Mary Bacon

The Revla family just keeps expanding! This is Revla Slab. It has the same exuberant charm as its siblings (Revla Sans and Revla Serif) with a touch more chunk.

OpenType contextual alternates make for text that is lively and bouncy, without the monotony of obviously repeating letterforms.

More Its shamelessly fun, but pretty serious at the same time. The range of weights can be used to maintain an even colour across different sizes - use lighter weights for bigger sizes and vice versa.

OpenType features include automatic fractions, ordinals, contextual alternates (which along with the pseudo-randomness, help maintain a nice tight fit with minimal glyph collisions), standard and discretionary ligatures (OK, only one discretionary ligature, but its a belter!), and case-sensitve forms.

Obviously, in sharing a common skeleton, it will work well with other members of the Revla Superfamily, particularly Revla Sans.

In a world where every new release is a thousand font megafamily, it is a particularly (extra)bold move to release a single weight display style.

Perhaps. Galix is a super-eliptical, technical sans; futuristic while avoiding the retro appearance so often associated with this genre.

It is a font intended for the covers of science fiction novels. You could use it for other things, I suppose. But back to the single style thing... Its my humble opinion that large type families, especially those font suites that are so de rigueur, lead to a staleness in design, where things all start to look a bit samey and the fine art of type pairing is dying.

So license Galix, see how it works on its own, paired with contrasting fonts, distorted and experimented with by you, the designer.

It might just be the lack of versatility you need to focus your design work! But if not, chances are I will extend the family to a range of weights, and should that happen, any updates will be free to early adopters.

So go on, give it a try and (extra)boldly go whereyou get the idea.

Astrid Grotesk is a normalized version of Schizotype Grotesk. Normalized; not neutralized. Where many neo-grotesks appear cold with their harsh neutrality, Astrid has a warmth, eminating from its (for want of a better word) clunkiness.

These upright styles represent the second instalment, adding the condensed styles to the mix.

Customers who got on board early with Astrid Grotesk get the updates for free, and those who purchase the full family now will receive the italic styles for free when they're released.

Astrid Grotesk, while being clearly a neo-grotesk in appearance, has a personality all of its own.

Standout characters include the f and t, and the default binocular g, unusual in neo-grotesks.

And the right angled terminals on c, e and s. Stylistic sets offer up alternate forms of a, g, y, I, @, dutch IJ, german eszett and l.

A full complement of numerals is included: proportional and tabular, lining and oldstyle, plus fractions, subscript and superscript.

Note also that the tabular figures (along with currency symbols) are duplexed across weights - very useful when highlighting specific entries in tables.

The tabular numerals feature also substitutes in fixed width (across all weights) comma and period, so your decimals line up perfectly always.

Lastly, case sensitive forms of certain glyphs are included for all-cap settings.

This typeface will be useful for corporate identities and branding work. Its spaced more for text settings in the normal width, and gets more display-optimized as the width decreases, but with careful tracking, all styles can sing at display sizes.

Bored of those other Swiss style typefaces? Astrid Grotesk could be the face you need to breathe new life into your designs.

Coupled with Schizotype Grotesk, its more eccentric cousin, you've got an unorthodox branding system ready to use straight out of the box.