Instagram Story Save
Free Save Instagram Story, Reels, Photo, Video, Highlights, IGTV online
@nike
BREAKING4 — identity, logo, bespoke timer typeface, for Faith’s record breaking attempt featured in the Breaking 4 zine and poster by @cameronstrand created by @nike and @somethingspecialstudios
CD @some__days__
@nike
BREAKING4 — identity, logo, bespoke timer typeface, for Faith’s record breaking attempt featured in the Breaking 4 zine and poster by @cameronstrand created by @nike and @somethingspecialstudios
CD @some__days__
@nike
BREAKING4 — identity, logo, bespoke timer typeface, for Faith’s record breaking attempt featured in the Breaking 4 zine and poster by @cameronstrand created by @nike and @somethingspecialstudios
CD @some__days__
@nike
BREAKING4 — identity, logo, bespoke timer typeface, for Faith’s record breaking attempt featured in the Breaking 4 zine and poster by @cameronstrand created by @nike and @somethingspecialstudios
CD @some__days__
@louisvuitton @pharrell
Louis Vuitton Men’s SS25 show’s visual identity.
Made with @convoy.
[EB010]
Meet EB Venezia, by Alan Madić and Clara Dousson, a typeface inspired by the work produced for Olivetti and their typewriters. Designed in 1976 for the TES 501 electronic typewriter, a typeface named “Venezia” served as the basis for Madić and Dousson’s new typeface.
After an initial version, called “Extra” and designed whilst they were students, Madić and Dousson developed the design further into these smooth, rounded shapes, contrasting with the rigidity of typefaces for typewriters. They have developed a unique system of units allowing the typeface to have proportional spacing whilst remaining constrained within a precise grid, giving EB Venezia a pleasant texture for continuous reading.
The availability of several weights, from light to bold, makes it suitable for use across a wide range of media, from signage and book design to logos.
The typeface is still in development and will have an extended character set, fitting Électro-bibliothèque’s standard. Italics are also in production and will be ready for the final release, scheduled for the end of 2026.
Called “Avant-première”, our beta program allows you to try and buy our upcoming typefaces.
Buy the typefaces in beta version at a discount price, receive the complete font when they will be fully finished and released.
EB Venezia
Design: Clara Dousson, Alan Madić (2021–2025)
Development: Clément Le Tulle-Neyret (2025–2026)
Cuts: 4 (Chiara, Normale, Media, Nera)
Files format: OTF, WOFF, WOFF2
Version: Avant-première (1.000)
Release: 07/05/2026
@alanmadic
@claradousson
#electrobibliotheque #typefaces #venezia #alanmadic #claradousson
[EB010]
Meet EB Venezia, by Alan Madić and Clara Dousson, a typeface inspired by the work produced for Olivetti and their typewriters. Designed in 1976 for the TES 501 electronic typewriter, a typeface named “Venezia” served as the basis for Madić and Dousson’s new typeface.
After an initial version, called “Extra” and designed whilst they were students, Madić and Dousson developed the design further into these smooth, rounded shapes, contrasting with the rigidity of typefaces for typewriters. They have developed a unique system of units allowing the typeface to have proportional spacing whilst remaining constrained within a precise grid, giving EB Venezia a pleasant texture for continuous reading.
The availability of several weights, from light to bold, makes it suitable for use across a wide range of media, from signage and book design to logos.
The typeface is still in development and will have an extended character set, fitting Électro-bibliothèque’s standard. Italics are also in production and will be ready for the final release, scheduled for the end of 2026.
Called “Avant-première”, our beta program allows you to try and buy our upcoming typefaces.
Buy the typefaces in beta version at a discount price, receive the complete font when they will be fully finished and released.
EB Venezia
Design: Clara Dousson, Alan Madić (2021–2025)
Development: Clément Le Tulle-Neyret (2025–2026)
Cuts: 4 (Chiara, Normale, Media, Nera)
Files format: OTF, WOFF, WOFF2
Version: Avant-première (1.000)
Release: 07/05/2026
@alanmadic
@claradousson
#electrobibliotheque #typefaces #venezia #alanmadic #claradousson
[EB010]
Meet EB Venezia, by Alan Madić and Clara Dousson, a typeface inspired by the work produced for Olivetti and their typewriters. Designed in 1976 for the TES 501 electronic typewriter, a typeface named “Venezia” served as the basis for Madić and Dousson’s new typeface.
After an initial version, called “Extra” and designed whilst they were students, Madić and Dousson developed the design further into these smooth, rounded shapes, contrasting with the rigidity of typefaces for typewriters. They have developed a unique system of units allowing the typeface to have proportional spacing whilst remaining constrained within a precise grid, giving EB Venezia a pleasant texture for continuous reading.
The availability of several weights, from light to bold, makes it suitable for use across a wide range of media, from signage and book design to logos.
The typeface is still in development and will have an extended character set, fitting Électro-bibliothèque’s standard. Italics are also in production and will be ready for the final release, scheduled for the end of 2026.
Called “Avant-première”, our beta program allows you to try and buy our upcoming typefaces.
Buy the typefaces in beta version at a discount price, receive the complete font when they will be fully finished and released.
EB Venezia
Design: Clara Dousson, Alan Madić (2021–2025)
Development: Clément Le Tulle-Neyret (2025–2026)
Cuts: 4 (Chiara, Normale, Media, Nera)
Files format: OTF, WOFF, WOFF2
Version: Avant-première (1.000)
Release: 07/05/2026
@alanmadic
@claradousson
#electrobibliotheque #typefaces #venezia #alanmadic #claradousson
[EB010]
Meet EB Venezia, by Alan Madić and Clara Dousson, a typeface inspired by the work produced for Olivetti and their typewriters. Designed in 1976 for the TES 501 electronic typewriter, a typeface named “Venezia” served as the basis for Madić and Dousson’s new typeface.
After an initial version, called “Extra” and designed whilst they were students, Madić and Dousson developed the design further into these smooth, rounded shapes, contrasting with the rigidity of typefaces for typewriters. They have developed a unique system of units allowing the typeface to have proportional spacing whilst remaining constrained within a precise grid, giving EB Venezia a pleasant texture for continuous reading.
The availability of several weights, from light to bold, makes it suitable for use across a wide range of media, from signage and book design to logos.
The typeface is still in development and will have an extended character set, fitting Électro-bibliothèque’s standard. Italics are also in production and will be ready for the final release, scheduled for the end of 2026.
Called “Avant-première”, our beta program allows you to try and buy our upcoming typefaces.
Buy the typefaces in beta version at a discount price, receive the complete font when they will be fully finished and released.
EB Venezia
Design: Clara Dousson, Alan Madić (2021–2025)
Development: Clément Le Tulle-Neyret (2025–2026)
Cuts: 4 (Chiara, Normale, Media, Nera)
Files format: OTF, WOFF, WOFF2
Version: Avant-première (1.000)
Release: 07/05/2026
@alanmadic
@claradousson
#electrobibliotheque #typefaces #venezia #alanmadic #claradousson
[EB010]
Meet EB Venezia, by Alan Madić and Clara Dousson, a typeface inspired by the work produced for Olivetti and their typewriters. Designed in 1976 for the TES 501 electronic typewriter, a typeface named “Venezia” served as the basis for Madić and Dousson’s new typeface.
After an initial version, called “Extra” and designed whilst they were students, Madić and Dousson developed the design further into these smooth, rounded shapes, contrasting with the rigidity of typefaces for typewriters. They have developed a unique system of units allowing the typeface to have proportional spacing whilst remaining constrained within a precise grid, giving EB Venezia a pleasant texture for continuous reading.
The availability of several weights, from light to bold, makes it suitable for use across a wide range of media, from signage and book design to logos.
