Kentledge is a grotesque sans type family based on geometric forms that have been optically corrected for better legibility. The family includes extended language support (over 200 languages), alternates, ligatures and more. It is best suited for graphic design and any display / text use.
Freehouse is a reinterpretation of the well-remembered Watney’s logo, a brewery and pub chain infamous for its poor quality beer and brutalist decor. In Design Research Unit’s corporate guidelines from 1966 the font is described as Clarendon Bold Expanded — however, this is not the case. Clarendon has square serifs, whereas the Watney’s font is rounder and friendlier. A fixture of the Britsh high street landscape for decades, this digitisation adds a full international character set, numbers, punctuation and many other characters that did not exist in the original. A distressed version that evokes rough print on a wet beermat has also been developed.
Casat Cap is a all-caps brush family.
The typeface is an original creation by Måns Grebäck, built during 2017.
Its five weight has been carefully designed and gives great variation to the font family:
Casat Cap Thin, Casat Cap Light, Casat Cap Med, Casat Cap Bold and Casat Cap Fat.
With its hundreds of glyphs, Casat Cap supports a very wide range of languages.
My font takes inspiration from repeating firearms of the mid to late 18th century, their sleek and elegant appearance that contrasts with their rigidity and simplicity is what I attempted to implement within the font itself.
I imagined the font being used for logos, titles, and other forms of large text as the font looks best when it’s finer details can be made out.
Fieldwork brings back the manual tradition of typography production, veering away from lab interpolations. Each of its 24 variants was drawn based on optical evaluation; many of its curves and details were specifically adjusted for each weight, reformulating them to better suit the requirements of the distinct stroke weighs.
It is the product of a collaborative effort by the TipoType team, combining their personal strengths and “most importantly” their enriching individual outlooks to achieve a more versatile and fresh outcome. Its shapes successfully combine geometric strokes (in the Geo variants) with the humanistic warmth of the double-storey glyphs (like a and g in the Hum variant) in a system that grows with alternates, swashes and the corresponding italics for every weight.
It includes a very thorough coverage for a wide variety of Latin alphabet-based language families.
Special thanks to:
- José “Pollo” Perdomo: Font production assistent.
- Rasmus Jappe Kristiansen: Detroit City project