Barlow is a slightly rounded, low-contrast, grotesk font superfamily designed by Jeremy Tribby. The typeface draws from the visual style of the California public, sharing qualities with the state's car plates, highway signs, busses, and trains. Barlow is free, open source software.
In my opinion, I am often rich as Crœsus, not in money, but (though it doesn't happen every day) rich, because I have found in my work something to which I can devote myself heart and soul, and which gives inspiration and significance to life.
Of course my moods vary, but there is an average of serenity. I have a sure faith in art, a sure confidence that it is a powerful stream, which hears a man to harbour, though he himself must do his bit too; and at all events I think it such a great blessing, when a man has found his work, that I cannot count myself among the unfortunate. I mean, I may be in certain relatively great difficulties, and there may be gloomy days in my life, but I shouldn't want to be counted among the unfortunate nor would it be correct.
You write in your letter something which I sometimes feel also: “Sometimes I do not know how I shall pull through.”
Look here, I often feel the same in more than one respect, not only in financial things, but in art itself, and in life in general. But do you think that something exceptional? Don't you think every man with a little pluck and energy has those moments?
Moments of melancholy, of distress, of anguish, I think we all have them, more or less, and it is a condition of every conscious human life. It seems that some people have no self-consciousness. But those who have it, they may sometimes be in distress, but for all that they are not unhappy, nor is it something exceptional that happens to them.
And sometimes there comes relief, sometimes there comes new inner energy, and one rises up from it, till at last, some day, one perhaps doesn't rise up any more, que soit, but that is nothing extraordinary, and I repeat, such is the common human fate, in my opinion.
A few years ago I worked at the Electronic Frontier Foundation, where I quickly bonded with art director Hugh D'Andrade over our shared affinity for fonts derived from the DIN Engschrift grid, and we agreed there wasn't a good open source option. Somewhere along the line I got a good photo of the original Engschrift grid from designer Paulo Silva and started to draw out some ideas. Over the next few months I helped to host a Crafting Type workshop with instructors Dave Crossland and Thomas Phinney, and then another, along with my colleague Soraya Okuda. Dave and Thomas were excited about variable fonts and I began to form ideas about Barlow with the new font technology in mind.
The font was named after EFF co-founder, activist, songwriter, and cattle rancher John Perry Barlow, in tribute to his lasting impact on the information superhighway. Even in tribute, I didn't want to name the font after someone who didn't like the way it looked. I asked a lawyer who asked a designer who asked a squire about Barlow, and eventually I met with the man himself while John Gilmore happened to be around. Gilmore and Barlow debated the techno dystopia and utopia as it can play out in the world of licensing, web fonts, content distribution, and life. It was a conversation I am grateful to have been a part of, and it inspired me to incorporate more aspects of the California landscape into the design. Our BART train system, for example, incorporates a very round Basel-school typeface in its public signage, possibly Helvetica -- and this is reflected especially at Barlow's heavier weights. Clearview, Highway Gothic, DIN, the street signs, the car plates: you can see their many subtle faces in Barlow's different weights and widths.
Barlow is free software, released under the SIL Open Font License. Please donate to the John Perry Barlow Wellness Trust, and if you find the fonts useful and you'd like to throw a zillionth of a bitcoin my way, the address is:
Tribby Type Co.