The typeface is still in development and will have an extended character set, fitting Électro-bibliothèque’s standard. Italics are also in production and will be ready for the final release, scheduled for the end of 2026.
Called “Avant-première”, our beta program allows you to try and buy our upcoming typefaces.
Buy the typefaces in beta version at a discount price, receive the complete font when they will be fully finished and released.
EB Venezia
Design: Clara Dousson, Alan Madić (2021–2025)
Development: Clément Le Tulle-Neyret (2025–2026)
Cuts: 4 (Chiara, Normale, Media, Nera)
Files format: OTF, WOFF, WOFF2
Version: Avant-première (1.000)
Release: 07/05/2026
@alanmadic
@claradousson
#electrobibliotheque #typefaces #venezia #alanmadic #claradousson
[EB010]
Meet EB Venezia, by Alan Madić and Clara Dousson, a typeface inspired by the work produced for Olivetti and their typewriters. Designed in 1976 for the TES 501 electronic typewriter, a typeface named “Venezia” served as the basis for Madić and Dousson’s new typeface.
After an initial version, called “Extra” and designed whilst they were students, Madić and Dousson developed the design further into these smooth, rounded shapes, contrasting with the rigidity of typefaces for typewriters. They have developed a unique system of units allowing the typeface to have proportional spacing whilst remaining constrained within a precise grid, giving EB Venezia a pleasant texture for continuous reading.
The availability of several weights, from light to bold, makes it suitable for use across a wide range of media, from signage and book design to logos.
The typeface is still in development and will have an extended character set, fitting Électro-bibliothèque’s standard. Italics are also in production and will be ready for the final release, scheduled for the end of 2026.
Called “Avant-première”, our beta program allows you to try and buy our upcoming typefaces.
Buy the typefaces in beta version at a discount price, receive the complete font when they will be fully finished and released.
EB Venezia
Design: Clara Dousson, Alan Madić (2021–2025)
Development: Clément Le Tulle-Neyret (2025–2026)
Cuts: 4 (Chiara, Normale, Media, Nera)
Files format: OTF, WOFF, WOFF2
Version: Avant-première (1.000)
Release: 07/05/2026
@alanmadic
@claradousson
#electrobibliotheque #typefaces #venezia #alanmadic #claradousson
[EB010]
Meet EB Venezia, by Alan Madić and Clara Dousson, a typeface inspired by the work produced for Olivetti and their typewriters. Designed in 1976 for the TES 501 electronic typewriter, a typeface named “Venezia” served as the basis for Madić and Dousson’s new typeface.
After an initial version, called “Extra” and designed whilst they were students, Madić and Dousson developed the design further into these smooth, rounded shapes, contrasting with the rigidity of typefaces for typewriters. They have developed a unique system of units allowing the typeface to have proportional spacing whilst remaining constrained within a precise grid, giving EB Venezia a pleasant texture for continuous reading.
The availability of several weights, from light to bold, makes it suitable for use across a wide range of media, from signage and book design to logos.
The typeface is still in development and will have an extended character set, fitting Électro-bibliothèque’s standard. Italics are also in production and will be ready for the final release, scheduled for the end of 2026.
Called “Avant-première”, our beta program allows you to try and buy our upcoming typefaces.
Buy the typefaces in beta version at a discount price, receive the complete font when they will be fully finished and released.
EB Venezia
Design: Clara Dousson, Alan Madić (2021–2025)
Development: Clément Le Tulle-Neyret (2025–2026)
Cuts: 4 (Chiara, Normale, Media, Nera)
Files format: OTF, WOFF, WOFF2
Version: Avant-première (1.000)
Release: 07/05/2026
@alanmadic
@claradousson
#electrobibliotheque #typefaces #venezia #alanmadic #claradousson
[EB010]
Meet EB Venezia, by Alan Madić and Clara Dousson, a typeface inspired by the work produced for Olivetti and their typewriters. Designed in 1976 for the TES 501 electronic typewriter, a typeface named “Venezia” served as the basis for Madić and Dousson’s new typeface.
After an initial version, called “Extra” and designed whilst they were students, Madić and Dousson developed the design further into these smooth, rounded shapes, contrasting with the rigidity of typefaces for typewriters. They have developed a unique system of units allowing the typeface to have proportional spacing whilst remaining constrained within a precise grid, giving EB Venezia a pleasant texture for continuous reading.
The availability of several weights, from light to bold, makes it suitable for use across a wide range of media, from signage and book design to logos.
The typeface is still in development and will have an extended character set, fitting Électro-bibliothèque’s standard. Italics are also in production and will be ready for the final release, scheduled for the end of 2026.
Called “Avant-première”, our beta program allows you to try and buy our upcoming typefaces.
Buy the typefaces in beta version at a discount price, receive the complete font when they will be fully finished and released.
EB Venezia
Design: Clara Dousson, Alan Madić (2021–2025)
Development: Clément Le Tulle-Neyret (2025–2026)
Cuts: 4 (Chiara, Normale, Media, Nera)
Files format: OTF, WOFF, WOFF2
Version: Avant-première (1.000)
Release: 07/05/2026
@alanmadic
@claradousson
#electrobibliotheque #typefaces #venezia #alanmadic #claradousson
[EB010]
Meet EB Venezia, by Alan Madić and Clara Dousson, a typeface inspired by the work produced for Olivetti and their typewriters. Designed in 1976 for the TES 501 electronic typewriter, a typeface named “Venezia” served as the basis for Madić and Dousson’s new typeface.
After an initial version, called “Extra” and designed whilst they were students, Madić and Dousson developed the design further into these smooth, rounded shapes, contrasting with the rigidity of typefaces for typewriters. They have developed a unique system of units allowing the typeface to have proportional spacing whilst remaining constrained within a precise grid, giving EB Venezia a pleasant texture for continuous reading.
The availability of several weights, from light to bold, makes it suitable for use across a wide range of media, from signage and book design to logos.
The typeface is still in development and will have an extended character set, fitting Électro-bibliothèque’s standard. Italics are also in production and will be ready for the final release, scheduled for the end of 2026.
Called “Avant-première”, our beta program allows you to try and buy our upcoming typefaces.
Buy the typefaces in beta version at a discount price, receive the complete font when they will be fully finished and released.
EB Venezia
Design: Clara Dousson, Alan Madić (2021–2025)
Development: Clément Le Tulle-Neyret (2025–2026)
Cuts: 4 (Chiara, Normale, Media, Nera)
Files format: OTF, WOFF, WOFF2
Version: Avant-première (1.000)
Release: 07/05/2026
@alanmadic
@claradousson
#electrobibliotheque #typefaces #venezia #alanmadic #claradousson
SIRCA in use for @epoch.review Pompeii.
@leonardvernhet @clementgicquel @thomasleprovost
A 480 page special issue of EPOCH dedicated, and shot in the archeological park of Pompeii.
Featuring words and works by Harley Weir, Wade Guyton, Bruno Staub, Zoe Natale Mannella, Paul Kooiker, Thomas Prior, Jonas Lindstroem, Debra Shaw, Nadine Fraczkowski, David Zilber, Jeremy Deller, Adrian Maben, and many more.
Creative direction:
@leonardvernhet
@permanent.files
Editor-in-chief
@roughversion
Fashion editor
@marcgoehring
Graphic Designers
@clementgicquel
@thomasleprovost
Production
@lb_rmb
Licensing and trials available at www.edito-type.com
SIRCA in use for @epoch.review Pompeii.
@leonardvernhet @clementgicquel @thomasleprovost
A 480 page special issue of EPOCH dedicated, and shot in the archeological park of Pompeii.
