Canela Arabic. Designed by @khajag and @waelmorcos
Available from @commercialtype
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New #arabicfont family.
The family expands the crisp elegance of Miguel Reyes’s #Canela by drawing inspiration from both the #Thuluth and #Naskh traditions. While reflecting the sobriety and refinement of its Latin counterpart, the #Arabic version has a distinct and expressive presence of its own.
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يستلهم هذا الخط العربي من تقاليد الثلث والنسخ، ليُنتج صوتًًا طباعيًا يجمع بين الأناقة والجلال
NEW FONT ALERT! 🚨 The all new Canela Arabic font family is released!
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The family expands the crisp elegance of Miguel Reyes’s Canela by drawing inspiration from both the Thuluth and Naskh traditions. While reflecting the sobriety and refinement of its Latin counterpart, the Arabic version has a distinct and expressive presence of its own.
— يستلهم هذا الخط العربي من تقاليد الثلث والنسخ، ليُنتج صوتًًا طباعيًا يجمع بين الأناقة والجلال
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Arabic type design: @khajag@waelmorcos
Latin Typeface: @font_taste
Available: @commercialtype
Social Media graphics: @jadzock
Italic Delusse has been a playful experience in relation with roman and to disconnect it to the reference of Vendôme.
With more precise words by Caren @litherland :
« Another important way Delusse departs from Vendôme is in the italic. Vendôme’s “italic” is in fact an oblique roman, a particularly twentieth-century conceit. Nugue gives us a real italic, albeit somewhat romanized, with sharp serifs prevailing over more traditional cursive forms in spots. Because we tend to use italics less frequently than uprights, the italic can be a fantastic playground for experimentation, and Nugue takes full advantage of this. Pointed, capuchin-like hoods on a and q add a wonderful, offbeat texture; it’s a move that recurs in other Nugue faces as well. The italic k with its triangular top serif and ribbonlike looped bowl nods to the Garamond italics we may be more familiar with—but that’s pretty much the only way it resembles a classic Garamond. At first glance, especially in the Regular weight, you might not think of Delusse’s italic as reverse-contrast. It sneaks up on you. As weight and contrast increase, you become aware of just how fully bonkers this italic is. Look at the countershapes. Look at the intuitive, astonishing way Nugue swings the weight around. »
Delusse is released by @commercialtype with the assistance of Thomas Bouillet
The family is named after Marguerite Delusse, the married name of Marguerite Vendôme, one of the most skilled engravers of the late eighteenth century.
Delusse is released by @commercialtype with the assistance from Thomas Bouillet.
Delusse is released by @commercialtype with the precious assistance from Thomas Bouillet.
Delusse is a text serif that balances spikiness and softness. The roman draws obvious inspiration from François Ganeau’s boldly graphic Vendôme, one of the most iconic French typefaces of the twentieth century, with a gentler tone more suited to longform reading. The family is named after Marguerite Delusse, the married name of Marguerite Vendôme, one of the most skilled engravers of the late eighteenth century.
Vendôme was Ganeau’s only typeface; the painter and set designer had no previous experience drawing type. Roger Excoffon advised Ganeau on the family, whose explicit raison d’être was to compete with Deberny & Peignot’s hugely successful Garamont — though Ganeau’s design ended up having a singular personality all its own. As does Delusse. Instead of reviving Vendôme, Delusse engages in dialogue with it, departing from its precursor in ways that make it work better for running text and contemporary typesetting, whether on glossy papers or luminous screens: lower contrast; sturdier, jauntier serifs; and a softness that replaces spikiness in places.
See more and download trial fonts at commercialtype.com/catalog/delusse
Delusse is released by @commercialtype with the precious assistance from Thomas Bouillet.
Delusse is a text serif that balances spikiness and softness. The roman draws obvious inspiration from François Ganeau’s boldly graphic Vendôme, one of the most iconic French typefaces of the twentieth century, with a gentler tone more suited to longform reading. The family is named after Marguerite Delusse, the married name of Marguerite Vendôme, one of the most skilled engravers of the late eighteenth century.
Vendôme was Ganeau’s only typeface; the painter and set designer had no previous experience drawing type. Roger Excoffon advised Ganeau on the family, whose explicit raison d’être was to compete with Deberny & Peignot’s hugely successful Garamont — though Ganeau’s design ended up having a singular personality all its own. As does Delusse. Instead of reviving Vendôme, Delusse engages in dialogue with it, departing from its precursor in ways that make it work better for running text and contemporary typesetting, whether on glossy papers or luminous screens: lower contrast; sturdier, jauntier serifs; and a softness that replaces spikiness in places.
See more and download trial fonts at commercialtype.com/catalog/delusse
Delusse, designed by Sandrine Nugue @sndrnng with assistance from Thomas Bouillet, is a text serif that balances spikiness and softness. The roman draws obvious inspiration from François Ganeau’s boldly graphic Vendôme, one of the most iconic French typefaces of the twentieth century, with a gentler tone more suited to longform reading; the italic could only have been invented by Nugue. The family is named after Marguerite Delusse, the married name of Marguerite Vendôme, one of the most skilled engravers of the late eighteenth century.
Vendôme was Ganeau’s only typeface; the painter and set designer had no previous experience drawing type. Roger Excoffon advised Ganeau on the family, whose explicit raison d’être was to compete with Deberny & Peignot’s hugely successful Garamont — though Ganeau’s design ended up having a singular personality all its own. As does Delusse. Instead of reviving Vendôme, Delusse engages in dialogue with it, departing from its precursor in ways that make it work better for running text and contemporary typesetting, whether on glossy papers or luminous screens: lower contrast; sturdier, jauntier serifs; and a softness that replaces spikiness in places.
See more and download trial fonts at commercialtype.com/catalog/delusse
New work for last week’s Yesteryear issue of @nymag : lettering based on the 1975 poster for A Chorus Line, which was handlettered in a distinctly 1970s interpretation of Art Deco. Thanks to @tomalberty and his team!
A new width for the bestselling Graphik collection — Graphik Condensed, an all-purpose typeface by @commercialtype with Cyrillic by @cstmfonts , is now available at type.today!
