MISS WHITE’S STORY
The story, as Miss White told it, was not unusual in that part of the city, but to John Dean there was every element of newness in it.
He listened without interruption as the story unfolded itself.
Mrs. Marsh, Ted’s mother, had had a hard time of it. Bill Marsh had married her eighteen years ago. Bill was a good mechanic, but after about six years of happiness things began to go wrong. He lost his position and at that time work was not easy to get. Day after day he had searched for something to do. Discouraged, he had taken to drink. Then there was a day when Bill did not return. In all these years Mrs. Marsh had never heard of him. She felt he was dead, yet even that she did not know.
It was a hard struggle afterward. Sewing and washing, early and late, and many a day she went hungry, so that the two children could eat. The mother often spoke of how Ted, when eight years old, had gone out one afternoon and had not returned until seven o’clock. Without a word he had put fifteen cents on the table and then had turned to eat. He showed by the way he ate how hungry he was. After the meal was over, he explained how he had made up his mind to support the family, and so he had bought some papers; the fifteen cents was profit. His capital, also some extra pennies, was intact, so that he could buy more papers.
Designing typefaces is always an attempt to answer the question of how the form of a letter can carry meaning. In the case of the Hasior typeface, the inspiration comes not only from the observation of typography itself, but also from a deeper visual and cultural experience rooted in the aesthetics of Podhale and Zakopane. This is a space where the rawness of nature, the sharpness of rocky edges, and a unique artistic language meet—shaped by creators such as Władysław Hasior, Antoni Rząsa, Władysław Skoczylas and Stanisław Witkiewicz. Each of them interpreted the mountain landscape and folk tradition in a different way, yet all shared a boldness of form and the ability to translate a local idiom into a universal artistic language. The Hasior typeface was created as a response to the need to capture this spirit – sharp, dynamic, full of contrasts, and at the same time deeply rooted in tradition. It is a typeface ideal for posters, large-scale headlines, and visual identities that aim to create an immediate impression of strength, character, and expression. The project was creatively directed by Mateusz Machalski, with contributions from Weronika Kanigowska and Małgorzata Bartosik.