We have just added four additional Latin-script typeface families to the Indian Type Foundry library: Deccan, Quilon, Touche, and Vyoma. Each of these designs is unique, and we hope that you’ll find great uses for them. Below are a few details about the special aspects of the four designs.
Deccan (Latin) is a lovely slab serif with soft terminals. Not only are the typeface’s stroke endings rounded, one could also be described as friendly-looking – or even cute! Deccan’s letters are built around a vertical contrast axis. The forms used throughout the design simultaneously call the most interesting 19th century British modern types to mind, as well as quality 1970s digital faces. At its core, Deccan is a text face. However, the Bold weight’s letterforms appear so puffed up that this font can actually appear quite cuddly. The Bold just has to be used in editorial design and on packaging. The Light weight makes a fine headline choice as well; all of Deccan Light’s characters in appear monolinear, but as the family’s weights increase, so does the amount of stroke contrast visible in the family’s letters. Each of the five Deccan styles available is the work of Ramakrishna Saiteja, who also designed the Deccan Telugu family that we released at the beginning of the June.
When it comes to Deccan’s numbers, the great curves that make up their design are instantly apparent. Often, numbers are overlooked by designers; here they really shine. Both the numerals and the lowercase letters are full of ball terminals – another one of Deccan’s interesting characteristics. Each font within the Deccanfamily includes 383 glyphs. The term “Deccan” itself refers to a large plateau in India that makes up most of the southern part of the country.
Quilon (Latin) is also a relative of an Indian-script typeface we recently released: Quilon Malayalam. Both Quilon and Quilon Malayalam are the work of ITF’s Jonny Pinhorn. In terms of its design, Quilon is a high-contrast sans serif family. Like Deccan, it’s design features also transcend the centuries – elements of both 19th century English grotesques and 1990s postmodernism are present in its letterforms. Looking at the distant past, you can find parallels in the curls on Quilon’s uppercase Q and lowercase a, g, or r that appear very much like early grotesques, while the question, “what happens to a modern serif face’s forms if you strip off all the serifs?” is very postmodern.
In terms of the best areas for use, Quilon is most suited for display typography. As the weights progress throughout the four fonts in the family, their stroke contrast increases dramatically. For text set in the Regular weight, the Semibold weight may be the best choice to use for emphasising individual words; the family’s Bold weight is best reserved for headlines. Each font in the family includes 391 glyphs. “Quilon” is the previous name for Kollam, a city located in Kerala, India.
The Touche typeface takes its name from the French word for “touch,” which is fitting, as the best way to describe Touche is to call it a geometric sans with a special touch. Touche is not made up of the standard geometric forms found in many other typefaces of that genre; the internal strokes on the G and the Q, for instance, are very elongated. A top stroke has been added to the J, without forcing the glyph to become any wider. The S hugs the space inside of it; its arms wrap around the letter’s counterforms lovingly. The lowercase j has been reduced to its barest, most minimal nature, but the lowercase t does not follow suit and take the form of a cross – its bottom has an outstroke. Touch has two especially nice punctuation marks, too: the ? and the @. All of the family’s letterforms remain optically monolinear, even in the Bold weight. Like Quilon, Touche was designed at ITF by Jonny Pinhorn.
Joana Correia’s Vyoma is a friendly-looking typeface, similar to Deccan and Touche. It is an outstanding humanistic sans: its letterforms appear both playful and nice, and the stroke contrast is pretty low in all four weights of the family. Several letters (start your search with the capital R!) feature curved out-strokes. These are unusual for a sans serif design, but they definitely add personality. Vyoma has “swing” to it; just take a look at the capital Q or the lowercase b. On some letterforms, strokes end in vertical shears; others are cut off diagonally. The counterforms in this design are very open, and they help create words that are highly legible and a joy to read. Vyoma is truly an all-around sans serif family, and an excellent choice for use in a very wide variety of applications, including corporate identity, signage, and text (onscreen and in print). Each font contains 416 glyphs. In Hindi, “vyoma” is a word for the sky.