The Eskapade family is the result of Alisa Nowak’s research into Roman and German blackletter forms, mainly Fraktur letters. The idea was to adapt these broken forms into a contemporary family instead of creating a faithful revival of a historical typeface.
On one hand, the two normal Eskapade styles are conceived for continuous text in books and magazines with good legibility in smaller sizes. On the other hand, the two angled Eskapade Fraktur styles capture the reader’s attention in headlines with its mixture of round and straight forms as seen in ‘e’, ‘g’, and ‘o’. It can also be used for visual identities, logotypes, and packaging.
Eskapade roman adopts a humanist structure, but is more condensed than other oldstyle serifs. The reason behind this stems from the goal of closely resembling the Fraktur style to create harmony in mixed text settings. Legibility is enhanced by its low contrast between thick and thin strokes and its tall x-height. Eskapade offers an airy and light typographic colour with its smooth design. Eskapade italic is based on the Cancellaresca script and shows some particularities in its condensed and round forms. This structure also provided the base for Eskapade Fraktur italic.
Eskapade Fraktur is more contrasted and slightly bolder than the usual darkness of a regular weight. The innovative Eskapade Fraktur italic, equally based on the Cancellaresca script previously mentioned, is secondarily influenced by the Sütterlin forms — an unique script practiced in Germany in the vanishingly short period between 1915 and 1941 — especially as seen in the capital letters.
Although there are many Fraktur-style typefaces available today, only a few include true italic forms, and usually they are slanted uprights rather than proper italics. This motivated extensive experimentation with the italic Fraktur shapes and resulted in some unusual and interesting solutions. In addition to standard capitals, Eskapade Fraktur offers a second set of more decorative capitals with double-stroke lines to encourage experimental use and intensify creative application.
The Black and Black Italic styles are meant for display sizes (headlines, posters, branding, and signage). A typeface with this much tension needs to keep a good harmony between strokes and counters, so Eskapade Black has amplified inktraps and a more dynamic structure seen in the contrast between straight and round forms. These qualities make the family bolder and more enticing, especially with the included uppercase alternates. The black weights of Eskapade are strident, refusing to let the white of the paper win in its tug-of-war. It also won’t give away its secrets: is it modern or historic, edgy or amicable, beguiling ornamentation or brutish presentation? That all depends on how it’s used, but it certainly isn’t tame.
The complete Eskapade family comes in six styles, speaks multiple languages, and, along with our entire catalogue, has been optimised for today’s varied screen uses.
– Typographica’s Best Typefaces of 2012
– Won Bronze in the 2013 European Design Awards
– Included in the 2013 Communication Arts Typography Annual