Citywide is a sans serif family inspired by mid-1900s bus and train destination roll signs. The letterforms draw from a bus roll sign I found at a flea market years ago. I’ve probably lost myself staring at that sign everyday since, thinking about how the type system works while trying to puzzle out some of the unusual choices. Why are letters like P and R so high-waisted in their wide forms, but pretty normal when narrow? Were these boxy curves drawn by hand or mechanically produced? Why does the middle stroke of the G change so much across widths?
Citywide is an interpretation of these letterforms, drawing inspiration from both my sign and others like it. I attempted to standardize it a bit by wrangling cross strokes, corner radii, and counters, while also imposing a system for width and weight. I started on the lighter side of the weights, and then expanded out to include a much heavier range based on existing proportions and some research. I also left in a stylistic set that includes some of the high-waisted flair of my sign’s forms best seen in letters like P, R, E, and F.
It adds up to a fun pastiche — an ode to an age of sign making between the sunset of mass manual production and the dawn of digital displays. I love how it moves between fussy and informal, neighborly and gruff, simultaneously feeling like a broken in pair of jeans and a crisp sports jersey.
Destination signs like these were typically silkscreened on waterproof material with the names of a route’s stops, then mounted on long rolls of linen. Those rolls were placed in various visible spots inside and out of a vehicle to display one station name at a time for passengers. A driver could then advance the destination display, stop by stop, as the route was traveled.
My specific roll sign was made by H.K. Porter, Inc. from Pittsburgh, but there are countless variations in letterform shapes, widths, and sizing to be found in this era of signs. Even a simple web search for bus roll signs will yield a vast array of similar-but-different takes on this approach. Like they were made to be large and visible first, and polished or consistent letterforms a more distant second.
That’s the real charm I love here — each take feels just a little bit irregular and you can sometimes see the hand of the person who made it. Like it’s sign painting masquerading as templated type.
What’s includedCitywide is made up of five widths and five weights, plus italics: 50 static fonts and 1 variable font. This is in-progress, currently caps only, but I’d like to add lowercase in the future. I’ll pass along any updates for free. If you need anything specific, email me and I’ll try and help. Thanks! ❤️