Most of the Indian Type Foundry’s typefaces are part of larger font families, but not every design concept needs multiple weights or widths. Many display faces capture a unique message in just a single font variant, or with a small palette of options. Today, ITF is pleased to announce the release of three separate display types: Rosaline, License, and Thug. Rosaline and License are both single-font designs – indeed, License is even just a single alphabet. Thug is available in two complimentary styles: Plain and Rough. All three typefaces were created in Paris. Rosaline and Thug are the work of Jérémie Hornus, License is from Jean-Baptiste Morizot.
Rosaline is a script face inspired by brush-lettering. Its wide letterforms are have a casual appearance and exhibit a high degree of stroke contrast. As Rosaline is a connected script design, its letters connect to one another along the line … even the ‘@’ connects, which creates great-looking e-mail address settings. Text set in Rosaline looks like it has been written quickly. Everything bounces a little bit, and its overall feeling is quite whimsical. The numerals in the typeface are oldstyle figures, which helps Rosaline differentiate itself a bit from many other informal scripts on the marketplace. We see a broad area of potential use for Rosaline. Naturally, fonts like this are go-to solutions for gastronomic design. Rosaline could be used to brand the identities of shop, cafés, or restaurants. However, holiday cards and other invitations would be great applications for Rosaline, too.
In many countries, including India, there isn’t a standardised, nationwide system of lettering for use on motor vehicle license plates. Drivers and license plate sellers are left to their own devices, with mixed results. Our new License typeface fills a need for good lettering that is both instantly legible and well designed. Car and bike license plates are far from the only area in which License can be used, however. We think License is an excellent choice for signage, too, or really any environment where signs combining letters and numbers need to be created (such as building addresses). License is an all-caps monospaced design, which means that each character in the font shares the same width. License’s design is clean-cut and industrial-looking: these are letterforms that we hope will make engineers and machine-manufactures happy, as well as designers.
For usage cases like license plates or address signage, the design of a typeface’s numerals are of supreme importance. While License only includes one set of letters, the font offers users three different sets of numerals. The standard numerals are the most classic-looking; they have relatively closed apertures and no visible stroke contrast. The ‘0’ has a slash through its counter, and the ‘1’ has a diagonal beak on its top and feet on its bottom. The numerals accessible through Stylistic Set 1 are more streamlined in appearance. Their counters are much more open. Due to its top half, this alternate ‘3’ is significantly different from the ‘8’; the ‘0’ has a diamond shape inside its counter to help differentiate it from a capital ‘O’, too. The ‘1’ has a beak on its top, but no additional stroke at its base. The main diagonal stroke of the ‘7’ is curved. In both the standard set of numerals and in Stylistic Set 1, the ‘6’ and the ‘9’ each have different forms so that readers can differentiate between them quickly. The numerals accessible through Stylistic Set 2 are more like License’s standard numerals, but feature added stroke contrast and a few serifs (such as on the ‘2’, ‘4’, ‘5’, and the ‘7’). This alternate ‘0’ has a dot inside its counter. The beak on this ‘1’ is flat, and parallel with the base. In Stylistic Set 2, the forms of the ‘6’ and the ‘9’ are related to each other, too.
The two Thug fonts – Thug Plain and Thug Rough – are heavy slab serif designs that are primarily designed for posters. The thickness of their strokes and serifs are their predominate feature. In fact, it is difficult to imagine how this typeface could be heavier! Despite being such a dark slab serif, Thug channels contemporary design ideas more than it calls back to poster-sized wood type from the nineteenth century.
The Thug Rough font offers more than a simple filter overlaid on top of Thug Plain’s letterforms: Thug Rough’s character set includes 155 more glyphs. In Thug Rough, each letter comes in three versions, every version having a unique roughed-up effect. This way, users can avoid having headlines where letters with the exact same treatment appear close together, which would ruin the ‘rough’ illusion. These alternates are made possible using open-type substitution features and are the default setting. The feature helps in pattern reduction making the rough feel more natural and realistic.