Early Sans Variable

Character Type

Early Sans

Haptic Pro Regular

Haptic Pro

Haptic Script Regular

Haptic Script

Late Serif Variable

Late Serif

NewsSerif Variable

NewsSerif

NewsSerif Huge Variable

NewsSerif Huge

NewsSerif Large Variable

NewsSerif Large

NewsSerif Text Variable

NewsSerif Text

Tragic Grotesk Variable

Tragic Grotesk

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<div class="deck">Character Type creates unique typefaces – custom or retail – to elevate small and international brands. </div>Type is deeply woven into the soul of great brands. We make typefaces which are consistent with and best reflect your brand values.We provide completely tailored services, from initial brand type workshops to the finished type design. Our typefaces are always exquisitely crafted and designed to perform across all communica­tion platforms.

Anja is a type designer from Berlin. She’s both, a student and teacher, also an organizer and writer at Typostammtisch Berlin, and a convinced team player. For the past 12 years, she’s been collaborating on designing multi-script custom typeface systems for clients such as ZDF, Vorwerk, Cewe, Rossmann, Mozilla, Here, Reporters Without Borders, and others. Her longtime commitment lies within typefaces for children’s reading.

Anja Meiners

Oleksandr Parkhomovskyy is a graphic and type designer from Germany. Originally from Ukraine, he has a strong interest in Cyrillic script.After his masters in type design at Royal Academy of Art, The Hague (KABK) he worked as a freelancer for design and advertising agencies, specializing in custom and retail type, corporate design, editorial and web.

oleksandr-parkhomovskyy.

Oleksandr Parkhomovskyy

Philipp Neumeyer grew up in Northern Germany&#x27;s mountains. He studied at Muthesius Kunsthochschule in Kiel and later completed a Type and Media course at the Koninklijke Academie van Beeldende Kunsten in The Hague. After working in Berlin and Copenhagen with LucasFonts and Playtype, he settled in Berlin, where he now creates custom and retail typefaces as an independent designer.

Philipp Neumeyer

Early Sans counters the brisk liveliness and sparkle of 19th century sans like Breite Grotesk with the calm and steadiness of later Neo-grotesques. The smooth flowing s and a are answered by rational and placid forms of letters such as k or j. Notice the 2 degree curved instrokes of n, m and r adding to the soft feel and benefitting readability as ever-so-slight ink traps. The Early Sans typeface family contains five styles from Light to Black plus matching slanted styles.

Haptic Pro is ideal for branding, editorial and packaging. Due to the rounded stems and swoosh terminals it’s strong in character. In large sizes all its character traits perform strongly and yet it was thoroughly optimized for a great reading experience in small text sizes. Haptic speaks in a warm and human voice to its readers. The 14 style family was extended later through four compressed styles. Haptic Pro earned Henning Skibbe a TDC2 award in 2008.

The HapticScript family is a connected brush script with a warm, personal and soft character. The typeface family has five styles from Light through Black. It was designed as a companion and extension to the Haptic sans-serif family.HapticScript has up to 14 variations for each glyph. The almost 2,000 characters per font – including 40+ ligatures –enable designers to give each word an individual look. Many swash characters for initials and word endings make the writing look as if it was hand lettered.

Late Serif is a contemporary interpretation of Eric Gills »Perpetua« but strongly tailored towards a sturdy construction for small text settings. The shifting stroke contrast from diagonal to upright is less delicate than in the original. And yet Late Serif has an elegance through the organically flowing and merging strokes. This is amplified in the Italic construction, most noticeable in Q, g, k and y. The Late Serif typeface family contains only the most basic set of styles Light, Regular, Bold and Black plus one Italic style. It supports 210 languages through its Latin, Greek and Cyrillic scripts.

NewsSerif’s look is dominated by its expressive wedge-shaped serifs and its playful contrast. The 20 styles ranging from extremely Light to Black are sorted into three subfamilies: Text, Large and Huge. The letter shapes evolve throughout the different subfamilies to become more an more expressive and excessive in the Large and Huge families. Each style contains 700+ characters. NewsSerif is the sister typeface of NewsSans.

Tragic Grotesk is not neutral: It attempts to negotiate a mediating act between warmth and humanity on the one hand and technical directness on the other. The openings such as a, c, e and s are semi-open and the stroke endings of these letters are slightly slanted. Furthermore elements from pre-Helvetica times were mixed in: references to the design of grotesque typefaces from the late 19th century. Further design properties: Technical, »DIN«-related straight lines have been injected into the round shapes. And finally the ever so slightly curved diagonal strokes as a nod to the calligraphic origins of type. In total Tragic Grotesk is not neutral: It conveys warmth and digital clarity.