Fatype is an independent type foundry established by Anton Koovit and Yassin Baggar. Fatype distributes high quality fonts and offers its know-how for the creation of exclusive taylor-made typefaces, the design of logotypes and letterings, the customisation of existing typefaces, language extensions and the optimisation of fonts for screen rendering (hinting).

Anton and Yassin formed Fatype after collaborating on the creation of typefaces for GQ France and Google.
Born in Estonia, Anton Koovit studied graphic design in Tallinn, Paris and Amsterdam, before settling in Berlin. He has taught typography and has given regular workshops. Yassin Baggar is of Swiss and Moroccan origins; he studied graphic design in La Chaux-de-Fonds, worked for various design studios, and now lives between Berlin and Switzerland. Both graduated from the Type and Media master at the Royal Academy of Art, The Hague.

Contact: info at fatype.com

Through this shop you can license our fonts for desktop. All our typefaces are also available as webfonts, contact us for licensing. After your payment is processed, you will receive your order in OpenType format in a matter of minutes.
For any inquiry contact info[at]fatype.com

To purchase our fonts, you must acknowledge that you have read, understood and agreed to be bound by the terms of our EULA (End User License Agreement):

Yes I agree.

Please select the amount of users of the fonts:

Laplace Mono Package
Laplace Family (3 styles) 120 €
Beausite Packages
Beausite Complete Family (18 styles) 400 €
Beausite Grotesk Family (6 styles) 200 €
Beausite Slick Family (6 styles) 200 €
Beausite Grand Family (6 styles) 200 €
Baton Package
Baton Complete Family (10 styles) 350 €
U8 Package
U8 Complete Family (14 styles) 400 €
Aleksei Packages
Aleksei Complete Family (8 styles) 250 €
Adam Packages
Adam Complete Family (12 styles) 360 €
Adam Text Pack (8 styles) 250 €
Adam Cut Pack (4 styles) 130 €
Laplace Mono Individual Styles
Laplace Mono Light 50 €
Laplace Mono Regular 50 €
Laplace Mono Bold 50 €
Beausite Individual styles
Beausite Grotesk Thin 50 €
Beausite Grotesk Light 50 €
Beausite Grotesk Regular 50 €
Beausite Grotesk Medium 50 €
Beausite Grotesk Bold 50 €
Beausite Grotesk Black 50 €
Beausite Slick Thin 50 €
Beausite Slick Light 50 €
Beausite Slick Regular 50 €
Beausite Slick Medium 50 €
Beausite Slick Bold 50 €
Beausite Slick Black 50 €
Beausite Grand Thin 50 €
Beausite Grand Light 50 €
Beausite Grand Regular 50 €
Beausite Grand Medium 50 €
Beausite Grand Bold 50 €
Beausite Grand Black 50 €
Baton Individual styles
Baton Light 50 €
Baton Light Italic 50 €
Baton Regular 50 €
Baton Regular Italic 50 €
Baton Medium 50 €
Baton Medium Italic 50 €
Baton Bold 50 €
Baton Bold Italic 50 €
Baton Black 50 €
Baton Black Italic 50 €
U8 Individual styles
U8 Hairline 50 €
U8 Hairline Italic 50 €
U8 Thin 50 €
U8 Thin Italic 50 €
U8 Light 50 €
U8 Light Italic 50 €
U8 Regular 50 €
U8 Regular Italic 50 €
U8 Medium 50 €
U8 Medium Italic 50 €
U8 Bold 50 €
U8 Bold Italic 50 €
U8 Black 50 €
U8 Black Italic 50 €
Aleksei Individual styles
Aleksei Thin 50 €
Aleksei Thin Italic 50 €
Aleksei Regular 50 €
Aleksei Italic 50 €
Aleksei Bold 50 €
Aleksei Bold Italic 50 €
Aleksei Black 50 €
Aleksei Black Italic 50 €
Adam Individual Styles
Adam Thin 50 €
Adam Thin Italic 50 €
Adam Regular 50 €
Adam Italic 50 €
Adam Bold 50 €
Adam Bold Italic 50 €
Adam Black 50 €
Adam Black Italic 50 €
Adam Cut Thin 50 €
Adam Cut Thin Italic 50 €
Adam Cut Black 50 €
Adam Cut Black Italic 50 €
Total: 0 €
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End User License Agreement 1.4

Read this carefully. If you have questions or think this license is preventing you from using our fonts in the way you desire to, please get in touch with us.

This License Agreement is made between Fatype, hereinafter called the Licensor, and the buyer hereinafter called the Licensee, who is purchasing the font software, herein referred as “font”, “fonts” or “typefaces”.

