Beausite Italics

We are very happy to announce the release of italics for the Beausite family.


Beausite is a sans serif typeface that applies contrast on a swiss grotesque skeleton. The design takes inspiration from classic sans serifs such as Univers and Helvetica, but also from high contrast sans serifs in fashion in the early 20th century, such as Peignot, designed in 1937 by the famous french poster designer A.M. Cassandre for Deberny & Peignot. Beausite brings novelty in the modernist grotesque genre in that it implements the programmatic systems of sans serifs such as Univers on a different factor: contrast. With 3 different levels, Beausite works from big display to text sizes.




Following the norm of swiss grotesques, the 18 new italic styles are carefully corrected slanted italics. A variety of alternates shapes and stylistic sets make Beausite multifaceted. With 36 styles, an extended coverage for latin languages, and plenty of OpenType features such as old style and tabular figures, fractions and superior lowercases, the family is ready for advanced typographical challenges.



Additionally, we are now offering trial fonts for Beausite Classic, a geometrical and modern looking interpretation of the grotesk archetype, that will be released later this year. Beausite Classic continues the family’s exploration of contrast and extends its typographical possibilites. Work is quite advanced, and an early version can already be purchased upon request.

See more of Beausite here:
And download our free trials including Beausite Classic

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New website

We are incredibly happy to introduce our new website. A new design, a better way to present our typefaces, but most importantly, webfonts are finally available directly on! You can now see a proper overview of the styles in a typeface family, side by side, as well as each style in detail on its own page. A type tester is also available on the styles’ page to test your own words. Of course, our free trial packages are still available, so you can continue to test our fonts directly in your designs.


This has been a long time in the making. Our previous website was released in September of 2012. At that time, we were considering it a temporary solution, a sort-of “teaser” for our real, upcoming, website. It was very limited: only one page, with various “pop-up” windows for additional information, previews and webshop, and of course absolutely unresponsive. But more than that, the launch of Fatype coincided with the larger adoption of webfonts, especially through the creation of the WOFF font format. Our webshop was not ready for that, it could only handle one format per font, the standard desktop OTF. That temporary solution lasted for over 3 years, and still, we received nothing but positive feedback. For that, we are very grateful.

A new Licensing System

This website was also the occasion to reflect and rethink our licensing system. Since we started Fatype, the shift towards digital media has been very important. At the same time, print continues to flourish. We observe that these mediums are more and more integrated in a fluid way, designers having to design for both print and web more often than not. Webfonts have been part of that evolution, but they also made font licensing more complicated. Various companies have developped different offers for the web. A few big companies offer annual plans for accessing giant libraries of fonts hosted on their servers. We believe these kind of offers are unfair to designers spending a lot of time designing quality typefaces. On the other hand, most independent foundries sell their web fonts for self-hosting, based on the amount of monthly visitors. Until now, so did we.

But we think there is a better way, simple and fair for both font users and font makers. We have decided to stop separating desktop and web font licensing. Instead, we offer them together in one package: a Desktop+Web license that includes 1 website.
Additionaly, our webfonts are offered with unlimited web traffic. The price is based only on the traffic at the moment the fonts are installed on the server. We call that Initial Web Traffic. Once installed, traffic is unlimited, and there is no need to worry about it anymore.
We think our solution provides great advantages:

This website wouldn’t be here without the massive efforts and patience of Battalion and Andreas Böhrnsen, who took care of the programming. We also have to mention Adrien Benoit, who worked on initial sketches for a new design back in 2012, as well as Selina Bernet who provided some insightful ideas more recently. A big thank you to all of them.

We hope you enjoy our website and our new licensing system. Don’t hesitate to send us your feedback, or to contact us if you have any questions.

New Typeface: Laplace Mono


A monospaced typeface inspired by the Age of Reason, and german metal typefounding.

What if an 18th century mathematician would have possessed an Amiga computer? Such a gadget would have required a very specific typeface. Let’s imagine how its letter shapes would look like:
It would surely follow classical shapes, probably with dominating vertical stress. Capitals would strive towards the divine width-to-height ratio rectangles.
It would incorporate evenly spaced numerals. Due to the simplicity of the machine, it could only be a monospaced font (just one letter-width).
Thanks to refined metal techniques, thin strokes would be very fine. Italics would be created with the aid of the most recent mathematical innovations, such as Pierre-Simon Laplace’s Z-transform. Spacing and typesetting would be close to celestial mechanics. The curves would be Fibonacci spirals. Kerning values would be equal to 0.
Holy moly, such a machine would inspire unlike any other! Yes, with Laplace Mono and an Amiga at hand, publishing a thesis would be a breeze for the mathematician.