Featuring words and works by Harley Weir, Wade Guyton, Bruno Staub, Zoe Natale Mannella, Paul Kooiker, Thomas Prior, Jonas Lindstroem, Debra Shaw, Nadine Fraczkowski, David Zilber, Jeremy Deller, Adrian Maben, and many more.
Creative direction:
@leonardvernhet
@permanent.files
Editor-in-chief
@roughversion
Fashion editor
@marcgoehring
Graphic Designers
@clementgicquel
@thomasleprovost
Production
@lb_rmb
Licensing and trials available at www.edito-type.com
SIRCA in use for @epoch.review Pompeii.
@leonardvernhet @clementgicquel @thomasleprovost
A 480 page special issue of EPOCH dedicated, and shot in the archeological park of Pompeii.
Featuring words and works by Harley Weir, Wade Guyton, Bruno Staub, Zoe Natale Mannella, Paul Kooiker, Thomas Prior, Jonas Lindstroem, Debra Shaw, Nadine Fraczkowski, David Zilber, Jeremy Deller, Adrian Maben, and many more.
Creative direction:
@leonardvernhet
@permanent.files
Editor-in-chief
@roughversion
Fashion editor
@marcgoehring
Graphic Designers
@clementgicquel
@thomasleprovost
Production
@lb_rmb
Licensing and trials available at www.edito-type.com
SIRCA in use for @epoch.review Pompeii.
@leonardvernhet @clementgicquel @thomasleprovost
A 480 page special issue of EPOCH dedicated, and shot in the archeological park of Pompeii.
Featuring words and works by Harley Weir, Wade Guyton, Bruno Staub, Zoe Natale Mannella, Paul Kooiker, Thomas Prior, Jonas Lindstroem, Debra Shaw, Nadine Fraczkowski, David Zilber, Jeremy Deller, Adrian Maben, and many more.
Creative direction:
@leonardvernhet
@permanent.files
Editor-in-chief
@roughversion
Fashion editor
@marcgoehring
Graphic Designers
@clementgicquel
@thomasleprovost
Production
@lb_rmb
Licensing and trials available at www.edito-type.com
SIRCA in use for @epoch.review Pompeii.
@leonardvernhet @clementgicquel @thomasleprovost
A 480 page special issue of EPOCH dedicated, and shot in the archeological park of Pompeii.
Featuring words and works by Harley Weir, Wade Guyton, Bruno Staub, Zoe Natale Mannella, Paul Kooiker, Thomas Prior, Jonas Lindstroem, Debra Shaw, Nadine Fraczkowski, David Zilber, Jeremy Deller, Adrian Maben, and many more.
Creative direction:
@leonardvernhet
@permanent.files
Editor-in-chief
@roughversion
Fashion editor
@marcgoehring
Graphic Designers
@clementgicquel
@thomasleprovost
Production
@lb_rmb
Licensing and trials available at www.edito-type.com
@nike
Breaking4 — identity, logo, bespoke timer typeface, large-scale stadium graphics, banners and merch for the event at Stade Charléty in Paris. Developed last summer for Faith Kipyegon’s sub-4 mile attempt.
Grateful for the opportunity to contribute to such an ambitious moment in athletics.
CD @some__days__
Thanks to all of the amazing people at Nike, agencies, and production partners who worked on this massive effort and brought the event to life.
SOME DAYS
ECD: Steve Reinmuth @sreinmuth
Senior Designer: Alan Madic @alanmadic
Senior Designer: Andy Liang @andlia
Senior Designer: Pauline Le Pape @paulinelpape
Motion: Mikey Kelly @mikikeli
Partner: Caitlin Reinmuth @mrsmuth2k1
Campaign Photography: Matt Moran @mattmoranphoto
Campaign Art Direction: Nike
Event Photography: Cameron Strand @cameronstrand, Tyler Joe + many others
NIKE Event Design and Production
Bryon Panaia, Renee Ramraj, Steve Berkas, Allison Kerst, Rachel Mason, Theresa Nguyen, Avida Jackson, Gabby Cool, Luis Liwag, John Radaza, Kaitlin Ward, Che Lin, Daniel Palau, Nicholas Nanpei, Rob Aldinger, Courtney Vermass, Molly Matthew
@nike
Breaking4 — identity, logo, bespoke timer typeface, large-scale stadium graphics, banners and merch for the event at Stade Charléty in Paris. Developed last summer for Faith Kipyegon’s sub-4 mile attempt.
Grateful for the opportunity to contribute to such an ambitious moment in athletics.
CD @some__days__
Thanks to all of the amazing people at Nike, agencies, and production partners who worked on this massive effort and brought the event to life.
SOME DAYS
ECD: Steve Reinmuth @sreinmuth
Senior Designer: Alan Madic @alanmadic
Senior Designer: Andy Liang @andlia
Senior Designer: Pauline Le Pape @paulinelpape
Motion: Mikey Kelly @mikikeli
Partner: Caitlin Reinmuth @mrsmuth2k1
Campaign Photography: Matt Moran @mattmoranphoto
Campaign Art Direction: Nike
Event Photography: Cameron Strand @cameronstrand, Tyler Joe + many others
NIKE Event Design and Production
Bryon Panaia, Renee Ramraj, Steve Berkas, Allison Kerst, Rachel Mason, Theresa Nguyen, Avida Jackson, Gabby Cool, Luis Liwag, John Radaza, Kaitlin Ward, Che Lin, Daniel Palau, Nicholas Nanpei, Rob Aldinger, Courtney Vermass, Molly Matthew
@nike
Breaking4 — identity, logo, bespoke timer typeface, large-scale stadium graphics, banners and merch for the event at Stade Charléty in Paris. Developed last summer for Faith Kipyegon’s sub-4 mile attempt.
Grateful for the opportunity to contribute to such an ambitious moment in athletics.
CD @some__days__
Thanks to all of the amazing people at Nike, agencies, and production partners who worked on this massive effort and brought the event to life.
SOME DAYS
ECD: Steve Reinmuth @sreinmuth
Senior Designer: Alan Madic @alanmadic
Senior Designer: Andy Liang @andlia
Senior Designer: Pauline Le Pape @paulinelpape
Motion: Mikey Kelly @mikikeli
Partner: Caitlin Reinmuth @mrsmuth2k1
Campaign Photography: Matt Moran @mattmoranphoto
Campaign Art Direction: Nike
Event Photography: Cameron Strand @cameronstrand, Tyler Joe + many others
NIKE Event Design and Production
Bryon Panaia, Renee Ramraj, Steve Berkas, Allison Kerst, Rachel Mason, Theresa Nguyen, Avida Jackson, Gabby Cool, Luis Liwag, John Radaza, Kaitlin Ward, Che Lin, Daniel Palau, Nicholas Nanpei, Rob Aldinger, Courtney Vermass, Molly Matthew
@nike
Breaking4 — identity, logo, bespoke timer typeface, large-scale stadium graphics, banners and merch for the event at Stade Charléty in Paris. Developed last summer for Faith Kipyegon’s sub-4 mile attempt.
Grateful for the opportunity to contribute to such an ambitious moment in athletics.
CD @some__days__
Thanks to all of the amazing people at Nike, agencies, and production partners who worked on this massive effort and brought the event to life.
