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Abril

A contemporary interpretation of a classic newsface, by TypeTogether

about the typeface


etbooks and magazines. Abril competes, in terms of economy
Conceived specifically for intensive editorial use, whether it is in of space, head to head with some newspaper classics such as
newspapers, magazines or digital media, Abril is a font family of Utopia or Nimrod, but featuring a more contemporary look and
two worlds. The titling weights, based on a contemporary revamp feel; and unlike them, includes a full set of small caps with num-
of classic Didone styles, display both neutrality and strong presence bers and punctuation.
on the page, attracting the reader's attention with measured ten- The four main text weights of Abril Text were also manually
sion in it's curves, good color and high contrast. It also features hinted which grants the possibility of a smooth transition from
typographic niceties such as ornaments, borders, special dingbats printed media to web platform.
and alternate letters and numbers that propose a broad palette of Abril consists of 8 text styles and 12 display styles, all of them
tools to the designer. containing the standard TypeTogether character set that supports
The text weights are more closely inspired by both, 19th century over 50 languages including those from Central and Northern
slab serifs and scotch roman types. They maintain consistency with Europe. The full family is available at our webfont service partners
the headline styles, and at first glance may appear to have the TYPEKIT - FONTDECK or contact us for self-hosting
same shapes only with lower contrast. However, in reality the let- @font-face.
ter forms of Abril Text were engineered from scratch to achieve a Abril won Gold at ED-Awards 2012 and was selected in Tipos
color, texture and overall width that allow using the font comfort- Latinos 2012 and Bienale Brno 2012. i
ably in the most challenging environments for continuous reading,
such as newspapers. This also makes it a great font family for pock-

styles & scripts


Abril Text Light Abril Display Regular
Abril Text Light Italic Abril Display Italic
Abril Text Regular Abril Display Semibold
Abril Text Italic Abril Display Semibold Italic
Abril Text Semibold Abril Display Bold
Abril Text Semibold Italic Abril Display Bold Italic
Abril Text Bold Abril Display Extrabold
Abril Text Bold Italic Abril Display Extrabold Italic
Abril Text Extrabold Abril Display Black
Abril Text Extrabold Italic Abril Display Black Italic
Abril Fatface Regular
Abril Fatface Italic

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abril text, character set sample

ABCDEFGHIJKL
MNOPQRSTUVW
XYZÆŒÞĦThctstð
ābcdefĝhijklmnőp
prştŭvwxyzßæąĸł
abcdefghijklmno
pqrstvwxyzŒŞ3€
{[(*&¶‡,:@?!§«»-)]}
€£$¥012345678922
‰01234v567899jr
www.type-together.com | © 2014 all rights reserved
abril display, character set sample

ABCDEFGHIJKLM
NOPQQRRSTUVW
XYZÆŒÞŖ ĐŊ Thvi
abcdefghijklmnop
prstuvwxyzßæąĸł
gickşǿfíŷ�wishttfb∫
L№1234567890OM
{[(*&¶‡,:@?!§«»-)]}
€£$¥0123456789I
‰012345678RT“”
www.type-together.com | © 2014 all rights reserved
abril text & display, poster specimen

arrows & borders & ornaments
small capitals
0
alternate numbers for fun: 0123456789!

vast support
Voix ambiguë d’un cœur qui au zéphyr préfère les jattes de kiwi

inspired by Scotch Romans M

Schriftzeit
“Ruderklub Frankonia”
poštovní zásilka
www.type-together.com | © 2014 all rights reserved
abril display, poster specimen

Abril Black
Dr. Doolittle
“Frebbies”
masterclass
The gift shop
service included
Gentlemen
www.type-together.com | © 2014 all rights reserved
abril, text settings latin

18/22 pt (light & light italic)

Once upon a time, book jackets were almost all pure typographic
compositions: these were the books one could not judge by their
covers. The tradition continued into the twentieth century, espe-
cially in non-English language publishing, the Parisian house Gal-
limard still issues its Collection Blanche of classic French litera-
18/22 pt (regular & italic)

Once upon a time, book jackets were almost all pure typographic
compositions: these were the books one could not judge by their
covers. The tradition continued into the twentieth century, es-
pecially in non-English language publishing, the Parisian house
Gallimard still issues its Collection Blanche of classic French
18/22 pt (semibold & semibold italic)

