Cosmetic is a very high-contrast family of sans serif fonts. As its name implies, it has been developed for exquisite applications, like the corporate identity of fashion or beauty product firms, or for cosmetic product packaging design. For centuries, the fashion world has looked to France for inspiration. Cosmetic does not disappoint; it is a ‘French’ typeface, designed by Jean-Baptiste Morizot. Aside from its general elegance, the most gallic part of Cosmetic is its lowercase ‘g’, whose form calls back to some early 19th century Didot typefaces. Each font includes a more standard-looking ‘g’ as a stylistic alternate, as well as a narrower ‘f’ that may be automatically substituted into the text via a Contextual Alternates OpenType feature, to help it avoid colliding with certain letters that might follow it. Cosmetic’s letterforms appear slightly extended when compared with many other typefaces. This gives the typeface’s details the room they need to shine. The family includes five weights, ranging from a quite delicate Thin to a Bold whose heavy, thick strokes elegantly paint a strong contrast with the letters’ thins.
Family Name | Cosmetic |
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Designer(s) | Jean-Baptiste Morizot |
Release Date | September 1, 2019 |
Available Style | Thin, Light, Regular, Bold, Black |
Classification | Sans |
Supported Languages | Afar, Afrikaans, Albanian, Aranese, Aromanian, Aymara, Azeri (Latin), Basque, Bemba, Bislama, Bosnian, Breton, Catalan, Chamorro, Cheyenne, Chichewa, Chuukese, Cofán, Cornish, Crimean Tatar, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Finnish, French, Frisian, Friulian, Galician, Ganda, German, Gikuyu, Greenlandic, Guaraní, Guarani , Gwich’in, Haitian, Hawaiian, Hungarian, Icelandic, Ido, Igbo, Indonesian, Interlingua, Irish Gaelic, Italian, Javanese, Karelian, Kashubian, Kinyarwanda, Kiribati, Kirundi, Kituba , Kurdish (Latin), Ladin, Latvian, Lithuanian, Luxemburgish, Malagasy, Malay, Maltese, Maninka, Manx, Māori, Marshallese, Náhuatl, Nauruan, Navajo, Ndebele (Northern), Ndebele (Southern), Norfuk , Norn, Norwegian (Bokmål), Norwegian (Nynorsk), Nyanja, Occitan, Oromo, Otomi, Palauan, Papiamento, Pedi , Polish, Portuguese, Quechua, Rarotongan, Rhaeto-Romanic, Romaji, Romani, Romanian, Sámi (Inari), Sámi (Lule), Sámi (Northern), Sámi (Southern), Samoan, Sango, Sardinian, Scottish Gaelic, Serbian (Latin), Seychelles Creole, Shona, Silesian, Slovak, Slovene, Somali (Latin), Sorbian, Sotho, Spanish, Swahili, Swati, Swedish, Tagalog (Filipino), Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tsonga, Tswana, Turkish, Tuvalu , Twi, Ulithian, Umbundu , Veps, Vietnamese, Welsh, Wolof, Xhosa, Zulu |
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Grumpy
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One morning, when Gregor Samsa woke from troubled dreams, he found himself transformed in his bed into a horrible vermin.
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He lay on his armour-like back, and if he lifted his head a little he could see his brown belly, slightly domed and divided by arches into stiff sections. The bedding was hardly able to cover it and seemed ready to slide off any moment. His many legs, pitifully thin compared with the size of the rest of him, waved about helplessly as he looked. The Metamorphosis is a short story, sometimes regarded as a novella, by Franz Kafka, first published in 1915. It has been cited as one of the seminal works of fiction of the 20th century and is studied in colleges and universities across the Western world.