Univers : typographie

Rector is a type system consisting of four display styles and twelve serif styles, both intended for use at 16 points or more. The Serif styles feature high-contrast letterforms with sharp serifs, while the Display styles play with the idea of outlines and inlines, but in an unexpected way. The letterforms are proportioned and have some details that could be called traditional, but they are drawn in a way that reveals their digital and contemporary upbringing.

Flecha is a sharp and streamlined old-style typeface made for editorial design. On the whole, Flecha has a sturdy and mechanized appearance with its rigid letterforms, square terminals, and geometrically simplified strokes. Nevertheless, Flecha still manages to be delicate and reminiscent of the broad nib pen.

Alaric Garnier’s Kessler achieves a contemporary take on inscriptional serifs. Quirks meet pleasantries throughout the character set while delivering highly readable, optimistic text settings. Classicism comes through in the forms of the lowercase a and g, and tradition is upheld in its slightly more condensed italic. But Kessler is never dull; it takes liberties with every r and sparkles across the page. There is plenty of personality in Kessler Display, and its text is substantive. For a fine serif typeface, it is remarkably sturdy, with a rich typographic color that encourages reading. Its italic swoops through like an Austen plot—smooth and assuming, with charming character.

Y is an OpenType Variable Display typeface, based on Higher Order Interpolation. The typeface consists of three flexible strokes, which can make any letter, from A to Z.

Schijn encompasses the entire process of a faceted gemstone, from being mined to being cut and finally sold to a buyer. The letterforms and dingbats reveal the chasm between exertion and extravagance, creating a layer of storytelling that makes Schijn more than just a shiny bauble. Alternate characters, small capitals, old-style numerals, and wide language support push Schijn beyond being just a display typeface, while the variable and color-font versions make use of all the possibilities that modern font technology has to offer.

29LT Zarid Display is bold by nature and extreme in character. Zarid Display is the valiant version of Zarid Text. The neo-Naskh glyphs of Zarid Text transform into amalgams inspired by both the Thuluth and the Naskh calligraphic styles. Thuluth is considered as the elegant style in classical Arabic calligraphy that was crafted for important writings. Naskh is, however, known as the common style designed for standard copy text. The design decision adopted to blend these two realms gives the typeface a unique characteristic and makes it offer a new Arabic typographic hierarchy option.

FF Neuwelt is an optimistic transatlantic sans serif that combines elements from the 1910s to the 1970s. Its skeletons trace German elementary type by Renner, Erbar, and Koch. Its stroke endings are derived from English proto-humanist models by Johnston, Curwen, and Gill. Its horizontal rhythm echoes continental grotesques by Frutiger, Excoffon, and Novarese. Finally, its generous x-height is fashioned after American phototype-era releases by Caruso, Lubalin, and Benguiat. FF Neuwelt is spaced for display and medium sizes; FF Neuwelt Text is customized for text sizes. The family comes with a wide range of alternate characters and four sets of numerals.

PF Marlet is a set of typographic elements based on a minimal and simplistic approach to elegance. Inspiration came from the Roaring Twenties and Thirties, decades that embraced women’s independence both socially and politically. Taking intricate hints from the era while maintaining approachability, this humanist typeface evolved with modulated strokes that express the modernity of the current fashion industry, breaking away from the monotone sans serif. With contrast progressing from low (Text) through medium (Display) to high (Finesse), with differentiated letter widths (Titling), extravagant letterforms (Swash), and many eclectic patterns (Motifs), Marlet is a comprehensive type system in various weights that support Latin, Greek, and Cyrillic.

Inspired by the calligraphic root, Prelude is a family intended for display sizes that recognizes this origin and brings it into the present.

Laima is the brush-formed stencil from Bogidar Mascareñas. Stencils are often restrictive and industrial, not expressive and flourished. Made by calligraphy instead of a machine, Laima’s twelve styles use the junctures of calligraphic strokes as an opportunity to achieve an uncommon stencil effect, shifting to create unexpected shapes and disconnected overlaps. Laima includes flourishes and alternates for liveliness and variety in individual or branded work—automatically activated swashes based on context, a full range of diacritics, two styles of numerals, and stylistic sets for final forms make Laima ready for brands, letterpress business cards, drop caps, and gourmet labels.