After Gulliver and the anwb type, for both of which my hands had been
more or less tied, I felt a need to strike out in a different direction
— not to go down such an extreme path as with Decoder, but to do
something with a little more freedom. Both Gulliver and the anwb type
are highly specialised types with clearly defined functions. In Paradox
almost my sole ambition was to design a beautiful typeface, something
elegant. This was a revival of a very old project of mine, dating back
to 1975: a new book face, then called Diderot, with influences from the
end of the eighteenth century, particularly the work of François-Ambroise
Didot and Pierre-Louis Vafflard.* Despite its historical background this
was still a modern type, and despite the freedom of its approach it can
still be used like any other, so Paradox seemed to me an appropriate name.
The type is sold by the Dutch Type Library.
* Unger, G., ‘The Types of François_Ambroise
Didot and Pierre_Louis Vafflard. A further investigation into the origins
of the Didones’, in Quaerendo vol. 31, No. 3, Leiden 2001