Once upon a time, book jackets were almost all pure typographic
compositions: these were the books one could not judge by their
covers. The tradition continued into the twentieth century, es-
pecially in non-English language publishing, the Parisian house
Gallimard still issues its Collection Blanche of classic French
18/22 pt (bold & bold italic)

Once upon a time, book jackets were almost all pure typo-
graphic compositions: these were the books one could not
judge by their covers. The tradition continued into the twenti-
eth century, especially in non-English language publishing, the
Parisian house Gallimard still issues its Collection Blanche
18/22 pt (extrabold & extrabold italic)

Once upon a time, book jackets were almost all pure typo-
graphic compositions: these were the books one could not
judge by their covers. The tradition continued into the twen-
tieth century, especially in non-English language publish-
ing, the Parisian house Gallimard still issues its Collection

Source: Godfrey, Jason. "Naked words", Eye Magazine 82 http://www.eyemagazine.com/feature/article/naked-words

www.type-together.com | © 2014 all rights reserved


abril text, text settings latin

8/10 pt (light & light italic) 10/12 pt (light & light italic) 12/14 pt (light & light italic)
Once upon a time, book jackets were almost Once upon a time, book jackets Once upon a time, book jack-
all pure typographic compositions: these were were almost all pure typographic ets were almost all pure typo-
the books one could not judge by their covers.
compositions: these were the books
The tradition continued into the twentieth
one could not judge by their covers.
graphic compositions: these
century, especially in non-English language
publishing – the Parisian house Gallimard The tradition continued into the were the books one could not
still issues its Collection Blanche of clas- twentieth century, especially in non- judge by their covers. The tra-
sic French literature in a jacket that has
barely changed since it was first laid out by the
English language publishing – the dition continued into the twen-
Bruges printer Verbeke in 1911: black author Parisian house Gallimard still issues tieth century, especially in non-
text and red title text in Didot, centred on an its Collection Blanche of classic English language publishing
ivory stock within a red and black border. But French literature in a jacket that has
there have been notable upholders of the tradi- barely changed since it was first laid
– the Parisian house Gallimard

8/10 pt (regular & italic) 10/12 pt (regular & italic) 12/14 pt (regular & italic)
Once upon a time, book jackets were almost Once upon a time, book jackets Once upon a time, book jackets
all pure typographic compositions: these were were almost all pure typographic were almost all pure typographic
the books one could not judge by their covers.
The tradition continued into the twentieth compositions: these were the books compositions: these were the books
century, especially in non-English language one could not judge by their covers. one could not judge by their covers.
publishing – the Parisian house Gallimard The tradition continued into the The tradition continued into the
still issues its Collection Blanche of classic twentieth century, especially in non- twentieth century, especially in non-
French literature in a jacket that has barely English language publishing – the English language publishing – the
changed since it was first laid out by the
Bruges printer Verbeke in 1911: black author Parisian house Gallimard still issues Parisian house Gallimard still issues
text and red title text in Didot, centred on its Collection Blanche of classic its Collection Blanche of classic
an ivory stock within a red and black border. French literature in a jacket that has French literature in a jacket that has
But there have been notable upholders of barely changed since it was first laid barely changed since it was first laid

8/10 pt (semibold & semibold italic) 10/12 pt (semibold & semibold italic) 12/14 pt (semibold & semibold italic)
Once upon a time, book jackets were Once upon a time, book jackets Once upon a time, book jack-
almost all pure typographic compositions: were almost all pure typographic ets were almost all pure typo-
these were the books one could not judge by
compositions: these were the books
their covers. The tradition continued into
one could not judge by their cov-
graphic compositions: these
the twentieth century, especially in non-
English language publishing – the Parisian ers. The tradition continued into were the books one could not
house Gallimard still issues its Collection the twentieth century, especially in judge by their covers. The
Blanche of classic French literature in a
jacket that has barely changed since it was
non-English language publishing – tradition continued into the
first laid out by the Bruges printer Verbeke the Parisian house Gallimard still twentieth century, especially
in 1911: black author text and red title text in issues its Collection Blanche of in non-English language pub-
Didot, centred on an ivory stock within a red classic French literature in a jacket
and black border. But there have been nota- that has barely changed since it was
lishing – the Parisian house

