We kept the straight-line serifs at the bottom of the letters. For the top, however, we opted for triangular serifs. This further disrupts the linear effect of an old-school Didot. Some letters like ‘f’ were adjusted for greater readability. Simon and Régis asked for an italic, too, so we drew it. The outcome is a hybrid Didot-styled italic.

As a typeface for text, one might expect that TheW NYC featured a ‘g’ with a more conventional weight distribution. We preferred to maintain the unique placement of the black as seen in the monospaced style, though. Once this design decision was made, this maverick ‘g’ allowed us to apply a similar treatment to the figures ‘3’ and ‘5’, among other glyphs. Some letters in TheW were shaped solely by playfully pursuing a certain black value. This playfulness was integrated into the design logic of the typeface.