The stroke around the tile element is unique to the display design, also present in the leg of the R and Q. Quiosco Display is no different, but this time there’s a connection to Eskinazi’s Turkish background, where the border strokes are reminiscent of Anatolian calligraphy and tiling. If you’re familiar with Highsmith’s typefaces you may already be aware of his tendency to sneak in a special ornament into the character set. Users will find a new weight distribution, small cap numerals, a European 1 (to be used as an option in Oldstyle figures) and the alt Q, which Eskinazi added as an homage to the iconic character in Dwiggins’ Electra.
In addition to the ‘harsher’ aspects of the Display cut, new glyphs and features were also added. This helped bridge the gap between Dwiggins original mindset and how his work influenced Highsmith, allowing Eskinazi to focus his interpretation of the Quiosco family independently, though the contrast between the inside and outside shapes as well as how the weight is distributed around them, remain the pillars of the family still deeply rooted in the ideas of Dwiggins. Dwiggins: a Life in Design to understand his work. With its deep connections to Electra, Eskinazi dug into the recently released W.
Designer Cem Eskinazi was encouraged by Cyrus Highsmith to approach the project with a fresh pair of eyes. Unlike the original Quiosco that was designed for text sizes with its softer touch and more organic shapes, the new Quiosco Display has a sharper feeling of materiality, as if its characters were carved in stone. The new Quiosco Display turns up the volume to catch even more attention.
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