Reversed-stress typefaces occupy a funny little corner of the world of typeface design. While most genres have grown organically, these faces intentionally flip conventions on their head, with jarring, amusing, and sometimes even useful results.

These faces can offer more to typography than the novelty of gunslingers and swinging saloon doors. I will explore the history of the genre, take a closer look at some particularly interesting specimens, and detail the drawing challenges that arise when the thick parts get thin and the thin parts get thick.

One of the hardest parts of drawing a typeface is finding a new approach to the same old alphabet. I will demonstrate how the reversal of one little attribute is enough to open up a host of uncharted letter-drawing possibilities.