SOME DAYS
ECD: Steve Reinmuth @sreinmuth
Senior Designer: Alan Madic @alanmadic
Senior Designer: Andy Liang @andlia
Senior Designer: Pauline Le Pape @paulinelpape
Motion: Mikey Kelly @mikikeli
Partner: Caitlin Reinmuth @mrsmuth2k1
Campaign Photography: Matt Moran @mattmoranphoto
Campaign Art Direction: Nike
Event Photography: Cameron Strand @cameronstrand, Tyler Joe + many others
NIKE Event Design and Production
Bryon Panaia, Renee Ramraj, Steve Berkas, Allison Kerst, Rachel Mason, Theresa Nguyen, Avida Jackson, Gabby Cool, Luis Liwag, John Radaza, Kaitlin Ward, Che Lin, Daniel Palau, Nicholas Nanpei, Rob Aldinger, Courtney Vermass, Molly Matthew
@nike
Breaking4 — identity, logo, bespoke timer typeface, large-scale stadium graphics, banners and merch for the event at Stade Charléty in Paris. Developed last summer for Faith Kipyegon’s sub-4 mile attempt.
Grateful for the opportunity to contribute to such an ambitious moment in athletics.
CD @some__days__
Thanks to all of the amazing people at Nike, agencies, and production partners who worked on this massive effort and brought the event to life.
SOME DAYS
ECD: Steve Reinmuth @sreinmuth
Senior Designer: Alan Madic @alanmadic
Senior Designer: Andy Liang @andlia
Senior Designer: Pauline Le Pape @paulinelpape
Motion: Mikey Kelly @mikikeli
Partner: Caitlin Reinmuth @mrsmuth2k1
Campaign Photography: Matt Moran @mattmoranphoto
Campaign Art Direction: Nike
Event Photography: Cameron Strand @cameronstrand, Tyler Joe + many others
NIKE Event Design and Production
Bryon Panaia, Renee Ramraj, Steve Berkas, Allison Kerst, Rachel Mason, Theresa Nguyen, Avida Jackson, Gabby Cool, Luis Liwag, John Radaza, Kaitlin Ward, Che Lin, Daniel Palau, Nicholas Nanpei, Rob Aldinger, Courtney Vermass, Molly Matthew
@nike
Breaking4 — identity, logo, bespoke timer typeface, large-scale stadium graphics, banners and merch for the event at Stade Charléty in Paris. Developed last summer for Faith Kipyegon’s sub-4 mile attempt.
Grateful for the opportunity to contribute to such an ambitious moment in athletics.
CD @some__days__
Thanks to all of the amazing people at Nike, agencies, and production partners who worked on this massive effort and brought the event to life.
SOME DAYS
ECD: Steve Reinmuth @sreinmuth
Senior Designer: Alan Madic @alanmadic
Senior Designer: Andy Liang @andlia
Senior Designer: Pauline Le Pape @paulinelpape
Motion: Mikey Kelly @mikikeli
Partner: Caitlin Reinmuth @mrsmuth2k1
Campaign Photography: Matt Moran @mattmoranphoto
Campaign Art Direction: Nike
Event Photography: Cameron Strand @cameronstrand, Tyler Joe + many others
NIKE Event Design and Production
Bryon Panaia, Renee Ramraj, Steve Berkas, Allison Kerst, Rachel Mason, Theresa Nguyen, Avida Jackson, Gabby Cool, Luis Liwag, John Radaza, Kaitlin Ward, Che Lin, Daniel Palau, Nicholas Nanpei, Rob Aldinger, Courtney Vermass, Molly Matthew
@nike
Breaking4 — identity, logo, bespoke timer typeface, large-scale stadium graphics, banners and merch for the event at Stade Charléty in Paris. Developed last summer for Faith Kipyegon’s sub-4 mile attempt.
Grateful for the opportunity to contribute to such an ambitious moment in athletics.
CD @some__days__
Thanks to all of the amazing people at Nike, agencies, and production partners who worked on this massive effort and brought the event to life.
SOME DAYS
ECD: Steve Reinmuth @sreinmuth
Senior Designer: Alan Madic @alanmadic
Senior Designer: Andy Liang @andlia
Senior Designer: Pauline Le Pape @paulinelpape
Motion: Mikey Kelly @mikikeli
Partner: Caitlin Reinmuth @mrsmuth2k1
Campaign Photography: Matt Moran @mattmoranphoto
Campaign Art Direction: Nike
Event Photography: Cameron Strand @cameronstrand, Tyler Joe + many others
NIKE Event Design and Production
Bryon Panaia, Renee Ramraj, Steve Berkas, Allison Kerst, Rachel Mason, Theresa Nguyen, Avida Jackson, Gabby Cool, Luis Liwag, John Radaza, Kaitlin Ward, Che Lin, Daniel Palau, Nicholas Nanpei, Rob Aldinger, Courtney Vermass, Molly Matthew
@nike
Breaking4 — identity, logo, bespoke timer typeface, large-scale stadium graphics, banners and merch for the event at Stade Charléty in Paris. Developed last summer for Faith Kipyegon’s sub-4 mile attempt.
Grateful for the opportunity to contribute to such an ambitious moment in athletics.
CD @some__days__
Thanks to all of the amazing people at Nike, agencies, and production partners who worked on this massive effort and brought the event to life.
SOME DAYS
ECD: Steve Reinmuth @sreinmuth
Senior Designer: Alan Madic @alanmadic
Senior Designer: Andy Liang @andlia
Senior Designer: Pauline Le Pape @paulinelpape
Motion: Mikey Kelly @mikikeli
Partner: Caitlin Reinmuth @mrsmuth2k1
Campaign Photography: Matt Moran @mattmoranphoto
Campaign Art Direction: Nike
Event Photography: Cameron Strand @cameronstrand, Tyler Joe + many others
NIKE Event Design and Production
Bryon Panaia, Renee Ramraj, Steve Berkas, Allison Kerst, Rachel Mason, Theresa Nguyen, Avida Jackson, Gabby Cool, Luis Liwag, John Radaza, Kaitlin Ward, Che Lin, Daniel Palau, Nicholas Nanpei, Rob Aldinger, Courtney Vermass, Molly Matthew
@nike
Breaking4 — identity, logo, bespoke timer typeface, large-scale stadium graphics, banners and merch for the event at Stade Charléty in Paris. Developed last summer for Faith Kipyegon’s sub-4 mile attempt.
Grateful for the opportunity to contribute to such an ambitious moment in athletics.
CD @some__days__
Thanks to all of the amazing people at Nike, agencies, and production partners who worked on this massive effort and brought the event to life.
SOME DAYS
ECD: Steve Reinmuth @sreinmuth
Senior Designer: Alan Madic @alanmadic
Senior Designer: Andy Liang @andlia
Senior Designer: Pauline Le Pape @paulinelpape
Motion: Mikey Kelly @mikikeli
Partner: Caitlin Reinmuth @mrsmuth2k1
Campaign Photography: Matt Moran @mattmoranphoto
Campaign Art Direction: Nike
Event Photography: Cameron Strand @cameronstrand, Tyler Joe + many others
NIKE Event Design and Production
Bryon Panaia, Renee Ramraj, Steve Berkas, Allison Kerst, Rachel Mason, Theresa Nguyen, Avida Jackson, Gabby Cool, Luis Liwag, John Radaza, Kaitlin Ward, Che Lin, Daniel Palau, Nicholas Nanpei, Rob Aldinger, Courtney Vermass, Molly Matthew
@nike
Breaking4 — identity, logo, bespoke timer typeface, large-scale stadium graphics, banners and merch for the event at Stade Charléty in Paris. Developed last summer for Faith Kipyegon’s sub-4 mile attempt.
Grateful for the opportunity to contribute to such an ambitious moment in athletics.
CD @some__days__
Thanks to all of the amazing people at Nike, agencies, and production partners who worked on this massive effort and brought the event to life.
