AaBbCc

Heavy Oblique

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AaBbCc

Heavy

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AaBbCc

Bold Oblique

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AaBbCc

Bold

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AaBbCc

Demi Oblique

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AaBbCc

Demi

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AaBbCc

Oblique

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AaBbCc

Regular

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AaBbCc

Light Oblique

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AaBbCc

Light

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AaBbCc

ExtraLight Oblique

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AaBbCc

ExtraLight

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AaBbCc

UltraLight Oblique

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AaBbCc

UltraLight

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In the Chelléen horizon, there are no fine art remains, but in the Acheuléen

Heavy Oblique

features
 
TALL ELMS RISE HERE AND THERE. Along the margin of the valley, their leafy arms recklessly throwing 123

Heavy

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This year upon Saturday afternoons at 3 o’clock, from October 5 to November 30.

Bold Oblique

features
 
STUDY IN ASTRONOMY The principal thing in a telescope is the object-glass. It brings the rays of light to a focus, and these create an image of the object looked at. The image is in turn 2346

Bold

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BIG BULRY POLICEMEN And small sweeps at every corner, providing safe crossing 123

Demi Oblique

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WORKS OF ART The most attractive place in this House is our immense Art Department. Work of all the Master 12

Demi

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This year upon Saturday afternoons at 3 o’clock, from October 5 to November 30.

Oblique

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Found in the Somme Valley stones which very roughly resemble animals.

Regular

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Apparently archæologists and art critics have neglected these relics

Light Oblique

features
 
This year upon Saturday afternoons at 3 o’clock, from October 5 to November 30.

Light

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TALL ELMS RISE HERE AND THERE. Along the margin of the valley, their leafy arms recklessly throwing 123

ExtraLight Oblique

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The free lecture course of the Field Museum of Natural History will be held in the Art Institute

ExtraLight

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Found in the Somme Valley stones which very roughly resemble animals.

UltraLight Oblique

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IN ANOTHER MOMENT YOU ARE RIDING IN LONDON Riding through the never-ending restlessness of its streets in a cab, with your hat-box safe beside you 123

UltraLight

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Plateau Five is constructed and theoretical as Schmidt Grotesque or alfabet, whereas a serif face asks for more compromise in the variety of used forms and must eventually fail to fulfil the intended outset. When designing Futura with the intention to avoid historicism and apply his utopian vision of typography, even Renner compromised by using ancient roman ­proportions for its ­capital letters.

Heavy Oblique

features
 
Now these Batta, Easter Island and Hawaiian heads bring forward some other most interesting problems. No such heads are found in America. And why not? If their makers belong to one family, it implies either that formerly the land connections between Sumatra, Easter Island and Hawaii were

Heavy

features
 
Plateau Five aims for a combination of the two seemingly antagonistic terms of ­individual expression ­embodied by ­calligraphy and removal of ­signature by utilising rigid geometry.

Bold Oblique

features
 
Now these Batta, Easter Island and Hawaiian heads bring forward some other most interesting problems. No such heads are found in America. And why not? If their makers belong to one family, it implies either that formerly the land connections between Sumatra, Easter Island and Hawaii were

Bold

features
 
Although patterning, i. e. defining grids for letters, might have been around since textura type to provide a less laborious production process of letterpunches, the aspect of construction grew in the 18th century with the commission of a typeface by French royalty and rose to prominence between the two world wars with ideas by a. o. Theo Van Doesburg of De Stijl or Herbert Bayer of the Bauhaus.

Demi Oblique

features
 
Plateau Five aims for a combination of the two seemingly antagonistic terms of ­individual expression ­embodied by ­calligraphy and removal of ­signature by utilising rigid geometry.

Demi

features
 
Although patterning, i. e. defining grids for letters, might have been around since textura type to provide a less laborious production process of letterpunches, the aspect of construction grew in the 18th century with the commission of a typeface by French royalty and rose to prominence between the two world wars with ideas by a. o. Theo Van Doesburg of De Stijl or Herbert Bayer of the Bauhaus.

