What makes Antique Olive Nord so amazing?
couldnt let this one go without comment, althought I dont have an answer. It has always been my favorite typeface, full of energy, tension, beauty, Joie de vivre, and a certain je ne sais quoi!
two articles with some insights.
http://typofonderie.com/gazette/post/roger-excoffon-a-part-of-the-mythol...
In case you read French, David Rault makes a few comments on antique olive nord in his book Guide pratique de choix typographique; click on the link "Extraits du livre".
At the start of my career, I used Antique Olive a lot (though not the elephantine Nord weight). I even used transfer lettering to set my second freelance business card in Antique Olive.
It was the Age of Helvetica, and the popular sans-serifs were all monoline, and therefore tiresome to read at small sizes and too bland to attract attention at display sizes. Optima was a nice alternative, but even at its heaviest weight, Optima was just too damn tasteful.
Then I discovered Antique Olive. It had lots of punch, and was full of the little eccentricities that other sans-serifs lacked: The vertical cutoffs on the C, G, and S; the unexpectedly square bowls on the P and R; and the way the curved strokes taper when joining the straight strokes on a, b,d, g, h, m, n, p, q, r, and u.
That's what amazed me as a newbie. Some of my early font faves kind of embarrass me now, but I'm still a big fan of Antique Olive.
Here is an extract (pdf)
hrmmmmm.... $450 on Amazon...
http://www.amazon.com/s/ref=nb_sb_noss?url=search-alias%3Daps&field-keyw...
On the editor's site, it is 47 euros.
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