious criticism [...] should do something more to say “I don’t like [it]”
also agreed.

You have, however, answered specific criticism as an 'artist' would and broad criticism as a 'craftsman' should.

Cheers!

Hello_
I don't come here very often! I should, as I find many friends here.
Funny to watch this discussion.
Now in my own defence:
Mark says:
Flama from the delightful Mario Feliciano in Lisbon, a good font but increasingly overused in newspapers, and again badly typeset.

I like the 'delightful Mario Feliciano' part! but I can't agree with the: increasingly overused in newspapers
You don't find it in an airport! and that is a sign... Well, you might find it if you look at some magazines maybe, but not newspapers!
There are 10 newspapers, maybe, using it and that's not 'overused' _ who cares!
From a sunny Lisbon. Only being able to use left hand! funny for a type designer/guitar player
cheers
-m

Hello Mr. "Delightful":) Hope we see you here more often.

Eduardo, congrats for your good work! Buy a good Ribera del duero wine and celebrate it! cheers.

David,
my answer to your opinion was:

> Yes, the 'S' and 's' are relatively narrow, but for me it's not a problem.

If I'm not extend more is because is very difficult to me explain it:

For me, a wide 'Ss' often look deformed or with a "dynamic of curve" that does not match with the rest of characters.

And the fact that there are characters that are separated a bit from the "norm" or the "proportions" make the design more original, and for me (I repeat) it's not a problem, if it works in words is an advantage, a differentiator.
I believe that internal whites work well with the rest of letters, the weight is appropriate, curves seem from the same family, etc.

My job was to find ways to innovate and make an original typeface,
a conservative approach would not be appropriate in this case...

It is only my approach, but many others are possible.

I hope to have responded as a craftsman :)

regards, em.

Thanks Ale,
in fact it is my preferred Spain's wine!

em.

Is the s character more frequent in Spanish and/or Portuguese than it is in English?

http://en.wikipedia.org/wiki/Letter_frequencies

Mario Garcia has another blog post today, this one by the redesign's designer, Al Trivino, who imparts some interesting info on the evolution of Sunday Times Modern and the section typography:

"We started by dropshaped serifs, but we quickly changed to curved and polygonal serifs to create a stronger, beefier font, more in accordance with the type of newspaper the editors want to produce each Sunday. Also to innovate and to break the mold. When one compares it to the most often used fonts in the UK, Sunday Times looks robust and unique. We achieved that."

I’m a bit late on this dialogue, but Sunday Times Modern is lovely. I don’t think it is very “Dutch” as Mr Porter says; I think of Quadraat when I think of Dutch serifs; Sunday Times Modern seems more energetic while also compact. The S connects well to earlier types bearing the Times name (with the exception of Europa).

Jack Yan
http://jackyan.com