SOME DAYS
ECD: Steve Reinmuth @sreinmuth
Senior Designer: Alan Madic @alanmadic
Senior Designer: Andy Liang @andlia
Senior Designer: Pauline Le Pape @paulinelpape
Motion: Mikey Kelly @mikikeli
Partner: Caitlin Reinmuth @mrsmuth2k1
Campaign Photography: Matt Moran @mattmoranphoto
Campaign Art Direction: Nike
Event Photography: Cameron Strand @cameronstrand, Tyler Joe + many others
NIKE Event Design and Production
Bryon Panaia, Renee Ramraj, Steve Berkas, Allison Kerst, Rachel Mason, Theresa Nguyen, Avida Jackson, Gabby Cool, Luis Liwag, John Radaza, Kaitlin Ward, Che Lin, Daniel Palau, Nicholas Nanpei, Rob Aldinger, Courtney Vermass, Molly Matthew
@nike
Breaking4 — identity, logo, bespoke timer typeface, large-scale stadium graphics, banners and merch for the event at Stade Charléty in Paris. Developed last summer for Faith Kipyegon’s sub-4 mile attempt.
Grateful for the opportunity to contribute to such an ambitious moment in athletics.
CD @some__days__
Thanks to all of the amazing people at Nike, agencies, and production partners who worked on this massive effort and brought the event to life.
SOME DAYS
ECD: Steve Reinmuth @sreinmuth
Senior Designer: Alan Madic @alanmadic
Senior Designer: Andy Liang @andlia
Senior Designer: Pauline Le Pape @paulinelpape
Motion: Mikey Kelly @mikikeli
Partner: Caitlin Reinmuth @mrsmuth2k1
Campaign Photography: Matt Moran @mattmoranphoto
Campaign Art Direction: Nike
Event Photography: Cameron Strand @cameronstrand, Tyler Joe + many others
NIKE Event Design and Production
Bryon Panaia, Renee Ramraj, Steve Berkas, Allison Kerst, Rachel Mason, Theresa Nguyen, Avida Jackson, Gabby Cool, Luis Liwag, John Radaza, Kaitlin Ward, Che Lin, Daniel Palau, Nicholas Nanpei, Rob Aldinger, Courtney Vermass, Molly Matthew
@nike
Breaking4 — identity, logo, bespoke timer typeface, large-scale stadium graphics, banners and merch for the event at Stade Charléty in Paris. Developed last summer for Faith Kipyegon’s sub-4 mile attempt.
Grateful for the opportunity to contribute to such an ambitious moment in athletics.
CD @some__days__
Thanks to all of the amazing people at Nike, agencies, and production partners who worked on this massive effort and brought the event to life.
SOME DAYS
ECD: Steve Reinmuth @sreinmuth
Senior Designer: Alan Madic @alanmadic
Senior Designer: Andy Liang @andlia
Senior Designer: Pauline Le Pape @paulinelpape
Motion: Mikey Kelly @mikikeli
Partner: Caitlin Reinmuth @mrsmuth2k1
Campaign Photography: Matt Moran @mattmoranphoto
Campaign Art Direction: Nike
Event Photography: Cameron Strand @cameronstrand, Tyler Joe + many others
NIKE Event Design and Production
Bryon Panaia, Renee Ramraj, Steve Berkas, Allison Kerst, Rachel Mason, Theresa Nguyen, Avida Jackson, Gabby Cool, Luis Liwag, John Radaza, Kaitlin Ward, Che Lin, Daniel Palau, Nicholas Nanpei, Rob Aldinger, Courtney Vermass, Molly Matthew
@nike
Breaking4 — identity, logo, bespoke timer typeface, large-scale stadium graphics, banners and merch for the event at Stade Charléty in Paris. Developed last summer for Faith Kipyegon’s sub-4 mile attempt.
Grateful for the opportunity to contribute to such an ambitious moment in athletics.
CD @some__days__
Thanks to all of the amazing people at Nike, agencies, and production partners who worked on this massive effort and brought the event to life.
SOME DAYS
ECD: Steve Reinmuth @sreinmuth
Senior Designer: Alan Madic @alanmadic
Senior Designer: Andy Liang @andlia
Senior Designer: Pauline Le Pape @paulinelpape
Motion: Mikey Kelly @mikikeli
Partner: Caitlin Reinmuth @mrsmuth2k1
Campaign Photography: Matt Moran @mattmoranphoto
Campaign Art Direction: Nike
Event Photography: Cameron Strand @cameronstrand, Tyler Joe + many others
NIKE Event Design and Production
Bryon Panaia, Renee Ramraj, Steve Berkas, Allison Kerst, Rachel Mason, Theresa Nguyen, Avida Jackson, Gabby Cool, Luis Liwag, John Radaza, Kaitlin Ward, Che Lin, Daniel Palau, Nicholas Nanpei, Rob Aldinger, Courtney Vermass, Molly Matthew
@nike
Breaking4 — identity, logo, bespoke timer typeface, large-scale stadium graphics, banners and merch for the event at Stade Charléty in Paris. Developed last summer for Faith Kipyegon’s sub-4 mile attempt.
Grateful for the opportunity to contribute to such an ambitious moment in athletics.
CD @some__days__
Thanks to all of the amazing people at Nike, agencies, and production partners who worked on this massive effort and brought the event to life.
SOME DAYS
ECD: Steve Reinmuth @sreinmuth
Senior Designer: Alan Madic @alanmadic
Senior Designer: Andy Liang @andlia
Senior Designer: Pauline Le Pape @paulinelpape
Motion: Mikey Kelly @mikikeli
Partner: Caitlin Reinmuth @mrsmuth2k1
Campaign Photography: Matt Moran @mattmoranphoto
Campaign Art Direction: Nike
Event Photography: Cameron Strand @cameronstrand, Tyler Joe + many others
NIKE Event Design and Production
Bryon Panaia, Renee Ramraj, Steve Berkas, Allison Kerst, Rachel Mason, Theresa Nguyen, Avida Jackson, Gabby Cool, Luis Liwag, John Radaza, Kaitlin Ward, Che Lin, Daniel Palau, Nicholas Nanpei, Rob Aldinger, Courtney Vermass, Molly Matthew
@nike
Breaking4 — identity, logo, bespoke timer typeface, large-scale stadium graphics, banners and merch for the event at Stade Charléty in Paris. Developed last summer for Faith Kipyegon’s sub-4 mile attempt.
Grateful for the opportunity to contribute to such an ambitious moment in athletics.
CD @some__days__
Thanks to all of the amazing people at Nike, agencies, and production partners who worked on this massive effort and brought the event to life.
SOME DAYS
ECD: Steve Reinmuth @sreinmuth
Senior Designer: Alan Madic @alanmadic
Senior Designer: Andy Liang @andlia
Senior Designer: Pauline Le Pape @paulinelpape
Motion: Mikey Kelly @mikikeli
Partner: Caitlin Reinmuth @mrsmuth2k1
Campaign Photography: Matt Moran @mattmoranphoto
Campaign Art Direction: Nike
Event Photography: Cameron Strand @cameronstrand, Tyler Joe + many others
NIKE Event Design and Production
Bryon Panaia, Renee Ramraj, Steve Berkas, Allison Kerst, Rachel Mason, Theresa Nguyen, Avida Jackson, Gabby Cool, Luis Liwag, John Radaza, Kaitlin Ward, Che Lin, Daniel Palau, Nicholas Nanpei, Rob Aldinger, Courtney Vermass, Molly Matthew
@nike
Breaking4 — identity, logo, bespoke timer typeface, large-scale stadium graphics, banners and merch for the event at Stade Charléty in Paris. Developed last summer for Faith Kipyegon’s sub-4 mile attempt.
Grateful for the opportunity to contribute to such an ambitious moment in athletics.
CD @some__days__
Thanks to all of the amazing people at Nike, agencies, and production partners who worked on this massive effort and brought the event to life.
