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AaBbCc

Regular

A A
 

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AaBbCc

Oblique

A A
 

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AaBbCc

Demi

A A
 

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AaBbCc

Demi Oblique

A A
 

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AaBbCc

Bold

A A
 

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AaBbCc

Bold Oblique

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The Spirit and the Flesh; Fra Angelico and Fra Lippo Lippi.

Regular

A A
 

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The Dream and its Annunciation : Filippino Lippi and Botticelli.

Oblique

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Which may easily date from 150,000 to 100,000 B. C., or even further back, the great Boucher de Perthes

Demi

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The Dream and its Annunciation : Filippino Lippi and Botticelli.

Demi Oblique

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

Bold

A A
 

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The Dream and its Annunciation : Filippino Lippi and Botticelli.

Bold Oblique

A A
 

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PROUST is an art director and type designer based in Tokyo and specializing in Madeleines. MARCEL studios. ­Follow link in bio.

Regular

A A
 

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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.

Oblique

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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

Demi

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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

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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.

Bold

A A
 

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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.

Bold Oblique

A A
 

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Regular

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, 2020
Weights Regular, Oblique, Demi, Demi Oblique, Bold, Bold Oblique
Format OpenType
Version 1.200
Language
Support
Basic Latin, Latin-Extended