Oblique

features
 
Plateau Five leaves its ­guiding ­principle behind for letters like the f, r or t, to account for readability and the ­preservation of a text face. For comparison, letters of optically equal width3 in Plateau Five, figure 1, are shown next to letters of classical text typefaces from the renaissance to today, like the Garamond, figure 2.

Regular

features
 
Plateau Five is constructed and theoretical as Schmidt Grotesque or alfabet, whereas a serif face asks for more compromise in the variety of used forms and must eventually fail to fulfil the intended outset. When designing Futura with the intention to avoid historicism and apply his utopian vision of typography, even Renner compromised by using ancient roman ­proportions for its ­capital letters.

Light Oblique

features
 
Now these Batta, Easter Island and Hawaiian heads bring forward some other most interesting problems. No such heads are found in America. And why not? If their makers belong to one family, it implies either that formerly the land connections between Sumatra, Easter Island and Hawaii were

Light

features
 
Although patterning, i. e. defining grids for letters, might have been around since textura type to provide a less laborious production process of letterpunches, the aspect of construction grew in the 18th century with the commission of a typeface by French royalty and rose to prominence between the two world wars with ideas by a. o. Theo Van Doesburg of De Stijl or Herbert Bayer of the Bauhaus.

ExtraLight Oblique

features
 
Although patterning, i. e. defining grids for letters, might have been around since textura type to provide a less laborious production process of letterpunches, the aspect of construction grew in the 18th century with the commission of a typeface by French royalty and rose to prominence between the two world wars with ideas by a. o. Theo Van Doesburg of De Stijl or Herbert Bayer of the Bauhaus.

ExtraLight

features
 
Plateau Five leaves its ­guiding ­principle behind for letters like the f, r or t, to account for readability and the ­preservation of a text face. For comparison, letters of optically equal width3 in Plateau Five, figure 1, are shown next to letters of classical text typefaces from the renaissance to today, like the Garamond, figure 2.

UltraLight Oblique

features
 
Plateau Five aims for a combination of the two seemingly antagonistic terms of ­individual expression ­embodied by ­calligraphy and removal of ­signature by utilising rigid geometry.

UltraLight

features
 
AÁĂÂÄÀĀĄÅÃÆBCĆČÇĊDÐĎĐEÉĚÊËĖÈĒĘFGĞĢĠHĦIÍÎÏİÌĪĮJKĶLĹĽĻŁMNŃŇŅŊÑOÓÔÖÒŐŌØÕŒPÞQRŔŘŖSŚŠŞȘTŦŤŢȚUÚÛÜÙŰŪŲŮVWẂŴẄẀXYÝŶŸỲZŹŽŻ aáăâäàāąåãæbcćčçċdðďđeéěêëėèēęfgğģġhħiıíîïìīįjkķlĺľļłmnńňņŋñoóôöòőōøõœpþqrŕřŗsśšşșßtŧťţțuúûüùűūųůvwẃŵẅẁxyýŷÿỳzźžż ªº0123456789 ¹²³.,:;…!¡?¿·•*#//\(){}[]-–—_‚„“”‘’«»‹›"'€¢¤$£¥+−×÷=≠><≥≤±≈~^%‰@&¶§©®™°|†‡¨˙`´˝ˆˇ˘˚˜¯¸˛

UltraLight

features
Rhizome

Rhizome is a display typeface for editorial as well as setting passages of text. It combines a glimpse into the past and what was considered as visionary in typography in the beginning of the 20th century. A geometric construction is juxtaposed with classical proportions, letterforms from serif typefaces and details that seem to be shaped by a wedge.

Release 2017
Weights UltraLight, UltraLight Oblique, ExtraLight, ExtraLight Oblique, Light, Light Oblique, Regular, Oblique, Demi, Demi Oblique, Bold, Bold Oblique
Format OpenType
Version 1.641
Language
Support
See specimen