Current trends either fetishize the peculiar features of early grotesques or sterilised them. Our goal posts were set between these opposites. We wanted to design something that was authentic to the demands of the age; a style that embodied practicality, equality and reform. It was the Grotesque series of typefaces from Stephenson Blake of Sheffield, England, that met those needs in their day, but which are now mired in nostalgia.
The diversity seen between the capitals and lowercase in late 19th century type designs is striking, wide and stable capitals were united with a narrow, lively lower case. The difference in stroke weight is also surprising, the capitals are heavier and almost monolinea compared to the light tapering strokes of the lowercase.