Earlier this month, García Media presented its redesign of Handelsblatt, one of Germany’s major financial newspapers. Retype proudly announces that the main type family in the daily’s new design is Guyot, a contemporary reworking of the typefaces cut by sixteenth-century punchcutter François Guyot.
Mario García’s agency, headquartered in New York and Buenos Aires, has been recognized as one of the world’s leading companies specializing in newspaper and magazine desig … > Read article
In November of 2019, Retype introduced Dejanire Headline, a roman type family loosely inspired by an anonymous display typeface found in a type specimen by Claude Lamesle, published in Paris in 1742.
In the months that followed, Ramiro Espinoza worked to expand the system with Dejanire Sans, a refined, multipurpose sans family consisting of twelve fonts. Its compact proportions and neutral appearance make Dejanire Sans especially well suited for corporate websites and commercial … > Read article
Dejanire is a type family loosely inspired by an anonymous display typeface found in a type specimen published by Claude Lamesle, published in Paris in 1742. It takes its name from Deianira, a Calydonian princess in Greek mythology and the wife of Heracles.
The font originally introduced under the name of Gros canon deux points de gros romain was neither handsome nor elegant, suggesting that its punchcutter wasn’t a very talented artisan. In spite of this, Ramiro Espinoza saw e … > Read article
We proudly introduce Dan Milne’s Tasman — a sturdy, warm type family that is neither mechanical nor fragile. Originally published by OurType, Tasman has found a new home at Retype.
This type family borrows its name from Abel Janszoon Tasman (1603–1659), a Dutch seafarer, explorer, and merchant who mapped parts of Australia in 1642, including Van Diemen’s Land (now known as Tasmania).
Milne first conceived Tasman as a typeface for newspapers. This influenced the proportio … > Read article
In May 2017, Retype Foundry released Guyot Headline; a few months later the family was expanded with Guyot Text. Designer Ramiro Espinoza was praised for drawing a sharp and economical type family that combined the elegance of its historic model with contemporary dynamism and efficiency. Inspired by French punchcutter François Guyot’s 16th-century typefaces, the Guyot family was well received by colleagues and clients alike, and in early 2018 it was awarded a Certificate of Ex … > Read article
Reiher Headline is a type family inspired by two fonts displayed in the famous Ploos van Amstel specimen, first printed in Amsterdam in 1767.
Ramiro Espinoza’s affinity for Baroque types and his desire to study their characteristics in detail were the driving forces behind this new type family. As is typical of his revivals, Reiher Headline does not faithfully follow the forms of historical sources. Espinoza made numerous updates and modifications to the design so that it woul … > Read article
In the beginning of 2018 and after a meeting in which we assured him we will assist him with the production, Jan Middendorp decided time was ripe for a reprint the 2004 edition of Dutch Type, out of print and one of the most sought after second hand typography books of the 21th century. After a very successful crowdfunding campaign it was clear that Dutch Type reprint edition will become a reality.
It took us some months of restoring old backups and replacing corrupted image file … > Read article
We are super proud to announce our type family Guyot, designed by Ramiro Espinoza, has been awarded with a Certificate of Typographic Excellence by the prestigious Type Directors Club.
Guyot will be included in the Annual of the Type Directors Club, The World’s Best Typography, and will also be shown at the 64th Awards Exhibition (TDC64) in New York City.
Beside this New York event, it will also be included in 8 identical exhibitions that will tour dozens of cities in the Unite … > Read article
I met Piet Jacobs in November 2017, during the Dutch ‘art of the book’ fair (Boekkunstbeurs) in Leiden. He was in one of the stands, selling a compelling selection of fine Dutch type specimens and booklets. I noticed among them A tot Z, the rare autobiography of Paul H. Rädisch, the famous punchcutter of Jan van Krimpen’s typefaces. After a brief conversation, I purchased the book—a fine green clothbound volume.
It was only when had I arrived home and had time to begin r … > Read article