Frustrated with a lack of fonts both versatile and modern, we set out to design Klavika as a full-featured, do-it-all sans serif for the needs of the 21st century. Our result is a design that’s unadorned, modern and infinitely flexible. To achieve this, Klavika follows a decidedly hybrid typographic path – a cross of humanist and geometric influences with allegiances to neither. Crisp and open shapes keep the font legible in small sizes while the straight-sided characters anchor headlines and display work solidly in place. And since part of the goal was flexibility, we’re happy to report that since its introduction in 2004, Klavika has found its way into a wide variety of media from print to pixels.
Although Capucine defies traditional categorization, it sits in a genre we are drawn to as users of type: a face with distinct personality able to straddle the worlds of both text and display with ease. In this context it should come as no surprise that its designer was born and raised in France, a country whose type history is rich with successful instances of such attempts. From Auriol and Grasset – typefaces that became symbolic of the Art Nouveau style – to the iconic designs of Roger Excoffon in the 1950s and 60s, French type designers have often tried to fulfill the requirements of efficient text setting while retaining a gestural quality. Like many of its French predecessors, Capucine is driven by the eye rather than geometrical dogma, bringing a warmth and liveliness to the page.
When Alice Savoie began designing Capucine in 2006, she set out to create a typeface specifically for magazine and newspaper listings. Fortunately, the demands of that potentially stifling area didn’t get in the way of what would ultimately be an expression of joie de vivre. Capucine is a robust family of ten weights, ranging from Thin to Black, whose flavor mixes the fluidity of writing with the vivacity of a brush script to create this idiosyncratic sans serif.
Elena, a new serif typeface meant for extended reading, is an exercise in subtlety and restraint. It’s direct and unaffected, a modern serif typeface, quietly balancing warmth with a crisp, tailored tone. This low-contrast face of economical proportions, moderate x-height, and spare details shows influence of the broad-nibbed pen, tempered by a discreet reinterpretation of its shapes. Designed for double-duty typesetting, Elena is graceful in text for continuous reading and sturdy enough for display work of moderate size. As such, magazines, books and publications of all types are well served by this compact, two-weight family.