Nix looked to push it even further, taking cues from Noguchi’s sculpture, revealing form by carefully subtracting from a solid mass. Some inspiration for the darker weights came from the work of Walbaum’s son, Theodor, who pushed his father’s modern style far more into the arena of the corpulent. But given the time, the tools, and the array of type uses of today, what would Justus have made? Nix's display designs dramatically expand the scope, preserving the fluid transition from small to large, but adding a striking array of thin to black weights. Justus Walbaum’s original display sizes were relatively limited.

They split the work into three parts: Crossgrove taking on the workhorse text weights Nix tackling the dramatic display range and Monotype designer Juan Villanueva developing the rich trove of ornaments found in Walbaum’s original specimens. With the mantra “What Would Justus Do?” always in mind, they set out to expand and update the family for today's varied print and digital environments. Two centuries later, Monotype designers, Carl Crossgrove and Charles Nix discovered their mutual admiration for Walbaum and set out to give it the contemporary facelift it deserved.

The calamity of the Napoleonic Wars and the tragic death of Walbaum's son and typefounding heir, Theodor, combined to remove his faces from any widespread use for nearly one hundred years. Originally designed in Germany in the early 1800s, Justus Erich Walbaum’s modern typefaces never garnered the audience or acclaim they deserved. From massive billboards, to micro-type on e-readers, this family has it covered. There isn't a place where Walbaum can’t work. A careful restoration of 200-year-old typeface Walbaum, this modern serif blends charm and warmth together – offering a range of impressively sculpted display forms, and hard-working text weights.

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