abril - type together · abril a contemporary interpretation of a classic newsface, by typetogether...

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Abril A contemporary interpretation of a classic newsface, by TypeTogether Conceived specifically for intensive editorial use, whether it is in newspapers, magazines or digital media, Abril is a font family of two worlds. The titling weights, based on a contemporary revamp of classic Didone styles, display both neutrality and strong presence on the page, aracting the reader's aention with measured ten- sion in it's curves, good color and high contrast. It also features typographic niceties such as ornaments, borders, special dingbats and alternate leers and numbers that propose a broad palee of tools to the designer. The text weights are more closely inspired by both, 19th century slab serifs and scotch roman types. They maintain consistency with the headline styles, and at first glance may appear to have the same shapes only with lower contrast. However, in reality the let- ter forms of Abril Text were engineered from scratch to achieve a color, texture and overall width that allow using the font comfort- ably in the most challenging environments for continuous reading, such as newspapers. This also makes it a great font family for pock- etbooks and magazines. Abril competes, in terms of economy of space, head to head with some newspaper classics such as Utopia or Nimrod, but featuring a more contemporary look and feel; and unlike them, includes a full set of small caps with num- bers and punctuation. The four main text weights of Abril Text were also manually hinted which grants the possibility of a smooth transition from printed media to web platform. Abril consists of 8 text styles and 12 display styles, all of them containing the standard TypeTogether character set that supports over 50 languages including those from Central and Northern Europe. The full family is available at our webfont service partners TYPEKIT - FONTDECK or contact us for self-hosting @font-face. Abril won Gold at ED-Awards 2012 and was selected in Tipos Latinos 2012 and Bienale Brno 2012. i styles & scripts about the typeface Abril Text Light Abril Text Light Italic Abril Text Regular Abril Text Italic Abril Text Semibold Abril Text Semibold Italic Abril Text Bold Abril Text Bold Italic Abril Text Extrabold Abril Text Extrabold Italic Abril Display Regular Abril Display Italic Abril Display Semibold Abril Display Semibold Italic Abril Display Bold Abril Display Bold Italic Abril Display Extrabold Abril Display Extrabold Italic Abril Display Black Abril Display Black Italic Abril Fatface Regular Abril Fatface Italic www.type-together.com | © 2014 all rights reserved

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Page 1: Abril - Type Together · Abril A contemporary interpretation of a classic newsface, by TypeTogether Conceived specifically for intensive editorial use, whether it is in newspapers,

AbrilA contemporary interpretation of a classic newsface, by TypeTogether

Conceived specifically for intensive editorial use, whether it is in newspapers, magazines or digital media, Abril is a font family of two worlds. The titling weights, based on a contemporary revamp of classic Didone styles, display both neutrality and strong presence on the page, attracting the reader's attention with measured ten-sion in it's curves, good color and high contrast. It also features typographic niceties such as ornaments, borders, special dingbats and alternate letters and numbers that propose a broad palette of tools to the designer.

The text weights are more closely inspired by both, 19th century slab serifs and scotch roman types. They maintain consistency with the headline styles, and at first glance may appear to have the same shapes only with lower contrast. However, in reality the let-ter forms of Abril Text were engineered from scratch to achieve a color, texture and overall width that allow using the font comfort-ably in the most challenging environments for continuous reading, such as newspapers. This also makes it a great font family for pock-

etbooks and magazines. Abril competes, in terms of economy of space, head to head with some newspaper classics such as Utopia or Nimrod, but featuring a more contemporary look and feel; and unlike them, includes a full set of small caps with num-bers and punctuation.

The four main text weights of Abril Text were also manually hinted which grants the possibility of a smooth transition from printed media to web platform.

Abril consists of 8 text styles and 12 display styles, all of them containing the standard TypeTogether character set that supports over 50 languages including those from Central and Northern Europe. The full family is available at our webfont service partners TYPEKIT - FONTDECK or contact us for self-hosting @font-face.

