Hate & Papelli

This October we are pleased to release two very different designs: One is for Halloween or horror movie posters, another is for everyday design applications. 

As far as typefaces go, Hate and Papelli couldn’t be more different – at least at first glance. Where Hate’s design is topical, Papelli is almost timeless. Hate is a display typeface designed especially for Halloween, although it could be used year-round on horror movie posters. Papelli, on the other hand, has been created for use in a wide variety of everyday advertising, corporate, and editorial design applications. Papelli is an informal sans, with a feminine touch. In terms of its appearance, the typeface is almost an upright italic. While Hate isn’t an everyday design, the font has been developed with the same degree of consideration we’d put into a superfamily. Even fonts that won’t be used in complex documents deserve to be engineered at a high standard. Hate is from Gaetan Baehr and Jeremie Hornus. Papelli was designed by Alisa Nowak and Julie Soudanne. 

Although Hate is a single-weight design, it is far from just a simple font. The character set contains 510 glyphs, and each letter has three different variants available. Combined with the font’s OpenType features, this means that if you type the same letter three times (e.g., ‘RRR’), you’ll see three different instances. There’s more to Hate than the spooky-looking hairs or roots sprouting out from each glyph; looking at Hate’s design, the typographic sophistication quickly becomes apparent. The letters are top-heavy, and this plays out both in terms of weight and width. A strong amount of stroke contrast is in play in the characters, too. Hate is somewhat condensed, with narrow counters. Its drawing style is rather rough, with sharp, thin stroke endings. There’s some experimentation with the font’s internal heights; letterforms don’t share exact baselines, x-heights, cap-heights, or ascender and descender settings. Character proportion is a bit caricatural, too. However, there’s more internal order to the design than you’ll see at first glance. Most capital letters and numerals rise to a common height, for example.

Papelli is a friendly family with six styles that range from Extralight to Extrabold. Many of Papelli’s uppercase letters have playful features. For instance, the bottom diagonals on ‘K’ and ‘R’ have cursive out-strokes, and the tail on the ‘Q’ is very energetic. Papelli’s other diagonals are curved, rather than straight; because of this, ‘A’, ‘V’, ‘W’, and ‘Y’ have a softened feeling. While the top half of Papelli’s ‘S’ has a curve that matches the ‘C’, its bottom counter is more open. Even more so than with the uppercase, Papelli’s lowercase letters are inspired by cursive writing: the ‘a’ is single-storey, and the ‘v’ and ‘w’ have in-strokes on their left-hand sides. Rounded letters, like the ‘o’, have diagonal stress. The x-height is high, and the lowercase’s ascenders are slightly higher than the cap height. Numerals fall slightly below the height of the uppercase letters. Many strokes end in mild diagonal shears, rather than in pure horizontal cuts, and verticals in Papelli’s lowercase have visible out-strokes. The lowercase ‘g’ has a Danish-style truncated-bowl for a descender. A more conventional single-storey ‘g’ is also available in a stylistic set. Special attention has been paid to Papelli’s non-alphabetic characters, too, like the beautifully-solved ampersand and paragraph symbols.