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Retail typefaces

#fatypeflux, UCity & Baton Turbo Cyrillic

#fatypeflux

We are excited to announce our new type developement approach. Up until now, we have released our fonts after years of behind-the-scenes work. With #fatypeflux, we are changing things up for a more fluid and direct way. We will release single styles and smaller families more often while involving designers in the process. This will allow us to be more playful. We plan on releasing updated and modified version of these typefaces, based on feedback from you. We really believe the best way to create new fonts is to do it with you.
Therefore, we would love to hear your opinions. We have set up an email address especially for you to send feedback, don’t hesitate to use it: [email protected]

We will offer discounts on future releases to designers who have worked with fatypeflux fonts and send us feedback and images of the work they’ve done with them.
Additionally, if you are working on a project and are interested to adapt our typefaces for your work, let us know, we would love to collaborate more with designers in the coming years.

UCity

Our first #fatypeflux release takes the shape of a new take at a typeface from our library.
When he arrived in Berlin, Anton Koovit was fascinated by the signs of the U8 underground line. Geometric designs with charming qualities found in early modernism. Each sign in the different stations offered a different look at a geometric design with the charming qualities of early modernism. The shapes were various and inconsistent, depending on the station, the material it was applied on, and the different craftsmen who had done the work over the years. Through an intense research and design process, drawing definitive outlines, imagining glyphs and weights that didn’t exist, he produced our typeface U8. 10 years later, Anton revisits U8 and imagines a typeface for the city of today. In UCity, geometry is still the underlying framework, but it applies very differently, in a design that feels colder and more graphic, with modern proportions and closed counter shapes. Sharp angles and breaks in curves, as well as modular-looking elements give UCity a look that seems fitting for our times.

Visit fatypeflux.com and check UCity out.

Baton Turbo Cyrillic

Finally, we are also happy to announce that Baton Turbo now supports cyrillic. All 10 styles (roman and italic) have been upgraded. The cyrillics are not separate, but included in the normal version for the same price. If you have purchased Baton Turbo recently, Cyrillic was already included. If your version doesn’t have Cyrillic and you wish to receive the newest one, send us an email with your license, and we’ll send it for free.

Some of our other typefaces also have Cyrillic available upon request. Let us know if you are interested. We are planning to add Cyrillic support to other typefaces in our library in the near future.

New typeface: Beausite Classic

Beausite is a typeface that applies contrast on a neogrotesque skeleton. The initial release offered 3 levels of contrast: Grand, Slick and Fit. It soon became evident that the family needed a version without contrast, to complete the system and create an interesting tool for designers working today.
Revisiting the neogrotesque archetype, Beausite Classic does not attempt to be revolutionary. But we wanted to do more than simply creating another modernist sans serif. We spent more than two and a half years developing and improving the shapes in orders to create a design that feels both contemporary, with its geometric touches, and long lasting.
Additionally, Beausite Classic includes 19 OpenType stylistic sets. Some offer practical alternates like a one-story a, one stroke K, or round dots instead of square. Others reference the history of modernism or Art Deco, such as uppercase letters inspired by Bifur, a typeface designed by Cassandre (who also created Peignot, an inspiration for the original Beausite), and a set inspired by Bauhaus typography. Finally, some sets push the concept to its extreme, with reversed and mixed contrast.
Have a look at this page, or in the PDF specimen, for a complete overview of the alternates and what Beausite has to offer.

Beausite Classic comes in 10 weights with their italic partners for 20 styles covering all possible needs. All styles include with a full character set for western and eastern european languages, and a number of OpenType features. Some alternates are currently only available in the upright styles.

Designed by Yassin Baggar, with Anton Koovit and Selina Bernet.
Photography by Nayan Graf Quartier
Available exclusively at Fatype.com

 

Register websites & better license

We are making a slight change with our license. For every purchased typeface family, you can now use each style on its own website, instead of only one website for the whole family. We just ask that you register the website(s) in your account under the “My Licenses” section that is newly available. There, you can either add one URL for each font you purchased, or “split” a family to enter a different URL for each style. Instead of 1 website, you get the possibility to use Baton Turbo family on 10, U8 on 14, or Beausite on 36 websites. A lot more possibilities for the same price.
Please do not forget to register the websites, we love to see what you do with our fonts!

New typeface: Baton Turbo

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After more than one year of work, we are proud to release Baton Turbo.

We created a web specimen that gives a closer look at the design and features of Baton Turbo, while allowing you to see the webfonts in action and to try them out. Have a look, we hope you enjoy!
Batonturbo.fatype.com

Baton Turbo is a grotesque that combines a simple straightforward formal approach, with eccentric letter shapes inspired by french vernacular typography. We love the naive and unpretentious elegance of our previously released Baton, but the condensed proportions and the small x-height make it very specific: it is essentially intended for display sizes and short texts. We wanted to adapt Baton into a versatile typeface, while maintaining as much of the original character as possible. All the design choices — the proportions, the spacing, the number of weights — have been made for Baton Turbo to work well in the various settings that modern typography, both print and digital, present.

The fonts include a wide range of OpenType features such as ligatures, alternate letters, tabular and lowercase figures, fractions, super and subscripts, uppercase alternates, and a stylistic set of uppercase with thin accents for headlines with tight leading.

Baton Turbo is a spin-off from Baton, initially commissioned for a redesign of french GQ magazine.

5 weights with italics
Designed by Yassin Baggar and Anton Koovit

Available exclusively from Fatype
Download our free trial fonts to test Baton Turbo in your sketches.

batonturbo-aa-1 batonturbo-aa-2 batonturbo-white-03batonturbo-white-01  batonturbo-white-shortaccents

Beausite Italics

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

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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.

Beausite-800x600-500ms

Beausite-Grand

Beausite-Fit2

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.

Beausite-alternates-800

Beausite-itas-anim5-ag-alt-800

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: www.fatype.com/typefaces/beausite
And download our free trials including Beausite Classic

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New Typeface: Laplace Mono

LaplaceMono-Presentation1
LaplaceMono-Presentation2

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.

 

LaplaceMono-Styles
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LaplaceMono-Regular1
LaplaceMono-Light1
LaplaceMono-Bold2
LaplaceMono-Regular2
LaplaceMono-Bold1
LaplaceMono-Light2
LaplaceMono-Charset

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.

www.oe-magazine.de

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

Beausite-16-charset

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.

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.

© 2018 Fatype, Yassin Baggar and Anton Koovit