Abril won Gold at ED-Awards 2012 and was selected in Tipos Latinos 2012 and Bienale Brno 2012. i

styles & scripts

about the typeface

Abril Text LightAbril Text Light ItalicAbril Text RegularAbril Text ItalicAbril Text SemiboldAbril Text Semibold ItalicAbril Text Bold Abril Text Bold ItalicAbril Text Extrabold Abril Text Extrabold Italic

Abril Display RegularAbril Display ItalicAbril Display SemiboldAbril Display Semibold ItalicAbril Display BoldAbril Display Bold ItalicAbril Display ExtraboldAbril Display Extrabold ItalicAbril Display BlackAbril Display Black ItalicAbril Fatface RegularAbril Fatface Italic

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

Page 2: Abril - Type Together · Abril A contemporary interpretation of a classic newsface, by TypeTogether Conceived specifically for intensive editorial use, whether it is in newspapers,

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

abril text, character set sample

A B C D E F G H I J K LMNOPQRSTUVWXYZÆŒÞĦThctstðābcdefĝhijklmnőpprştŭvwxyzßæąĸłabcdefghijklmnopqrstvwxyzŒŞ3€{[(*&¶‡,:@?!§«»-)]}€£$¥012345678922‰01234v567899jr

Page 3: Abril - Type Together · Abril A contemporary interpretation of a classic newsface, by TypeTogether Conceived specifically for intensive editorial use, whether it is in newspapers,

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

abril display, character set sample

ABCDEFGHIJKLMNOPQQRRSTUVWXYZÆŒÞŖ ĐŊ Thviabcdefghijklmnopprstuvwxyzßæąĸłgickşǿfíŷ�wishttfb∫L№1234567890OM{[(*&¶‡,:@?!§«»-)]}€£$¥0123456789I‰012345678RT“”

Page 4: Abril - Type Together · Abril A contemporary interpretation of a classic newsface, by TypeTogether Conceived specifically for intensive editorial use, whether it is in newspapers,

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

abril text & display, poster specimen

“Ruderklub Frankonia”Schriftzeit

arrows & borders & ornaments

inspired by Scotch Romans M

alternate numbers for fun: 0123456789!

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

small capitals

vast support

poštovní zásilka

0

Page 5: Abril - Type Together · Abril A contemporary interpretation of a classic newsface, by TypeTogether Conceived specifically for intensive editorial use, whether it is in newspapers,

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

abril display, poster specimen

“Frebbies”

The gift shop

Dr. DoolittleAbril Black

service includedGentlemen

masterclass

Page 6: Abril - Type Together · Abril A contemporary interpretation of a classic newsface, by TypeTogether Conceived specifically for intensive editorial use, whether it is in newspapers,

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

Page 7: Abril - Type Together · Abril A contemporary interpretation of a classic newsface, by TypeTogether Conceived specifically for intensive editorial use, whether it is in newspapers,

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

abril text, text settings latin

8/10 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, 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 a red and black border. But there have been notable upholders of

8/10 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, especially in non-English language publishing – the Parisian house Gallimard still issues its Collection Blanche of clas-sic 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 a red and black border. But there have been notable upholders of the tradi-

8/10 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, 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 a red and black border. But there have been nota-

8/10 pt (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, 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 a red and black border. But there have

10/12 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 cov-ers. The tradition continued into the twentieth century, 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

12/14 pt (semibold & semibold italic)

Once upon a time, book jack-ets were almost all pure typo-graphic compositions: these were the books one could not judge by their covers. The tradition continued into the twentieth century, especially in non-English language pub-lishing – the Parisian house

10/12 pt (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 contin-ued into the twentieth century, especially in non-English lan-guage publishing – the Parisian house Gallimard still issues its Collection Blanche of classic French literature in a jacket that

12/14 pt (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 cov-ers. The tradition continued into the twentieth century, especially in non-English language publishing – the

10/12 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, 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

10/12 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, 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

12/14 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, 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

12/14 pt (light & light italic)

Once upon a time, book jack-ets were almost all pure typo-graphic compositions: these were the books one could not judge by their covers. The tra-dition continued into the twen-tieth century, especially in non-English language publishing – the Parisian house Gallimard

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

Page 8: Abril - Type Together · Abril A contemporary interpretation of a classic newsface, by TypeTogether Conceived specifically for intensive editorial use, whether it is in newspapers,

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

abril text, text settings latin - czech

www.type-together.com | © 2013 all rights reserved

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

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

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

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

10/12 pt (semibold & semibold italic)To nejalterantivnější, nejexperi-mentálnější a možná i nejodvážnější v českém profesionálním divadle se dnes odehrává především na jevištích divadel pro děti a mládež. Začaly to kdysi Buchty a loutky svými pohádkami pro zlobivé děti. Koncepcí divadla pro celou rodinu se o něco podobného pokoušeli Hana Burešová s Janem Bornou v Divadle v Dlouhé. Razantně do trendu odvážného, experimentál-