Our latest release showcases Anton Koovit’s unique perspective on type design. At the end of the 18th century, and the beginning of the 19th century, modern Didone typefaces from Bodoni and Didot began to spread through Europe. In Germany, Justus Eric Walbaum gave his name to a livelier and more organic design that remains considered as the german equivalent to Didot. Even earlier than him, Johann Carl Ludwig Prillwitz cut a little known typeface in a similar style.
Inspired by the ideas and technical advancements of the 18th century, and these modern german typefaces, Anton Koovit set out to challenge the Didone genre with a monospaced design full of inventive details. Laplace Mono brings the warmth of metal typefaces with the modern and detailed shaping of digital curves in a truly singular design. Laplace Mono comes in 3 weights. All the styles share the same exact letter-width, allowing interesting design combinations.

For a full overview of Laplace, have a look at our PDF specimen.



Balenciaga custom typeface

MBAL Custom typeface

Beausite in use

Our friend Vanja Golubovic designed this editorial for OE Magazine, making an early use of the various styles of Beausite. We think the high contrast of Beausite fits perfectly with the strong contrast in the photography. We hope you like it too.

New typeface: Beausite

Beausite overview

Beausite started in 2008 with the idea to create an elegant high contrast display typeface. The first version was a condensed light cut. Over the years, the concept and design slowly evolved. To a certain extent, the design echoes Peignot – a successful typeface designed by the famous french graphic artist Cassandre and released by Deberny & Peignot in 1937 – or Hermann Zapf’s Optima. For a while, the project was also inspired by the idea of a “Didot Sans”, a concept that has been explored repeatedly, producing most often than not questionable results.
But in the end, the motivation for Beausite became less about designing a stylish decorative design and more about applying contrast onto a neo-grotesk skeleton. Sans serifs such as Univers established the principle of programmed, consistent typeface families with a wide range of weights and widths. But contrast has been left out of the range of this program almost consistently, relegated to humanist or calligraphic designs. In recent years, this has been accentuated by a trend of sans-serifs where contrast is reduced to a strict minimum. Beausite is an alternative in the category of Grotesks, that relives the 20s to 40s trend for high contrast sans in a contemporary fashion.

Beausite comes in three levels of contrast and six weights. Beausite Grand is clearly intended for headlines and big sizes, Beausite Slick works well for smaller headlines and leads, while Beausite Grotesk functions equally in text and display.
The typeface comes with a full character set for west and east european languages, and a number of OpenType features such as stylistic alternates, ligatures, smaller figures for text, tabular figures and fractions. For a full overview, have a look at our PDF specimen.


Beausite-12-GrandBeausite-08-SlickBeausite-02-GroteskBeausite-15-Grand_AlternatesBeausite-13-Grand-ThinBeausite-14-Grand-MediumBeausite-09-Slick-LightBeausite-10-Slick-RegularBeausite-11-Slick-Black Beausite-03-Grotesk-Light Beausite-04-Grotesk-Regular Beausite-05-Grotesk-Medium Beausite-06-Grotesk-Bold Beausite-07-Grotesk-Black


U8 Italics

We are glad to release the italic styles of U8. The family now consists of 14 members. As usual, you can obtain the U8 Trial fonts from our website.
Webfonts are also available, contact us for licensing.

U8 is a geometric sans serif, with 14 styles, designed by Anton Koovit. Anton started U8 as a research project about the Berlin subway system signage and particularly the U8 line that connects the northern borough of Reinickendorf with Neukölln in the south of the city, through the Alexanderplatz junction. His goals were to restore a piece of history, research a link between the DIN and Bauhaus, and translate the lettering of individual handcrafted station signage into a formal typeface. Apart from the regular weight’s upper and lower case, glyphs such as numbers, and other weights, had to be created by the designer, allowing for his contemporary interpretation. The result is an early modernist typeface, with wider proportions than most common geometric sans, a strong character, and a clean design. Initially intended for display purposes, U8 has proven to work well in text sizes. The typeface comes with a full character set for western and eastern european languages, and a number of OpenType features such as ligatures, smaller figures for text, tabular figures and fractions.

Preview: Balenciaga custom

A preview of the custom typeface we designed for Balenciaga’s new identity.
Just the beginning of the video, uppercase under the logotype. More infos and samples coming soon.

Art direction: Julien Gallico

New typeface: Baton

Baton is a sans serif typeface with narrow proportions combining eccentric shapes inspired by french vernacular typography with the simplicity of modern sans serifs. Peculiar details and a low contrast make the design slightly strange yet elegant, but it is the exaggerated high and low midline in the uppercase and the small x-height which give Baton its distinctive flair. Relatively wider and more toned down, the lowercase allow Baton to function not only as a display typeface, but also for short texts such as leads in magazine.
Baton comes in 10 styles with an extended language support and a wide range of OpenType features such as ligatures, alternate letters, tabular and lowercase figures, fractions, and a stylistic set of uppercase with thin accents for headlines with tight leading.
Designed by Yassin Baggar and Anton Koovit. Originally commissioned by Yorgo Tloupas and Paul Chemetoff for the redesign of GQ France magazine.

Baton is available exclusively at
Get the free trial fonts from our homepage (Try button) and test the typeface directly in your design.


Check our previous blog post for a more in-depth look at Baton in use for GQ France.

© 2016 Fatype, Yassin Baggar and Anton Koovit