8/10 pt (bold & bold italic) 10/12 pt (bold & bold italic) 12/14 pt (bold & bold italic)
Once upon a time, book jackets were Once upon a time, book jackets Once upon a time, book
almost all pure typographic compositions: were almost all pure typographic jackets were almost all pure
these were the books one could not judge by
compositions: these were the
their covers. The tradition continued into
books one could not judge by their
typographic compositions:
the twentieth century, especially in non-
English language publishing – the Parisian covers. The tradition contin- these were the books one
house Gallimard still issues its Collection ued into the twentieth century, could not judge by their cov-
Blanche of classic French literature in a
jacket that has barely changed since it was
especially in non-English lan- ers. The tradition continued
first laid out by the Bruges printer Verbeke guage publishing – the Parisian into the twentieth century,
in 1911: black author text and red title text house Gallimard still issues its especially in non-English
in Didot, centred on an ivory stock within Collection Blanche of classic
a red and black border. But there have French literature in a jacket that
language publishing – the

Source: Godfrey, Jason. "Naked words", Eye Magazine 82 http://www.eyemagazine.com/feature/article/naked-words

www.type-together.com | © 2014 all rights reserved


abril text, text settings latin - czech

8/10 pt (light & light italic) 10/12 pt (light & light italic) 12/14 pt (light & light italic)
To nejalterantivnější, nejexperimentálnější a To nejalterantivnější, nejexperimen- To nejalterantivnější, nejexpe-
možná i nejodvážnější v českém profesionál- tálnější a možná i nejodvážnější v rimentálnější a možná i nejod-
ním divadle se dnes odehrává především na
českém profesionálním divadle se
jevištích divadel pro děti a mládež. Začaly to
dnes odehrává především na jevištích
vážnější v českém profesionál-
kdysi Buchty a loutky svými pohádkami pro
zlobivé děti. Koncepcí divadla pro celou rodinu divadel pro děti a mládež. Začaly to ním divadle se dnes odehrává
se o něco podobného pokoušeli Hana Burešová kdysi Buchty a loutky svými pohádka- především na jevištích divadel
s Janem Bornou v Divadle v Dlouhé. Razantně
do trendu odvážného, experimentálního –
mi pro zlobivé děti. Koncepcí divadla pro děti a mládež. Začaly to
tedy v zásadě alternativního – divadla pro děti pro celou rodinu se o něco podobné- kdysi Buchty a loutky svými
vstoupil ale až Jiří Adámek v pražském Divadle ho pokoušeli Hana Burešová s Janem pohádkami pro zlobivé děti.
Minor svou inscenací Z knihy džunglí. Byla Bornou v Divadle v Dlouhé. Razantně
(a stále je) magickým „hmatovým“ divadlem do trendu odvážného, experimentál-
Koncepcí divadla pro celou

8/10 pt (regular & italic) 10/12 pt (regular & italic) 12/14 pt (regular & italic)
To nejalterantivnější, nejexperimentálnější To nejalterantivnější, nejexperi� To nejalterantivnější, nejexpe�
a možná i nejodvážnější v českém profesio- mentálnější a možná i nejodvážnější rimentálnější a možná i nejod-
nálním divadle se dnes odehrává především
v českém profesionálním divadle
na jevištích divadel pro děti a mládež. Začaly
se dnes odehrává především na
vážnější v českém profesionál-
to kdysi Buchty a loutky svými pohádkami
pro zlobivé děti. Koncepcí divadla pro celou jevištích divadel pro děti a mládež. ním divadle se dnes odehrává
rodinu se o něco podobného pokoušeli Hana Začaly to kdysi Buchty a loutky svými především na jevištích divadel
Burešová s Janem Bornou v Divadle v Dlouhé.
Razantně do trendu odvážného, experi-
pohádkami pro zlobivé děti. Koncepcí pro děti a mládež. Začaly to
mentálního – tedy v zásadě alternativního divadla pro celou rodinu se o něco kdysi Buchty a loutky svými
– divadla pro děti vstoupil ale až Jiří Adámek podobného pokoušeli Hana Burešová pohádkami pro zlobivé děti.
v pražském Divadle Minor svou inscenací s Janem Bornou v Divadle v Dlouhé.
Z knihy džunglí. Byla (a stále je) magickým Razantně do trendu odvážného,
Koncepcí divadla pro celou

