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Nabokov Hitchens
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Faulkner Cornwell
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Whitman Freguson
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Euripides Dickinson
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Palahniuk Cervantes
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Murakami Stevenson

About Post Grotesk

Josh Finklea began work on Post Grotesk in 2011 with the goal of designing a contemporary version of the traditional grotesk sans-serif for his own use. The intention was to build an amiable typeface with maximum usability and an overall sense of neutrality.

Post Grotesk Features

  • Lowercase Alternates
  • Standard Ligatures
  • Discretionary Ligatures
  • Case Specific Punctuation

Lowercase Alternates

Standard Ligatures

Discretionary Ligatures

Case Specific Punctuation

  • Numbers Features
  • Superscript
  • Automatic Fractions
  • Diacritics

Numbers Features

Superscript

Automatic Fractions

Diacritics

  • Lowercase Alternate
  • Standard Ligatures
  • Discretionary Ligatures
  • Case Specific Punctuation

Lowercase Alternate

Standard Ligatures

Discretionary Ligatures

Case Specific Punctuation

  • Numbers Features
  • Superscript
  • Automatic Fractions
  • Diacritics

Numbers Features

Superscript

Automatic Fractions

Diacritics

Post Grotesk Construction

Finklea is a graphic designer whose work emphasizes restraint, rationality, and functionality. Post Grotesk is a careful and conservative study of the typographic genre he found himself using most frequently in his own work, incorporating his own sensibilities and refined aesthetic, as well as addressing common issues found when working with the standard faces of the grotesk and neo-grotesk genres.

Original Concept Sketch

Post Grotesk is informed largely by the rational tone of the more systematic grotesks, while leaning into the looseness of the less structural examples of the genre. Berthold's Akzidenz-Grotesk and Bauer's Venus were both inspirations for the amount of wonky "grotesqueness" that seemed both usable and unique. The flared terminals seen in Venus became an integral characteristic of the design of Post.

Venus Grotesk (Left), Post Grotesk (Right)

“Even though I tend to lean towards restraint and minimalism, I kept running into instances where classic sans serifs like Akzidenz, Univers, Helvetica, Monotype Grotesque, and Franklin Gothic all felt too clinical and clean shaven for my work.” Says Finklea. “I tried my best to dissect and identify some of the characteristics that made a grotesk lean more towards cleanliness and rationality on one end, and irregularity and peculiarity on the other.” 

In every aspect of the design, the choice of either observing traditional models or making a finely-calculated divergence was painstakingly agonized over.

Post Grotesk Book

Akzidenz Grotesk Buch Regular

Helvetica Regular

Univers Regular

An important characteristic of this dichotomy is the consistency of terminal angles—the most clinical and rigid being the horizontal terminals such as those in Helvetica, with the more unique and lively end of the spectrum being the sheared variety with less consistent terminal angles.

As a graphic designer, Finklea found that he rarely used the lighter weights in most grotesks, as the interior space of the characters often feels too open and the width often feels too wide. While it can look elegant at display sizes, these lighter weights always stick out to Finklea as looking “a bit strange” in body copy.

“I think others may consciously or subconsciously feel this way too as I mostly see Regular/Book to Bold weights in the classic grotesk/neo-grotesk fonts. I wanted to make sure that Post Grotesk Light and Thin maintained negative space in proportion to the other weights so that it could easily be used for text. The Light and Thin have actually become my favorite weights.”

In 2015, Finklea was commissioned by Pentagram to create a custom Black weight for Mia, the Minneapolis Institute of Art. This new weight became the impetus for the expansion of the retail version of the family. In addition to many subtle refinements to the design of the original 4 weights, this newest release of Post Grotesk bookends the weight range of the family, including 4 new styles: Black, Black Italic, Thin, and Thin Italic.

Designed by Josh Finklea in 2017.

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