A special category of typefaces, combining together principles of both serif and sans-serif, is sometimes described as Linear-Antiqua by German typographers. This concept catches the eye wherever it appears and this is also the case of Tabac Glam — a highly contrasting display typeface, expanding the wide expressive spectrum of our Tabac superfamily through a new characteristic hue.
A sans-serif typeface with a preponderance of vertical strokes can hardly compete in legibility against book-setting types, firmly anchored on the baseline by the lower serifs of both capitals and lowercase letters. However, if all characters in the typeface set are clearly defined, it can also do away with this otherwise useful aid. Especially so if it also contains numerous dynamic-enhancing details, interrupting the mechanically alternating light and dark strokes of the Latin alphabet. Such details are for example the sharply cut stems of lowercase b, d, h, k and l, a ribbon-shaped loop of the letter g, a thick diagonal of capital A, audaciously extending to the left of the letter, or a straight tail of the letter Q, vigorously fixed to the right rounded stroke.
The real fun however begins with the stylistic sets enabled, which fully demonstrate the potential of the dynamic principle in contrasting type. Single-bowl alternatives of lowercase a and g reminisce of the magical tradition of writing with a sharply cut quill pen or a flat brush; a rounded version of lowercase y with the tail curved under the letter brings back to life the unjustly half-forgotten Italic shape, rarely seen in current typefaces. The alternative tail of Q, detached from the letter, will please all those who find the default version not romantic enough.
An essential part of the typeface family are adequate Italics, smal capitals for all weights and different sorts of numbers. While vertical typefaces use stylistic alternatives to fulfil the requirement for a humanistic, drawn approach, with Italics it’s the opposite — alternative versions are tilted variants of the default straight lowercase letters a, g and y. Also worthy of attention are alternative versions of the ampersand character or massive, contrasting ornamental quotation marks, used for quotations in magazine setting.
Like the serif Tabac family, Glam offers four grades. And because Glam is primarily designed for headline sizes, the differences between the grades are markedly finer; they however work similarly and fulfil an identical function: while G1 will work best in large headlines, G2 and G3 in middle grades, G4 will be a great supplement in text setting, where a too large contrast in strokes would decrease legibility.
Analogically, the different grades may also be used in digital responsive typography, where individual grades will find their use in different website sizes — desktop, laptop, tablet and mobile.
Tabac Glam is naturally a great complement to the serif Tabac. It’s however only in conjunction with other styles of the superfamily — Sans, Slab and Mono, that you’ll be able to unleash the enormous potential of the wide range of combinations, and the family’s 112 styles will certainly satisfy all needs of both elegant and technical typesetting. Tabac Glam will best stand out in huge grades, on the covers of thick magazines under glossy layers of UV coating, or on snow-white surfaces of displays.
Design: Tomáš Brousil
Number of fonts in a family: 32 (Regular, Italic, Medium, Medium Italic, Semibold, Semibold Italic, Bold, Bold Italic; all in four grades)
Number of glyphs per font: 902
Release date: 2016
All Small Caps (c2sc)
Small Capitals (smcp)
Historical Forms (hist)
Historical Ligatures (hlig)
Old Style Numerals (onum)
Lining Figures (lnum)
Proportional Figures (pnum)
Tabular Figures (tnum)
Scientific Inferiors (sinf)
Localized Forms (locl)
Standard Ligatures (liga)
Case Sensitive Forms (case)
Slashed Zero (zero)
Stylistic Sets (salt ss02 – ss06)