8/10 pt (semibold & semibold italic) 10/12 pt (semibold & semibold italic) 12/14 pt (semibold & semibold italic)
To nejalterantivnější, nejexperimentálnější To nejalterantivnější, nejexperi- To nejalterantivnější, nej-
a možná i nejodvážnější v českém profesio- mentálnější a možná i nejodvážnější experimentálnější a možná i
nálním divadle se dnes odehrává především
v českém profesionálním divadle
na jevištích divadel pro děti a mládež. Začaly
se dnes odehrává především na
nejodvážnější v českém pro-
to kdysi Buchty a loutky svými pohádkami
pro zlobivé děti. Koncepcí divadla pro celou jevištích divadel pro děti a mládež. fesionálním divadle se dnes
rodinu se o něco podobného pokoušeli Hana Začaly to kdysi Buchty a loutky odehrává především na jevi-
Burešová s Janem Bornou v Divadle v Dlouhé.
Razantně do trendu odvážného, experi-
svými pohádkami pro zlobivé děti. štích divadel pro děti a mlá-
mentálního – tedy v zásadě alternativního Koncepcí divadla pro celou rodinu dež. Začaly to kdysi Buchty a
– divadla pro děti vstoupil ale až Jiří Adámek se o něco podobného pokoušeli loutky svými pohádkami pro
v pražském Divadle Minor svou inscenací Hana Burešová s Janem Bornou
Z knihy džunglí. Byla (a stále je) magickým v Divadle v Dlouhé. Razantně do
zlobivé děti. Koncepcí divadla
„hmatovým“ divadlem interpretovaným trendu odvážného, experimentál- pro celou rodinu se o něco

8/10 pt (bold & bold italic) 10/12 pt (bold & bold italic) 12/14 pt (bold & bold italic)
To nejalterantivnější, nejexperimentálnější To nejalterantivnější, nejexperi- To nejalterantivnější, nej-
a možná i nejodvážnější v českém profesi- mentálnější a možná i nejodvážněj- experimentálnější a možná i
onálním divadle se dnes odehrává přede-
ší v českém profesionálním divadle
vším na jevištích divadel pro děti a mládež.
se dnes odehrává především na
nejodvážnější v českém pro-
Začaly to kdysi Buchty a loutky svými pohád-
kami pro zlobivé děti. Koncepcí divadla pro jevištích divadel pro děti a mládež. fesionálním divadle se dnes
celou rodinu se o něco podobného pokouše- Začaly to kdysi Buchty a loutky odehrává především na jevi-
li Hana Burešová s Janem Bornou v Divadle
v Dlouhé. Razantně do trendu odvážného,
svými pohádkami pro zlobivé děti. štích divadel pro děti a mlá-
experimentálního – tedy v zásadě alterna- Koncepcí divadla pro celou rodinu dež. Začaly to kdysi Buchty a
tivního – divadla pro děti vstoupil ale až Jiří se o něco podobného pokoušeli loutky svými pohádkami pro
Adámek v pražském Divadle Minor svou Hana Burešová s Janem Bornou
inscenací Z knihy džunglí. Byla (a stále je) v Divadle v Dlouhé. Razantně do
zlobivé děti. Koncepcí divadla
magickým „hmatovým“ divadlem interpre- trendu odvážného, experimentál- pro celou rodinu se o něco
tovaným v netradičním prostoru, s přímým,

Source: http://www.divadelni-noviny.cz/na-obzoru-alternativa

www.type-together.com | © 2013
2014 all rights reserved
abril display, text settings latin

18/22 pt (display, regular & italic)

Once upon a time, book jackets were almost all pure typographic
compositions: these were the books one could not judge by their
covers. The tradition continued into the twentieth century, espe-
cially in non-English language publishing, the Parisian house
Gallimard still issues its Collection Blanche of classic French lit-
erature in a jacket that has barely changed since it was first laid
out by the Bruges printer Verbeke in 1911: black author text and
red title text in Didot, centred on an ivory stock within a red and

18/22 pt (display, semibold & semibold italic)

Once upon a time, book jackets were almost all pure typographic
compositions: these were the books one could not judge by their
covers. The tradition continued into the twentieth century, espe-
cially in non-English language publishing, the Parisian house
Gallimard still issues its Collection Blanche of classic French lit-
erature in a jacket that has barely changed since it was first laid
out by the Bruges printer Verbeke in 1911: black author text and
red title text in Didot, centred on an ivory stock within a red and

18/22 pt (display, bold & bold italic)