12/14 pt (semibold & semibold italic)

To nejalterantivnější, nej-experimentálnější a možná i nejodvážnější v českém pro-fesionálním divadle se dnes odehrává především na jevi-štích divadel pro děti a mlá-dež. Začaly to kdysi Buchty a loutky svými pohádkami pro zlobivé děti. Koncepcí divadla pro celou rodinu se o něco

10/12 pt (bold & bold italic)To nejalterantivnější, nejexperi-mentálnější a možná i nejodvážněj-ší v českém profesionálním divadle se dnes odehrává především na jevištích divadel pro děti a mládež. Začaly to kdysi Buchty a loutky svými pohádkami pro zlobivé děti. Koncepcí divadla pro celou rodinu se o něco podobného pokoušeli Hana Burešová s Janem Bornou v Divadle v Dlouhé. Razantně do trendu odvážného, experimentál-

12/14 pt (bold & bold italic)

To nejalterantivnější, nej-experimentálnější a možná i nejodvážnější v českém pro-fesionálním divadle se dnes odehrává především na jevi-štích divadel pro děti a mlá-dež. Začaly to kdysi Buchty a loutky svými pohádkami pro zlobivé děti. Koncepcí divadla pro celou rodinu se o něco

10/12 pt (regular & italic)To nejalterantivnější, nejexperi�mentálnější a možná i nejodvážnější v českém profesionálním divadle se dnes odehrává především na jevištích divadel pro děti a mládež. Začaly to kdysi Buchty a loutky svými pohádkami pro zlobivé děti. Koncepcí divadla pro celou rodinu se o něco podobného pokoušeli Hana Burešová s Janem Bornou v Divadle v Dlouhé. Razantně do trendu odvážného,

10/12 pt (light & light italic)To nejalterantivnější, nejexperimen-tálnější a možná i nejodvážnější v českém profesionálním divadle se dnes odehrává především na jevištích divadel pro děti a mládež. Začaly to kdysi Buchty a loutky svými pohádka-mi pro zlobivé děti. Koncepcí divadla pro celou rodinu se o něco podobné-ho pokoušeli Hana Burešová s Janem Bornou v Divadle v Dlouhé. Razantně do trendu odvážného, experimentál-

12/14 pt (regular & italic)

To nejalterantivnější, nejexpe�rimentálnější a možná i nejod-vážnější v českém profesionál-ním divadle se dnes odehrává především na jevištích divadel pro děti a mládež. Začaly to kdysi Buchty a loutky svými pohádkami pro zlobivé děti. Koncepcí divadla pro celou

12/14 pt (light & light italic)

To nejalterantivnější, nejexpe-rimentálnější a možná i nejod-vážnější v českém profesionál-ním divadle se dnes odehrává především na jevištích divadel pro děti a mládež. Začaly to kdysi Buchty a loutky svými pohádkami pro zlobivé děti. Koncepcí divadla pro celou

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

Page 9: Abril - Type Together · Abril A contemporary interpretation of a classic newsface, by TypeTogether Conceived specifically for intensive editorial use, whether it is in newspapers,

www.type-together.com | © 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

Page 10: Abril - Type Together · Abril A contemporary interpretation of a classic newsface, by TypeTogether Conceived specifically for intensive editorial use, whether it is in newspapers,

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 (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

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

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

Page 11: Abril - Type Together · Abril A contemporary interpretation of a classic newsface, by TypeTogether Conceived specifically for intensive editorial use, whether it is in newspapers,

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

abril text, opentype features

abcdefghijklmnop qrstuvwxyzABCDEFGHIJKLMNO PQRSTUV123456789123456789

abcdefghijklmnop qrstuvwxyzABC2EFGHIJKLMNO PR0TUV123456789123456789

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

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

small caps1234 charming creatures 1234 charming creatures(abc} n*/ d&e 567890€£ (abc} n*/ d&e 567890€£

all small caps RADIOLARIANS ? radiolarians ?

