Eurosoft, Recia, Zahrah, and KunKun: Four new Latin families from international designers

Four varied families for the Latin script

This October, the Indian Type Foundry is pleased to present four new typeface families for the Latin script: Eurosoft, Recia, Zahrah, and KunKun. Each is quite a different in terms of its design – one of them even references a centuries-old style of type and printing. Yet, they are all thoroughly 21st century products, and they come from around the world. Two were designed in France, while the others hail from India and Spain. All four are optimised for today’s communication needs. They look excellent in print, but there’s no reason they shouldn’t shape the text of your next websites or app, either. Have a look at our newest offerings: 


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For over a decade, graphic designers have been using rounded typefaces to signify a brand’s friendliness; Eurosoft fits right into this. Eurosoft is a large sans serif family with 10 styles. It has five weights on offer, each with a companion Italic. The typeface was designed in Paris by Jeremie Hornus and Clara Jullien. As far as its appearance goes, Eurosoft is a technical-style typeface. Its letterforms are very square-like in terms of their forms, despite all of the typeface’s stroke terminals being rounded-off at their edges. This terminal treatment is more of a softer rounding-off than a sausage-style letterform. The stroke contrast in Eurosoftis very low; in fact, Eurosoft’s characters appear quite monolinear. Much of the typeface has been strongly simplified, for instance the lowercase a, g, m, n, r, and u have no spurs. The capital E, F, V, W, Y, and Z all feature corners that are more rounded than is common.

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Eurosoft’s proportions include short ascenders and descenders, as well as diacritical marks that are almost flat. Lines of type in the fonts can be set tightly up against each other. The typeface’s Italic fonts are in fact ‘oblique’ designs, which helps strengthen the overall technical feeling of the family. Eurosoft’s character sets include 386 glyphs, and the fonts will work particularly well in either corporate identity projects or in editorial design usage.

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Carlos De Toro is a Spanish designer, based between Barcelona and Logroño, and Recia is his debut typeface with ITF. Like Eurosoft, the Recia family also comes in 10 styles, but its five Italic fonts are ‘true-italic’ designs, which feature a cursive-structure in the letters. Recia is a contemporary-style serif family.

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Its x-height is pretty high, as can be expected from today’s typefaces. The characters are slightly condensed in terms of their form, and their strokes are rather low-contrast. In the lighter weights, hardly any stroke contrast is visible between the thick and thin portions of the letters; in the Bold weights, stroke contrast is clear, but the thinner strokes are still quite chunky. There is no danger that they’ll break away in smaller point sizes. The axis of stress within Recia’s letters is vertical, and the typeface’s serifs all take wedge-shaped forms. Each font contains 516 glyphs, and the character set offers users multiple figure styles via OpenType features. The default numeral versions are proportional oldstyle figures. Recia is optimised for use in running text, particularly in less-than-optimal printing environments were sturdy letterforms are needed.

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Zahrah is a multi-purpose text face from the Paris-based designer Yoann Minet. This Didone-style serif family includes ten styles, too. Each weight in the Zahrahfamily includes 395 glyphs. Like other Didone types, Zahrah is characterised by extreme differences between its thick and thin strokes.

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Zahrah may be used for a wide variety of applications, from fashion or cosmetic labels to newspaper text, and from academic publications to the annual reports of Fortune 500 companies. All of Zahrah’s capital letters are short; for a text face, there is barely any differentiation between the size of the uppercase and lowercase letters – they each virtually blend into one another inside a line of text. Zahrah’s letterforms all also appear somewhat extended. The italic characters, especially, are rather wide, with forms that feel open and round. Zahrah’s design includes unexpected details that lighten up text set with the face. For example, Zahrah’s numerals include a more curved skeleton than is normal; the bottom-left of the capital Q is open, and the upright lowercase g has a tall, curly ear.

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The family’s letterforms are full of little ball terminals, too, which get particularly playful in the Italic fonts. Even the typeface’s diacritics have personality: Zahrah’s acute, grave, caron, and circumflex all each made up of gently curing strokes, rather than straight lines.


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While KunKun is the smallest of October’s releases, it may be the most fun of the four families debuting this month. The typefaces is from Hitesh Malaviya, who also developed Brahmos and Quantum for ITF. It is the latin counterpart to our earlier KunKun Devanagari family designed by Neha Bahuguna in 2011. KunKun’s design is something of a ‘handwritten sans.’ Each letter looks as if it has been written with a single monolinear stroke. Unlike Eurosoft, all of KunKun’s terminals are fully rounded-off; indeed, they are kind of sausage-shaped. Three font styles are available – Light, Regular, and Bold – and each contains 406 glyphs. The looped descenders on the lowercase g, y, and z strengthen KunKun’s informal appearance. These are particularly nice touches; they make the z into a two-storied letter, for instance. More standard-looking variants of g, y, and z are available via an OpenType feature in a Stylistic Set.

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Despite KunKun’s informality, its basic proportions are in keeping with many other ITF text faces; KunKun features a large x-height and ascenders that rise above the uppercase letters. The descenders do not appear to be so deep, although they are optically as long as the ascenders. Special characters like the &, @, and § all take standard, typographic forms. Of the alphabet characters, only the H is particularly whimsical. Each KunKun font also includes two alternate forms for the capital Q, and an optional closed-form 8; the standard version of the 8 is open at its top-right. 

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