Once upon a time, book jackets were almost all pure typographic
compositions: these were the books one could not judge by their
covers. The tradition continued into the twentieth century, espe-
cially in non-English language publishing, the Parisian house
Gallimard still issues its Collection Blanche of classic French lit-
erature in a jacket that has barely changed since it was first laid
out by the Bruges printer Verbeke in 1911: black author text and
red title text in Didot, centred on an ivory stock within a red and

Source: Godfrey, Jason. "Naked words", Eye Magazine 82 http://www.eyemagazine.com/feature/article/naked-words

www.type-together.com | © 2014 all rights reserved


abril display & abril fatface, text settings latin

18/22 pt (display, extrabold & extrabold italic)

Once upon a time, book jackets were almost all pure typograph-
ic compositions: these were the books one could not judge by
their covers. The tradition continued into the twentieth cen-
tury, especially in non-English language publishing, the Parisian
house Gallimard still issues its Collection Blanche of classic
French literature in a jacket that has barely changed since it was
first laid out by the Bruges printer Verbeke in 1911: black author
text and red title text in Didot, centred on an ivory stock within

18/22 pt (display, black & black italic)

Once upon a time, book jackets were almost all pure typographic
compositions: these were the books one could not judge by their
covers. The tradition continued into the twentieth century, espe-
cially in non-English language publishing, the Parisian house
Gallimard still issues its Collection Blanche of classic French lit-
erature in a jacket that has barely changed since it was first laid
out by the Bruges printer Verbeke in 1911: black author text and
red title text in Didot, centred on an ivory stock within a red and

18/22 pt (fatface, regular & italic)

Once upon a time, book jackets were almost all pure typograph�
ic compositions: these were the books one could not judge by
their covers. The tradition continued into the twentieth cen-
tury, especially in non-English language publishing, the Parisian
house Gallimard still issues its Collection Blanche of classic
French literature in a jacket that has barely changed since it was
first laid out by the Bruges printer Verbeke in 1911: black author
text and red title text in Didot, centred on an ivory stock within

Source: Godfrey, Jason. "Naked words", Eye Magazine 82 http://www.eyemagazine.com/feature/article/naked-words

www.type-together.com | © 2014 all rights reserved


abril text, opentype features

1234 charming creatures 1234 charming creatures


small caps
(abc} n*/ d&e 567890€£ (abc} n*/ d&e 567890€£

all small caps


RADIOLARIANS ? RADIOLARIANS ?

¿para texto? ¿PARA TEXTO?


all caps
1708 a–b [ende] 1708 A–B [ENDE]

ligatures
aufbau, fjord, affiliate aufbau, fjord, affiliate

discretionary ligatures
häckeln, strong, Then häckeln, strong, Then

proportional figures
0123456789£$¢€¥ƒ 0123456789£$¢€¥ƒ

tabular figures & slashed zero


00123456789£$¢€¥ƒ 00123456789£$¢€¥ƒ

numerator / denominator
0123456789/0123456789 0123456789/0123456789

arbitrary fractions
1/2 3/4 1/6 5/7 213/987 1/2 3/4 1/6 5/7 213/987

superior / inferior
H2O xb8 y3+5 aIndex H2O xb8 y3+5 aIndex

ordinals
1st 2th 3rd Mlle 2ieme 1st 2th 3rd Mlle 2ieme

stylistic set 1
abcdefghijklmnop abcdefghijklmnop
qrstuvwxyz qrstuvwxyz
ABCDEFGHIJKLMNO ABCDEFGHIJKLMNO
PQRSTUV PRSTUV
123456789 123456789
123456789 123456789

contextual alternates jj gj ąj (j [j {j qj Qj gg jj gj ąj (j [j {j qj Qj gg
jj gj ąj ( j [ j {j ( f [ f {f @j jj gj ąj ( j [ j {j ( f [ f {f @j
@f gf qf jf jß gß qß @f gf qf jf jß gß qß
Qj Qy Qp Qf Qg Q, Q; Qj Qy Qp Qf Qg Q, Q;

www.type-together.com | © 2014 all rights reserved


abril display, opentype features

¿para texto? ¿PARA TEXTO?