all caps¿para texto? ¿PARA TEXTO?1708 a–b [ende] 1708 A–B [ENDE]

ligatures aufbau, fjord, affiliate aufbau, fjord, affiliate

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

numerator / denominator 0123456789/0123456789 0123456789/0123456789

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

tabular figures & slashed zero 00123456789£$¢€¥ƒ 00123456789£$¢€¥ƒ

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

contextual alternates

Page 12: Abril - Type Together · Abril A contemporary interpretation of a classic newsface, by TypeTogether Conceived specifically for intensive editorial use, whether it is in newspapers,

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

abril display, opentype features

all caps¿para texto? ¿PARA TEXTO?1708 a–b [ende] 1708 A–B [ENDE]

ligatures aufbau, fjord, affiliate aufbau, fjord, affiliate

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

numerator / denominator 0123456789/0123456789 0123456789/0123456789

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

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

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 2 ABCDEFGHIJKLMN ABCDEFGHIJKLMNOPRSTUVWXYZ OPRSTUVWXYZ

stylistic set 3

stylistic set 1

0123456789 12345678

0123456789 0123456789

stylistic set 4 0123456789 12345678

stylistic set 5

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abril fatface, character set, uprights & italic

� � � � � � � , - . : � � � � � � � A B C D E F G � � � � � � � O P � R � T � V � � � � a b c d e f � g � h i j � k l m n o p � r s t u v w x y � � � � � � � � � � � � � � � � 1 � � � � � � � 9 � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � fi � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �

� � � � � � � � � � � � � � � � � � A � � � � F � � I � � � � � � � � � � � � � � � � � � a b c � e f � g h i � � k l � � o p � r s t � v � � y � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �

Page 19: Abril - Type Together · Abril A contemporary interpretation of a classic newsface, by TypeTogether Conceived specifically for intensive editorial use, whether it is in newspapers,

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language support

the designersVeronika Burian, originally studied Industrial Design, before graduating with distinction from the MA in Typeface Design in Reading, UK, in 2003. After working as full-time type designer at DaltonMaag in London, she co-founded with José Scaglione the independent type-label TypeTogether. She also continues to give lectures and workshops at interna-tional conferences and universities. Several of her typefaces have been recognised by inter-national competitions, including ED-Awards and TDC.

José Scaglione is an Argentinian graphic and multimedia designer, and a graduate from the MA in Typeface Design at the Uni-versity of Reading, UK. He has been working in branding, editorial design and multimedia projects since 1995. José is co-founder of the independent type foundry TypeTogether, and additionally leads his own design studio, con-sults and lectures on typography and graphic communication matters. He also teaches typography at post-graduate level at the Na-tional University of Rosario.

Abril, Type Design: Veronika Burian & José Scaglionewww.type-together.com/abril

© TypeTogetherAbril® is a registered trademark of TypeTogether. All rights reserved.

For further information, pricing and ordering,please visit www.type-together.com

upgrade from single weight to full bundleBuy a single weight (or more) now and get reimbursed if you buy the whole font bundle later at any time. This is a great way to explore a new typeface without full commitment. To take advantage of this, please write and email to [email protected]

custom workWe offer custom type solutions tailored to the customer’s needs. This may include new type-faces developed from scratch, font modifica-tions of existing typefaces, extension of lan-guage support or creation of logotypes. Please contact us for details.

webfontsWe have partnered up with Typekit, Fontdeck, WebINK and Fonts.com that are able to reliably serve our fonts to your websites and provide you with the necessary technical support. Self-hosting is availabe for websites with over 2 million pageviews per month. Please contact us, if you wish to use this service. [email protected]

available font sets:

Abril Text

Abril Display

Abril Fatface

Pro

Bas

Lat

LatPro

Lat

Lat supported languages include (latin): Afrikaans, Albanian, Anglo-Saxon, Arbëresh, Asturian, Austrian, Basque, Belarusian, Bosnian, Breton, British, Catalan, Chamorro, Corsican, Crimean Tatar, Croatian, Czech, Dalecarlian, Danish, Dutch, Esperanto, Estlandish, Estonian, Faroese, Finnish, French, Friulian, Galician, German, Gilbertese, Greenlandic, Guaraní, Hawaiian, Hungarian, Icelandic, Irish, Italian, Karakalpak, Kashubian, Kurdish, Latin, Latvian, Leonese, Lithuanian, Malagasy, Maltese, Northern Sami, Norwegian, Polish, Portuguese, Romani, Romanian, Scots Gaelic, Serbian, Slovenian, Slovakian, 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.