Although I agree with Sowersby’s description — “Söhne is the memory of Akzidenz-Grotesk framed through the reality of Helvetica” — I would argue that Söhne contains more Akzidenz-Grotesk than Helvetica. It’s more unique, less monotonous, more dynamic, less boring. A beautiful yet universal sans serif family.| Typographica
I appreciate and adore Maelstrom and its wacko Italian Futurist approach to reverse-stress letterforms, with the historically noteworthy (and entirely crackpot) E. But I didn’t expect to like the sans as much as, or even more than, the serif.| Typographica
Before I saw Kris Sowersby’s Heldane, I used to lament that Van den Keere didn’t receive as much enthusiasm from type designers as he deserved. Instead of directly interpreting a specific typeface, Sowersby summarizes what constitutes Van-den-Keere-ness, which he then refines and exaggerates.| Typographica