SOME DAYS
ECD: Steve Reinmuth @sreinmuth
Senior Designer: Alan Madic @alanmadic
Senior Designer: Andy Liang @andlia
Senior Designer: Pauline Le Pape @paulinelpape
Motion: Mikey Kelly @mikikeli
Partner: Caitlin Reinmuth @mrsmuth2k1
Campaign Photography: Matt Moran @mattmoranphoto
Campaign Art Direction: Nike
Event Photography: Cameron Strand @cameronstrand, Tyler Joe + many others
NIKE Event Design and Production
Bryon Panaia, Renee Ramraj, Steve Berkas, Allison Kerst, Rachel Mason, Theresa Nguyen, Avida Jackson, Gabby Cool, Luis Liwag, John Radaza, Kaitlin Ward, Che Lin, Daniel Palau, Nicholas Nanpei, Rob Aldinger, Courtney Vermass, Molly Matthew
@nike
Breaking4 — identity, logo, bespoke timer typeface, large-scale stadium graphics, banners and merch for the event at Stade Charléty in Paris. Developed last summer for Faith Kipyegon’s sub-4 mile attempt.
Grateful for the opportunity to contribute to such an ambitious moment in athletics.
CD @some__days__
Thanks to all of the amazing people at Nike, agencies, and production partners who worked on this massive effort and brought the event to life.
SOME DAYS
ECD: Steve Reinmuth @sreinmuth
Senior Designer: Alan Madic @alanmadic
Senior Designer: Andy Liang @andlia
Senior Designer: Pauline Le Pape @paulinelpape
Motion: Mikey Kelly @mikikeli
Partner: Caitlin Reinmuth @mrsmuth2k1
Campaign Photography: Matt Moran @mattmoranphoto
Campaign Art Direction: Nike
Event Photography: Cameron Strand @cameronstrand, Tyler Joe + many others
NIKE Event Design and Production
Bryon Panaia, Renee Ramraj, Steve Berkas, Allison Kerst, Rachel Mason, Theresa Nguyen, Avida Jackson, Gabby Cool, Luis Liwag, John Radaza, Kaitlin Ward, Che Lin, Daniel Palau, Nicholas Nanpei, Rob Aldinger, Courtney Vermass, Molly Matthew
@nike
Breaking4 — identity, logo, bespoke timer typeface, large-scale stadium graphics, banners and merch for the event at Stade Charléty in Paris. Developed last summer for Faith Kipyegon’s sub-4 mile attempt.
Grateful for the opportunity to contribute to such an ambitious moment in athletics.
CD @some__days__
Thanks to all of the amazing people at Nike, agencies, and production partners who worked on this massive effort and brought the event to life.
SOME DAYS
ECD: Steve Reinmuth @sreinmuth
Senior Designer: Alan Madic @alanmadic
Senior Designer: Andy Liang @andlia
Senior Designer: Pauline Le Pape @paulinelpape
Motion: Mikey Kelly @mikikeli
Partner: Caitlin Reinmuth @mrsmuth2k1
Campaign Photography: Matt Moran @mattmoranphoto
Campaign Art Direction: Nike
Event Photography: Cameron Strand @cameronstrand, Tyler Joe + many others
NIKE Event Design and Production
Bryon Panaia, Renee Ramraj, Steve Berkas, Allison Kerst, Rachel Mason, Theresa Nguyen, Avida Jackson, Gabby Cool, Luis Liwag, John Radaza, Kaitlin Ward, Che Lin, Daniel Palau, Nicholas Nanpei, Rob Aldinger, Courtney Vermass, Molly Matthew
Honored to introduce Edito:
An independent Paris-based type foundry exploring the cultural and visual potential of contemporary typography.
Each release emerges from a dialogue between research, design, and visual culture, bridging historical awareness with new interpretations of typographic form.
Established in Paris by @alanmadic.
Licensing and trials available at www.edito-type.com
INTRODUCING: SIRCA
A contemporary re-evaluation of Walter Käch’s serif display models. Rooted in a critical re-reading of his mid-century letterforms, what began as a single study evolved into a concise family of three essential weights, each balancing typographic clarity with subtle warmth.
Käch’s models stood at the intersection of geometric construction and humanist gesture, a dialogue that Sirca reopens through a contemporary lens. All cuts share the same serif structure, an uncommon choice that defines the family’s collective tone. The Bold is drawn with weight added inward, resulting in a denser, more compact appearance that echoes the condensed display types of the late ’60s phototype era.
While the Regular preserves the timeless grace and proportions of its historical sources, the newly introduced Bold channels a sharper, more expressive tone. Together, they form a genre-blending system: classic yet vivid, crafted for editorial, titles, logotypes, and any context where typography leads the narrative.
A design shaped by the past, sharpened for the century ahead.
2024-2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Spacing and Kerning: Igino Marini
Special thanks: @jacob.j.wise @claradousson
Now available at www.edito-type.com
INTRODUCING: SIRCA
A contemporary re-evaluation of Walter Käch’s serif display models. Rooted in a critical re-reading of his mid-century letterforms, what began as a single study evolved into a concise family of three essential weights, each balancing typographic clarity with subtle warmth.
Käch’s models stood at the intersection of geometric construction and humanist gesture, a dialogue that Sirca reopens through a contemporary lens. All cuts share the same serif structure, an uncommon choice that defines the family’s collective tone. The Bold is drawn with weight added inward, resulting in a denser, more compact appearance that echoes the condensed display types of the late ’60s phototype era.
While the Regular preserves the timeless grace and proportions of its historical sources, the newly introduced Bold channels a sharper, more expressive tone. Together, they form a genre-blending system: classic yet vivid, crafted for editorial, titles, logotypes, and any context where typography leads the narrative.
A design shaped by the past, sharpened for the century ahead.
2024-2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Spacing and Kerning: Igino Marini
Special thanks: @jacob.j.wise @claradousson
Now available at www.edito-type.com
INTRODUCING: SIRCA
A contemporary re-evaluation of Walter Käch’s serif display models. Rooted in a critical re-reading of his mid-century letterforms, what began as a single study evolved into a concise family of three essential weights, each balancing typographic clarity with subtle warmth.
Käch’s models stood at the intersection of geometric construction and humanist gesture, a dialogue that Sirca reopens through a contemporary lens. All cuts share the same serif structure, an uncommon choice that defines the family’s collective tone. The Bold is drawn with weight added inward, resulting in a denser, more compact appearance that echoes the condensed display types of the late ’60s phototype era.
While the Regular preserves the timeless grace and proportions of its historical sources, the newly introduced Bold channels a sharper, more expressive tone. Together, they form a genre-blending system: classic yet vivid, crafted for editorial, titles, logotypes, and any context where typography leads the narrative.
A design shaped by the past, sharpened for the century ahead.
2024-2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Spacing and Kerning: Igino Marini
Special thanks: @jacob.j.wise @claradousson
Now available at www.edito-type.com
INTRODUCING: SIRCA
A contemporary re-evaluation of Walter Käch’s serif display models. Rooted in a critical re-reading of his mid-century letterforms, what began as a single study evolved into a concise family of three essential weights, each balancing typographic clarity with subtle warmth.
Käch’s models stood at the intersection of geometric construction and humanist gesture, a dialogue that Sirca reopens through a contemporary lens. All cuts share the same serif structure, an uncommon choice that defines the family’s collective tone. The Bold is drawn with weight added inward, resulting in a denser, more compact appearance that echoes the condensed display types of the late ’60s phototype era.
While the Regular preserves the timeless grace and proportions of its historical sources, the newly introduced Bold channels a sharper, more expressive tone. Together, they form a genre-blending system: classic yet vivid, crafted for editorial, titles, logotypes, and any context where typography leads the narrative.
