Erik Spiekermann

But most people do not design numbers because numbers are hard. As you can see on the street, most numbers are standardized. They tend to be very generic because people are scared of numbers; redesigning numbers is like redesigning the Latin alphabet. The way we write our numbers comes from Arabic, although they’ve been abstracted. The three used to slant down, like a 2 or something. You see this angle in Arabic, with the stresses on the bottom. Our normal numbers – real, legible numbers – are a little bit clunky, because they’re tall but narrow. They have weird diagonals. It’s a nightmare. There’s this one line going across this space. That’s why we cross our 7 in Germany, and also why we have the upstroke and downstroke, like on the 1.

And you very often see this thing, sort of a little serif, on the front of a 7. It comes from the fact that you may need to distinguish the seven from the 1. I just did the typeface for the European freeways, and all the tests are basically the same: Are those 1s? People think they’re Ls or whatever. You don’t know. It could be a stroke. It could be an L, an I. They need the upstroke. I personally like the little serif because it just makes it a little wider. It gives it a little more recognition. The funnier thing is that the 3s and 5s often get confused. If you look quickly, sometimes you reverse the image, because our brain flips the image from our eyes, but sometimes it doesn’t turn it back. That’s why when you see people scribble on walls, they graffiti the N backwards. It’s more instinctual, it’s the obvious movement. Otherwise, you stop there, and then you have to go – “Hold it! Put the can back up, and go back up now.” It’s like the boustrophedon, or the typewriter carriage, you don’t want to return on empty. This way is quicker.

In the end, my favorite number of all is the 2 in Akzidenz Grotesk Light. It looks like a swan that has a big neck. It doesn’t come back. American 2s always curve back. That one just has this big neck that ends short. Maybe the swan is a childish association, but to me it has this majestic “don’t touch me; leave me alone” quality, but still elegant. Swans aren’t cuddly. They’re bitches. But that’s what I like about the 2. It’s different. And it’s very difficult to do because you have this big white space, then it gets very black down there. You get some light into the top. It’s really a bitch, a total bitch to get that curve right so that it doesn’t fall over, so that it doesn’t sit on its ass. Designing a 2 or any number is always really difficult.

But maybe that’s why I like them so much."