Picket is a family of very narrow sans serif fonts designed for use in display typography. They feature an enormous x-height; the lowercase letters are almost as tall as fonts’ capitals. In each of the family’s six weights, the letterforms are drawn with monolinear strokes. These decisions, combined with the general compressedness of the typeface, create a strong vertical-stroke rhythm. Indeed, this verticality and its repetition is underscored by the family’s name: Picket (as in a ‘picket fence’). Picket’s uppercase letters are quite top-heavy; the upper halves of ‘B’, ‘E’, ‘F’, ‘H’, ‘K’, ‘M’, ‘P’, ’R’, ‘X’, and ‘&’ appear significantly larger than normal. This element is present in the numerals, too – especially in the ‘3’, ‘5’, ‘8’, and ‘9’. The lowercase ‘a’ is double-storey, while the ‘g’ is single-storey. The right-hand side of the ‘g’ also has a short flag-like ascender. Each of the fonts contain an alternate ‘j’, which can be automatically substituted into text via the Contextual Alternates feature whenever it is needed to prevent a collision with the glyph coming before it. Picket should be used in very large sizes, because of its narrow width. The typeface is an excellent selection for use in branding, corporate identity design, as well as in editorial and packaging design. Picket is the work of Inga Plönnigs, an independent type designer in Berlin and a graduate of the Type & Media program at the Royal Academy of Art (KABK) in The Hague.
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Family Name | Picket |
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Designer(s) | |
Release Date | February 14, 2020 |
Available Style | Extralight, Light, Regular, Medium, Semibold, Bold |
Classification | Display, 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, Ga, 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.