all caps
1708 a–b [ende] 1708 A–B [ENDE]

ligatures
aufbau, fjord, affiliate aufbau, fjord, affiliate

discretionary ligatures
häckeln, strong, Then häckeln, strong, Then

proportional figures
0123456789£$¢€¥ƒ 0123456789£$¢€¥ƒ

tabular figures
0123456789£$¢€¥ƒ 0123456789£$¢€¥ƒ

numerator / denominator
0123456789/0123456789 0123456789/0123456789

fractions
1/2 3/4 1/46 5/7 2/98 1/2 3/4 1/46 5/7 2/98

superior / inferior
H2O xb8 y3+5 H2O xb8 y3+5

ordinals
Ha Ho Ha Ho

stylistic set 1
0123456789 0123456789

stylistic set 2
ABCDEFGHIJKLMN ABCDEFGHIJKLMN
OPRSTUVWXYZ OPRSTUVWXYZ
stylistic set 3
0123456789 12345678

stylistic set 4
0123456789 12345678

stylistic set 5
12345678 12345678

stylistic set 6
“” “”

stylistic set 7
QRŔŖŘ QRŔŖŘ

stylistic set 8
?¿ ?¿

stylistic set 9
0123456789 0123456789

www.type-together.com | © 2014 all rights reserved


abril text, character set, uprights

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abril display, character set, uprights

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abril display black, character set, uprights & italics

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abril fatface, character set, uprights & italic

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language support

Lat
Supported languages include (Latin): available font sets:
Afrikaans, Albanian, Anglo-Saxon, Arbëresh, Asturian, Austrian, Basque, Belarusian, Bosnian,
Breton, British, Catalan, Chamorro, Corsican, Crimean Tatar, Croatian, Czech, Dalecarlian, Danish, Abril Text Pro Lat
Dutch, Esperanto, Estlandish, Estonian, Faroese, Finnish, French, Friulian, Galician, German,
Gilbertese, Greenlandic, Guaraní, Hawaiian, Hungarian, Icelandic, Irish, Italian, Karakalpak, Abril Display Pro Lat
Kashubian, Kurdish, Latin, Latvian, Leonese, Lithuanian, Malagasy, Maltese, Northern Sami,
Norwegian, Polish, Portuguese, Romani, Romanian, Scots Gaelic, Serbian, Slovenian, Slovakian, Abril Fatface Bas Lat
Sorbian, Spanish, Swedish, Tetum, Tongan, Turkish, Turkmen, Uzbek, Walloon, Welsh, Wolof…

Pro
extended typographic features:
Basic ligatures, discretionary ligatures, small caps, 5 sets of figures (old-style, lining, tabular
lining, tabular old-style), arbitrary fractions, superiors & inferiors, contextual alternates,
ordinals, class kerning, case sensitive characters, arrows, ornaments.

Bas
basic typographic features:
Basic ligatures, class kerning.

the designers Upgrade from single weight to Abril, Type Design:


Veronika Burian, originally studied Industrial full bundle Veronika Burian & José Scaglione
Design, before graduating with distinction Buy a single weight (or more) now and get www.type-together.com/abril
from the MA in Typeface Design in Reading, reimbursed if you buy the whole font bundle
UK, in 2003. After working as full-time type later at any time. This is a great way to explore © TypeTogether
designer at DaltonMaag in London, she co- a new typeface without full commitment. To Abril® is a registered trademark of
founded with José Scaglione the independent take advantage of this, please write and email TypeTogether. All rights reserved.
type-label TypeTogether. She also continues to info@type-together.com
For further information, pricing and ordering,
to give lectures and workshops at interna-
please visit www.type-together.com
tional conferences and universities. Several of custom work
her typefaces have been recognised by inter- We offer custom type solutions tailored to the
national competitions, including ED-Awards customer’s needs. This may include new type-
and TDC. faces developed from scratch, font modifica-
José Scaglione is an Argentinian graphic tions of existing typefaces, extension of lan-
and multimedia designer, and a graduate guage support or creation of logotypes. Please
from the MA in Typeface Design at the Uni- contact us for details.
versity of Reading, UK. He has been working
in branding, editorial design and multimedia webfonts
projects since 1995. José is co-founder of the We have partnered up with Typekit, Fontdeck,
independent type foundry TypeTogether, and WebINK and Fonts.com that are able to reliably
additionally leads his own design studio, con- serve our fonts to your websites and provide
sults and lectures on typography and graphic you with the necessary technical support.
communication matters. He also teaches Self-hosting is availabe for websites with over
typography at post-graduate level at the Na- 2 million pageviews per month. Please contact
tional University of Rosario. us, if you wish to use this service. info@type-together.com

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