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Display typefaces are usually suited to one task. A type might be perfect when a designer needs the blackest type, or the thinnest type, or the most swashes. But James Puckett wanted to design a new one-weight workhorse with lasting value. He wanted a typeface to look novel and classic, like modernist furniture. And it would feel soft and heavy, like cumulus clouds of liquid platinum.
Gigalypse was conceived from a kind of superellipse known as a squircle. A squircle is a square with no straight lines; it has round corners and round sides. Gigalypse’s O is a squircle and every other shape was derived from it.
Strong precedent exists for using a squircle as the basis for a design. Piet Hein’s design for Sergels Torg in Stockholm and the Azteca Olympic Stadium by Pedro Vázquez and Rafael Alcérreca are both superellipses. Squares have been the basis of iconic products including Mies van der Rohe’s Barcelona chair and Jonathan Ive’s Powermac G4 Cube.
As a square sans Gigalypse can look smart, serious, and even futuristic. Round corners and curved sides add warmth and humor tempered by sophisticated geometry. This soft sophistication makes Gigalypse work whenever heavy display type is called for.