A design shaped by the past, sharpened for the century ahead.
2024-2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Spacing and Kerning: Igino Marini
Special thanks: @jacob.j.wise @claradousson
Now available at www.edito-type.com
INTRODUCING: SIRCA
A contemporary re-evaluation of Walter Käch’s serif display models. Rooted in a critical re-reading of his mid-century letterforms, what began as a single study evolved into a concise family of three essential weights, each balancing typographic clarity with subtle warmth.
Käch’s models stood at the intersection of geometric construction and humanist gesture, a dialogue that Sirca reopens through a contemporary lens. All cuts share the same serif structure, an uncommon choice that defines the family’s collective tone. The Bold is drawn with weight added inward, resulting in a denser, more compact appearance that echoes the condensed display types of the late ’60s phototype era.
While the Regular preserves the timeless grace and proportions of its historical sources, the newly introduced Bold channels a sharper, more expressive tone. Together, they form a genre-blending system: classic yet vivid, crafted for editorial, titles, logotypes, and any context where typography leads the narrative.
A design shaped by the past, sharpened for the century ahead.
2024-2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Spacing and Kerning: Igino Marini
Special thanks: @jacob.j.wise @claradousson
Now available at www.edito-type.com
INTRODUCING: SIRCA
A contemporary re-evaluation of Walter Käch’s serif display models. Rooted in a critical re-reading of his mid-century letterforms, what began as a single study evolved into a concise family of three essential weights, each balancing typographic clarity with subtle warmth.
Käch’s models stood at the intersection of geometric construction and humanist gesture, a dialogue that Sirca reopens through a contemporary lens. All cuts share the same serif structure, an uncommon choice that defines the family’s collective tone. The Bold is drawn with weight added inward, resulting in a denser, more compact appearance that echoes the condensed display types of the late ’60s phototype era.
While the Regular preserves the timeless grace and proportions of its historical sources, the newly introduced Bold channels a sharper, more expressive tone. Together, they form a genre-blending system: classic yet vivid, crafted for editorial, titles, logotypes, and any context where typography leads the narrative.
A design shaped by the past, sharpened for the century ahead.
2024-2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Spacing and Kerning: Igino Marini
Special thanks: @jacob.j.wise @claradousson
Now available at www.edito-type.com
INTRODUCING: SIRCA
A contemporary re-evaluation of Walter Käch’s serif display models. Rooted in a critical re-reading of his mid-century letterforms, what began as a single study evolved into a concise family of three essential weights, each balancing typographic clarity with subtle warmth.
Käch’s models stood at the intersection of geometric construction and humanist gesture, a dialogue that Sirca reopens through a contemporary lens. All cuts share the same serif structure, an uncommon choice that defines the family’s collective tone. The Bold is drawn with weight added inward, resulting in a denser, more compact appearance that echoes the condensed display types of the late ’60s phototype era.
While the Regular preserves the timeless grace and proportions of its historical sources, the newly introduced Bold channels a sharper, more expressive tone. Together, they form a genre-blending system: classic yet vivid, crafted for editorial, titles, logotypes, and any context where typography leads the narrative.
A design shaped by the past, sharpened for the century ahead.
2024-2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Spacing and Kerning: Igino Marini
Special thanks: @jacob.j.wise @claradousson
Now available at www.edito-type.com
INTRODUCING: SIRCA
A contemporary re-evaluation of Walter Käch’s serif display models. Rooted in a critical re-reading of his mid-century letterforms, what began as a single study evolved into a concise family of three essential weights, each balancing typographic clarity with subtle warmth.
Käch’s models stood at the intersection of geometric construction and humanist gesture, a dialogue that Sirca reopens through a contemporary lens. All cuts share the same serif structure, an uncommon choice that defines the family’s collective tone. The Bold is drawn with weight added inward, resulting in a denser, more compact appearance that echoes the condensed display types of the late ’60s phototype era.
While the Regular preserves the timeless grace and proportions of its historical sources, the newly introduced Bold channels a sharper, more expressive tone. Together, they form a genre-blending system: classic yet vivid, crafted for editorial, titles, logotypes, and any context where typography leads the narrative.
A design shaped by the past, sharpened for the century ahead.
2024-2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Spacing and Kerning: Igino Marini
Special thanks: @jacob.j.wise @claradousson
Now available at www.edito-type.com
INTRODUCING: SIRCA
A contemporary re-evaluation of Walter Käch’s serif display models. Rooted in a critical re-reading of his mid-century letterforms, what began as a single study evolved into a concise family of three essential weights, each balancing typographic clarity with subtle warmth.
Käch’s models stood at the intersection of geometric construction and humanist gesture, a dialogue that Sirca reopens through a contemporary lens. All cuts share the same serif structure, an uncommon choice that defines the family’s collective tone. The Bold is drawn with weight added inward, resulting in a denser, more compact appearance that echoes the condensed display types of the late ’60s phototype era.
While the Regular preserves the timeless grace and proportions of its historical sources, the newly introduced Bold channels a sharper, more expressive tone. Together, they form a genre-blending system: classic yet vivid, crafted for editorial, titles, logotypes, and any context where typography leads the narrative.
A design shaped by the past, sharpened for the century ahead.
2024-2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Spacing and Kerning: Igino Marini
Special thanks: @jacob.j.wise @claradousson
Now available at www.edito-type.com
INTRODUCING: SIRCA
A contemporary re-evaluation of Walter Käch’s serif display models. Rooted in a critical re-reading of his mid-century letterforms, what began as a single study evolved into a concise family of three essential weights, each balancing typographic clarity with subtle warmth.
Käch’s models stood at the intersection of geometric construction and humanist gesture, a dialogue that Sirca reopens through a contemporary lens. All cuts share the same serif structure, an uncommon choice that defines the family’s collective tone. The Bold is drawn with weight added inward, resulting in a denser, more compact appearance that echoes the condensed display types of the late ’60s phototype era.
While the Regular preserves the timeless grace and proportions of its historical sources, the newly introduced Bold channels a sharper, more expressive tone. Together, they form a genre-blending system: classic yet vivid, crafted for editorial, titles, logotypes, and any context where typography leads the narrative.
A design shaped by the past, sharpened for the century ahead.
2024-2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Spacing and Kerning: Igino Marini
Special thanks: @jacob.j.wise @claradousson
Now available at www.edito-type.com
INTRODUCING: SIRCA
A contemporary re-evaluation of Walter Käch’s serif display models. Rooted in a critical re-reading of his mid-century letterforms, what began as a single study evolved into a concise family of three essential weights, each balancing typographic clarity with subtle warmth.
Käch’s models stood at the intersection of geometric construction and humanist gesture, a dialogue that Sirca reopens through a contemporary lens. All cuts share the same serif structure, an uncommon choice that defines the family’s collective tone. The Bold is drawn with weight added inward, resulting in a denser, more compact appearance that echoes the condensed display types of the late ’60s phototype era.
While the Regular preserves the timeless grace and proportions of its historical sources, the newly introduced Bold channels a sharper, more expressive tone. Together, they form a genre-blending system: classic yet vivid, crafted for editorial, titles, logotypes, and any context where typography leads the narrative.
A design shaped by the past, sharpened for the century ahead.
2024-2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Spacing and Kerning: Igino Marini
Special thanks: @jacob.j.wise @claradousson
Now available at www.edito-type.com
INTRODUCING: SIRCA
A contemporary re-evaluation of Walter Käch’s serif display models. Rooted in a critical re-reading of his mid-century letterforms, what began as a single study evolved into a concise family of three essential weights, each balancing typographic clarity with subtle warmth.
