Santa Ana Sans
From the Foundry:
“Santa Ana Sans is inspired by the perfectly imperfect typography on vintage and retro storefront signage and marquees. This semi-condensed typeface comes in 6 weights plus italics. It’s a workhorse typeface that you can set heavier text in, but don’t get it wrong, it knows how to play just as hard and has enough personality for headline copy, logos, and other display usages. Track it tight, track it wide…versatility is its middle name.”
FOUNDRY IMAGES:
NOTES:
I’m super encouraged by this release form Hoodzpah, for many reasons. First, I think its a just a great type family that is packed with good personality and a strong sense of its workhorse-ness. It’s a release that is timely and good looking. There have been a string of typefaces released this year that draw very specific inspiration from sign painting, and Santa Ana Sans is arriving at the right time to scratch that itch for designers and the type-buying public. I love the way Amy Hood has been able to infuse some unexpected moments into the letterforms without it becoming a flashy display face. The z, for instance, or the Q, or that short legged R — simple, yet impactful opportunities to show its energy.
Second, I think a release of this caliber is proving that really good typefaces don’t always have to come from foundries, they can come from studios too. There are very talented designers out there with tuned eyes for typography, many of which are working graphic designers and brand folks. Hoodzpah is a great example of a brand/design studio with rising momentum that reinforces and furthers their perspectives and values through the production of typefaces. This is cool. Types made by people who work with type on a daily basis can bring new life and ideology to the type landscape, and that’s what I think Santa Ana Sans is contributing.
Third, I think brands, design houses, and freelance graphic designers are looking for value in typefaces right now, and Santa Ana Sans delivers in a unique way. It doesn’t feel the need to be a super mega family, throwing 2000 glyphs at each weight trying to ‘be it all’ for people… it has taken the basics and done them well. I’m going to sound like a lame-o middle school basketball coach here, but sometimes, it really is all about the fundamentals. Santa Ana Sans has gotten the fundamentals right… solid drawing, great spacing, basic language support, and enough alternates and stylistic glyphs to keep things interesting. It’s a great example of the standard model for how I think modern typefaces are being packaged and sold these days, and what designers are looking for.