A A
 

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AaBbCc

Bold Oblique

A A
 

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AaBbCc

Bold

A A
 

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AaBbCc

Demi Oblique

A A
 

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AaBbCc

Demi

A A
 

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AaBbCc

Oblique

A A
 

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AaBbCc

Regular

A A
 

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AaBbCc

Light Oblique

A A
 

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AaBbCc

Light

A A
 

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AaBbCc

ExtraLight Oblique

A A
 

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AaBbCc

ExtraLight

A A
 

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AaBbCc

UltraLight Oblique

A A
 

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AaBbCc

UltraLight

A A
 

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

Bold Oblique

A A
 

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

Bold

A A
 

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

Demi Oblique

A A
 

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

Demi

A A
 

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

Oblique

A A
 

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The Dream and its Annunciation: Filippino Lippi and Botticelli.

Regular

A A
 

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

Light Oblique

A A
 

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

Light

A A
 

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Orchestral Concert, by members of the Chicago Orchestra.

ExtraLight Oblique

A A
 

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The Dream and its Annunciation: Filippino Lippi and Botticelli.

ExtraLight

A A
 

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

UltraLight Oblique

A A
 

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

UltraLight

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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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

A A
 

><

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.

Demi Oblique

A A
 

><

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

A A
 

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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.

Oblique

A A
 

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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.

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.

Light Oblique

A A
 

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His interactive works have been ­exhibited ­worldwide at the Pompidou Center, Ars ­Electronica, ICC Museum, ­DeCordova Museum, Boston Museum of Science, and at MIT.

Light

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.

ExtraLight Oblique

A A
 

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The painting of Holland and the painting of Italy resemble each other much more closely than the painting of Japan resembles the painting

ExtraLight

A A
 

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The painting of Holland and the painting of Italy resemble each other much more closely than the painting of Japan resembles the painting

UltraLight Oblique

A A
 

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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.

UltraLight

A A
 

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UltraLight

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, 2020–2022
Weights UltraLight, UltraLight Oblique, ExtraLight, ExtraLight Oblique, Light, Light Oblique, Regular, Oblique, Demi, Demi Oblique, Bold, Bold Oblique
Format OpenType
Version 1.451
Language
Support
Basic Latin, Latin-Extended