Typography was another crucial factor in the attempt to harmonize the old-timey vibe with the new. After auditioning a long list of slab serif typefaces, what I thought would be a graphic-yet-throwback look turned out rather contrived and far too Wild West. I settled on Clearface Gothic for the “Jacob Miller” portion because I liked the way it sat heavy, like a bold sans serif would, and yet had subtle, organic-looking serifs that harkened back to the early 20th century. I found Penumbra Sans to be the perfect complement to Clearface Gothic because it had all the features I was looking for in a contemporary sans serif (tall x-height, sharp corners, and large, round counters), and its weight and angularity complemented the soft, heavy quality of Clearface Gothic. By using all caps, centered alignment, and dividing rules, I was satisfied with how the type worked together as a cohesive unit and embodied the old-yet-new look that I was after.