Only the legal profession would be so anal-retentive as to prescribe typographic rules, and only the legal profession would be so unimaginative as to set the default at Times New Roman. Here to introduce a little flair to the world of court filings, contracts, and legal memos is Matthew Butterick, who has developed Equity, a typeface “inspired by legal typography and the needs of legal writers.”Butterick is an attorney in Los Angeles. He is also a typographer, having graduated from Harvard with a degree in visual and environmental studies. After college, he worked as a digital font designer and engineer for type legends Matthew Carter and David Berlow on projects for Apple Computer, Microsoft, Ziff-Davis, and others. Last year, Butterick combined his two professional interests in Typography for Lawyers, a field guide to fonts for legal professionals. Designing a new legal typeface was the next, if not immediately obvious, step. “If you had asked me 12 months ago, I would’ve said ‘lawyers should use one of the many great text faces that already exist,’” Butterick tells Co.Design. “But earlier this year I had the ‘aha’ moment where I figured out how I could make something useful and novel.”
A word on attorneys: They read and write a lot. They are also prolific self-publishers: They design layouts and print and deliver their own work. “Often, these documents are typographically complex and have to come together on short notice,” Butterick says. What’s more, court filings have to adhere to regulations about typography, layout, and page limits. As a result, Times New Roman, a narrow, mousy little font that allows you to squeeze in more words per page than your average font, has become the industry standard. But “TNR has no special magic,” Butterick says. “In fact, there are very few situations where it’s actually required.” (The Supreme Court even forbids it.)
So Butterick designed Equity, a serif typeface, to be every bit as space-efficient as TNR, but eminently more readable--and a tad sexy. “I wanted Equity to be like a navy-blue Armani suit: a classic updated with contemporary virtues,” Butterick says.
He drew inspiration from Monotype Ehrhardt, a once-influential, early 20th-century typeface (created by Stanley Morison, the same guy behind TNR) that all but disappeared by the end of the letterpress-printing era 50 years ago. “With Equity, I’ve tried to capture the heft and authority that made Ehrhardt appealing, while cutting out many details that seemed quaint or outdated,” Butterick says. “Ehrhardt guided the shapes of the roman alphabet and some of the italics. But everything else had to be done from scratch.”
Whether lawyers can actually use the typeface in official filings depends on the rules of the court, which vary from one place to the next. “I’ve already used Equity on filings for California state appellate courts,” Butterick assures readers on his blog. He also points out that most legal documents, like letters, memos, and contracts, are free of typographic constraints.
Ultimately, the point is to give lawyers a better tool for organizing their writing. That, in turn, can help convey complex legal arcana. Despite all their fussy rules, judges are required to vet court documents according to substance, not presentation. They cannot, for instance, throw you in jail for printing something in Comic Sans (though, of course, they should). At the same time, Butterick believes, the clearer a document, the easier it’ll be for readers to follow an argument. He puts it this way: “Equity will make good legal writing easier to read, and bad legal writing easier to tolerate.”
Equity can be licensed for $120 to $480 here.