A new variable flavor: Vinila

Plau’s goal—to make type as popular as music—leads them down unusual and exciting paths. Their latest release to Type Network, a grotesk from Flora de Carvalho named Vinila, is a testament to their approach. What started as lettering for a Brazilian album cover became a refreshing take on the grot category: Infused with the rhythm and personality of a hit song, Vinila’s set to top the charts.

Grotesques answer a wide variety of design problems, but their ubiquity has encouraged uniformity. An injection of flavor into the grot category, Vinila stretches from text sizes to display without missing a beat. Its multi-purpose intention comes in the form of four widths—from compressed to extended—each with six weights and obliques. If that isn’t enough flexibility, Vinila’s variable style adds limitless nuance.

Rhythm and music played an important part in Vinila’s initial design: it started off as lettering for an album cover. Its distinctiveness comes from having powerful ink traps that go from elegant and supple in the lighter styles to commanding and impactful in the heavier styles. This creates a distinct rhythm, making it a strong face for editorial design, branding projects, and so much more.

To test the limits of Vinila’s facilities, Plau had some of the best designers in the world test it across various uses and environments, from print to digital, mobile, and more. The verdict is in: Vinila works, and it works well.

Vinila is the ideal companion to expressive display faces, where it serves a supporting role without sacrificing its own character. On the other hand, you can use Vinila as a punchy display face, pairing it with something a little more reserved in your text. Plau themselves use Vinila every day in their own brand identity, demonstrating its personality and strength firsthand.

More from Plau: The Redonda family, which started with a single black geometric sans, is growing even further. Or perhaps it’s shrinking, with the addition of ten new Condensed and ten new Compressed widths, as well as a two-axis variable font. Redonda already offered excellent performance for both interface and body copy; now, with the additional widths and variable styles, Redonda solves an untold number of typographic design problems.

All styles of Vinila and Redonda, including the variable styles, are now available in the Type Network store. License one or all of them today, and while you’re at it, explore the other dynamic types available in the Type Network library from Plau.