AaBbCc

Heavy Oblique

features
 
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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Every drawing can be understood as a motion study since it is a path of motion recorded by graphic means. 123

Heavy Oblique

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O du, Geliebte meiner siebenundzwanzig Sinne, ich liebe dir! -Du deiner dich dir, ich dir, du mir. -Wir?

Heavy

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Sculptuur is datgene waarover je struikelt als je een stap achteruit zet om een schilderij te bekijken.

Bold Oblique

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SHIRTS & COLLARS We celebrate a sale in Suspenders today that will appeal to men of good taste who do not object to saving £1.2bn

Bold

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

Demi Oblique

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Wanneer de pen zich langwerpig toespitst, weet iedereen dat een geestelijke bliksem haar vlammend zal ontspringen. 1800

Demi

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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

Oblique

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The Dream and its Annunciation: Filippino Lippi and Botticelli.

Regular

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Every drawing can be understood as a motion study since it is a path of motion recorded by graphic means. 123

Light Oblique

features
 
Maar indien we naar alle min of meer belangrijke tentoonstellingen zouden gaan, we zouden snel ons eigen palet aan de muur hangen.

Light

features
 
Every drawing can be understood as a motion study since it is a path of motion recorded by graphic means. 123

ExtraLight Oblique

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Wanneer de pen zich langwerpig toespitst, weet iedereen dat een geestelijke bliksem haar vlammend zal ontspringen. 1800

ExtraLight

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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

UltraLight Oblique

features
 
The Dream and its Annunciation: Filippino Lippi and Botticelli.

UltraLight

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.

Heavy Oblique

features
 
Ja, wanneer zij wil, niet wanneer jij wil. Dan, als ze glijdt, dicht ze en jij leest haar woorden en zij wekken bij jou nieuwe tekens op. En verder glijdt de pen, niet zoals jij dat wil, maar zoals zij dat vermag, verder dan jij het vermoedt, en er ontstaan ganse woordbeelden, waarvan je niet weet wie of wat ze zijn, tot een woord ontvlamt en je geest in andere regionen leidt.

Heavy

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.

Bold Oblique

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.

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
 
On peut envisager la ligne du point de vue de ses divers types, du point de vue de sa direction, de son caractère et de sa texture. Types: droite et courbe. Direction: horizontale, verticale et diagonale. Caractère: harmonieuse, molle, en zigzag, aiguë.

Demi

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

Oblique

features
 
Ja, wanneer zij wil, niet wanneer jij wil. Dan, als ze glijdt, dicht ze en jij leest haar woorden en zij wekken bij jou nieuwe tekens op. En verder glijdt de pen, niet zoals jij dat wil, maar zoals zij dat vermag, verder dan jij het vermoedt, en er ontstaan ganse woordbeelden, waarvan je niet weet wie of wat ze zijn, tot een woord ontvlamt en je geest in andere regionen leidt.

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
 
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

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.

ExtraLight Oblique

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

ExtraLight

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.

UltraLight 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

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