1. Grant of License
The Licensee must agree to the terms and conditions of this agreement to download, install and use Fatype software. Use of the font software is strictly limited by the following conditions. Upon full payment, the Licensor grants the Licensee a non exclusive non-transferable license to operate its font. A font is a set of characters digitally encoded into Font Software as digital description of characters, metrics and other data. By accepting the License, the Licensee agrees not to decompile, modify, reformat, translate and reverse engineer Fatype fonts, or otherwise discover its source code.

2. Copyright
The Licensor retains full rights and ownership to intellectual property of the fonts both as artwork and software. The Licensee acknowledges that by buying the fonts, he is not purchasing title to it, but is granted a license to use the font. This Agreement does not grant the Licensee any intellectual property rights in the fonts. Font software or documentation may not be uploaded, copied, duplicated, rented, leased, sublicensed or lent to another person or entity. The Licensee is granted permission to make copies for backup purposes on devices that are not accessible via internet or other network systems. The Licensee will not make or encourage third parties to make derivative or modified versions of the font. Written authorisation is necessary to create any derivative design or product that is mainly based on the design of Fatype fonts. In case of doubt, contact us.

3. User(s)
Upon purchasing a license, the Licensee specifies the amount of users of the font software, according to the available single and multi-license packages. Each user can install the Font software on one (1) desktop computer and one (1) portable computer, and connect it to output devices such as desktop printers. Multi-license users must be part of the same legal person (company, organization). Users from separate legal entities must purchase separate licenses. Fatype accordingly grants the specified amount of users the right to use the fonts. For additional users, additional licenses are necessary.

4. Embedding
In order to facilitate transmission of digital files throughout the Licensee’s private computer network, the Licensee will be permitted to embed the font into digital documents which require either the duplication of the Typefaces, or their simulation with scalable or non-scalable outlines, subject to the following restrictions: (a) Embedded Documents will be circulated only internally among your workstations and for transferring files to printing houses; (b) you will secure Embedded Documents against unauthorized use by any third party, as set forth herein. This License does not allow the Licensee to include (embedding) Fatype fonts on public computers or any electronic devices such as, for example, mobile phones, applications, or electronic books. Embedding of our fonts requires a special license.

5. Webfonts & other digital reproduction
Webfont versions of fonts (woff, eot, svg) obtained directly from Fatype can be uploaded on servers in order to publish electronic documents (such as web pages) which employ the fonts. You are required to restrict access to these files through .htaccess. You will not be authorised to convert our fonts (directly or through third-party applications such as Fontsquirrel), or to use them directly in web pages. Instead, you will be permitted to distribute images in industry-standard digital formats (such as gif, jpg/jpeg, png) or embed the fonts in Flash. Contact us if you need information on this matter.

6. Warranty
Within a period of one (1) week upon purchase, fonts may be repaired or replaced. Font software may not be returned. The Licensor makes no other warranties, expressed or implied, including but not limited to warranties of merchantability and fitness for a particular purpose. The Licensor shall in no event be liable for any direct, indirect, consequential, or incidental damages, arising out of the use or inability to use the product.

7. Credits
The Licensee agrees to credit Fatype and the designer of the font and list the font name, wherever design or production credits are shown.

8. Termination
Any violation of this agreement by the Licensee shall cause this license to be terminated. In the event of termination, the Licensee must immediately remove the font and all its copies from the system and certify to the licensor that no copies remain in the Licensee’s possession or exist on the originally licensed site.

9. Jurisdiction
This agreement will be governed by the laws of Switzerland. The Licensee expressly agrees that any disputes related to this Agreement will be resolved in the courts of Neuchâtel, Switzerland. This Agreement contains the entire understanding between the parties and supersedes any prior understandings and agreements, oral or written, between the parties regarding the subject matter of this License Agreement. No amendment to this License Agreement shall be effective unless it is in writing and executed by both parties. You further acknowledge that you have read, understood and agreed to be bound by the terms of this license, and that when in the future you click on an “I agree” or other similarly worded “button” or entry field with your mouse, keystroke or other computer device, your agreement or consent will be legally binding and enforceable and the legal equivalent of your handwritten signature.

Yassin Baggar
Rue des Draizes 14
2000 Neuchâtel

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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 fatype.com
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.

Custom typeface: GQ Baton

Back in 2010, we created three uppercase custom typefaces for the redesign of GQ France: GQ Serif, GQ Slab, and GQ Baton: a narrow, half dandy half awkward looking sans serif. Planning to refresh the design of the magazine, art director Paul Chemetoff asked us to complete GQ Baton with lowercase letters, and to create italics for both Light and ExtraBold weights. Here is a look at the July issue displaying the new fonts. Baton will soon be available for licensing publicly.
(Text typeface in GQ France is Adelle by TypeTogether).

Radio interview about U8

In this interview of Anton Koovit by Radio Spätkauf (Berlin), you can hear them wander in the Berlin underground and discuss about the history of the U8 typeface and the process of its re-creation.

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