Käch’s models stood at the intersection of geometric construction and humanist gesture, a dialogue that Sirca reopens through a contemporary lens. All cuts share the same serif structure, an uncommon choice that defines the family’s collective tone. The Bold is drawn with weight added inward, resulting in a denser, more compact appearance that echoes the condensed display types of the late ’60s phototype era.
While the Regular preserves the timeless grace and proportions of its historical sources, the newly introduced Bold channels a sharper, more expressive tone. Together, they form a genre-blending system: classic yet vivid, crafted for editorial, titles, logotypes, and any context where typography leads the narrative.
A design shaped by the past, sharpened for the century ahead.
2024-2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Spacing and Kerning: Igino Marini
Special thanks: @jacob.j.wise @claradousson
Now available at www.edito-type.com
INTRODUCING: SIRCA
A contemporary re-evaluation of Walter Käch’s serif display models. Rooted in a critical re-reading of his mid-century letterforms, what began as a single study evolved into a concise family of three essential weights, each balancing typographic clarity with subtle warmth.
Käch’s models stood at the intersection of geometric construction and humanist gesture, a dialogue that Sirca reopens through a contemporary lens. All cuts share the same serif structure, an uncommon choice that defines the family’s collective tone. The Bold is drawn with weight added inward, resulting in a denser, more compact appearance that echoes the condensed display types of the late ’60s phototype era.
While the Regular preserves the timeless grace and proportions of its historical sources, the newly introduced Bold channels a sharper, more expressive tone. Together, they form a genre-blending system: classic yet vivid, crafted for editorial, titles, logotypes, and any context where typography leads the narrative.
A design shaped by the past, sharpened for the century ahead.
2024-2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Spacing and Kerning: Igino Marini
Special thanks: @jacob.j.wise @claradousson
Now available at www.edito-type.com
INTRODUCING: SIRCA
A contemporary re-evaluation of Walter Käch’s serif display models. Rooted in a critical re-reading of his mid-century letterforms, what began as a single study evolved into a concise family of three essential weights, each balancing typographic clarity with subtle warmth.
Käch’s models stood at the intersection of geometric construction and humanist gesture, a dialogue that Sirca reopens through a contemporary lens. All cuts share the same serif structure, an uncommon choice that defines the family’s collective tone. The Bold is drawn with weight added inward, resulting in a denser, more compact appearance that echoes the condensed display types of the late ’60s phototype era.
While the Regular preserves the timeless grace and proportions of its historical sources, the newly introduced Bold channels a sharper, more expressive tone. Together, they form a genre-blending system: classic yet vivid, crafted for editorial, titles, logotypes, and any context where typography leads the narrative.
A design shaped by the past, sharpened for the century ahead.
2024-2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Spacing and Kerning: Igino Marini
Special thanks: @jacob.j.wise @claradousson
Now available at www.edito-type.com
INTRODUCING: SIRCA
A contemporary re-evaluation of Walter Käch’s serif display models. Rooted in a critical re-reading of his mid-century letterforms, what began as a single study evolved into a concise family of three essential weights, each balancing typographic clarity with subtle warmth.
Käch’s models stood at the intersection of geometric construction and humanist gesture, a dialogue that Sirca reopens through a contemporary lens. All cuts share the same serif structure, an uncommon choice that defines the family’s collective tone. The Bold is drawn with weight added inward, resulting in a denser, more compact appearance that echoes the condensed display types of the late ’60s phototype era.
While the Regular preserves the timeless grace and proportions of its historical sources, the newly introduced Bold channels a sharper, more expressive tone. Together, they form a genre-blending system: classic yet vivid, crafted for editorial, titles, logotypes, and any context where typography leads the narrative.
A design shaped by the past, sharpened for the century ahead.
2024-2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Spacing and Kerning: Igino Marini
Special thanks: @jacob.j.wise @claradousson
Now available at www.edito-type.com
INTRODUCING: SIRCA
A contemporary re-evaluation of Walter Käch’s serif display models. Rooted in a critical re-reading of his mid-century letterforms, what began as a single study evolved into a concise family of three essential weights, each balancing typographic clarity with subtle warmth.
Käch’s models stood at the intersection of geometric construction and humanist gesture, a dialogue that Sirca reopens through a contemporary lens. All cuts share the same serif structure, an uncommon choice that defines the family’s collective tone. The Bold is drawn with weight added inward, resulting in a denser, more compact appearance that echoes the condensed display types of the late ’60s phototype era.
While the Regular preserves the timeless grace and proportions of its historical sources, the newly introduced Bold channels a sharper, more expressive tone. Together, they form a genre-blending system: classic yet vivid, crafted for editorial, titles, logotypes, and any context where typography leads the narrative.
A design shaped by the past, sharpened for the century ahead.
2024-2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Spacing and Kerning: Igino Marini
Special thanks: @jacob.j.wise @claradousson
Now available at www.edito-type.com
INTRODUCING: SIRCA
A contemporary re-evaluation of Walter Käch’s serif display models. Rooted in a critical re-reading of his mid-century letterforms, what began as a single study evolved into a concise family of three essential weights, each balancing typographic clarity with subtle warmth.
Käch’s models stood at the intersection of geometric construction and humanist gesture, a dialogue that Sirca reopens through a contemporary lens. All cuts share the same serif structure, an uncommon choice that defines the family’s collective tone. The Bold is drawn with weight added inward, resulting in a denser, more compact appearance that echoes the condensed display types of the late ’60s phototype era.
While the Regular preserves the timeless grace and proportions of its historical sources, the newly introduced Bold channels a sharper, more expressive tone. Together, they form a genre-blending system: classic yet vivid, crafted for editorial, titles, logotypes, and any context where typography leads the narrative.
A design shaped by the past, sharpened for the century ahead.
2024-2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Spacing and Kerning: Igino Marini
Special thanks: @jacob.j.wise @claradousson
Now available at www.edito-type.com
@miumiu
Private Wishes campaign titles.
CD @LinaKutsovskaya @beg00dstudios
AD @studiotemp
@miumiu
Private Wishes campaign titles.
CD @LinaKutsovskaya @beg00dstudios
AD @studiotemp
@miumiu
Private Wishes campaign titles.
CD @LinaKutsovskaya @beg00dstudios
AD @studiotemp
@miumiu
Private Wishes campaign titles.
CD @LinaKutsovskaya @beg00dstudios
AD @studiotemp
@miumiu
Private Wishes campaign titles.
CD @LinaKutsovskaya @beg00dstudios
AD @studiotemp
Story Save - Best free tool for saving Stories, Reels, Photos, Videos, Highlights, IGTV to your phone.
Story-save.com is an intuitive online tool that enables users to download and save a variety of content, including stories, photos, videos, and IGTV materials, directly from Instagram. With Story-Save, you can not only easily download diverse content from Instagram but also view it at your convenience, even without internet access. This tool is perfect for those moments when you come across something interesting on Instagram and want to save it for later viewing. Use Story-Save to ensure you don't miss the chance to take your favorite Instagram moments with you!
Our advantages:
No Need to Register
Avoid app downloads and sign-ups, store stories on the web.
Exclusive High-Quality
Stories Say goodbye to poor-quality content, preserve only high-resolution Stories.
Accessible on All
Devices Download Instagram Stories using any browser, iPhone, Android.
Completely Free to Use
Absolutely no fees. Download any Story at no cost.
Frequently Asked Questions
- 1. Go to the Instagram Story Downloader tool.
- 2. Next, type the username of the Instagram profile into the provided field and click on the Download button.
- 3. You'll then see all the Stories that are available for the current 24-hour period. Select the ones you want and hit Download.