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Joc Display making an appearance in Alphabettes Soup 🍲 – Feminist Approaches to Type.
A playful mix of voices, forms, and perspectives; we are happy to see it among such great company.

Explore Joc via Type-O-Tones
Designed by @sabinakipara
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#Alphabettes#JocDisplay #type0tones #sabinakipara #typedesign

Joc Display making an appearance in Alphabettes Soup 🍲 – Feminist Approaches to Type.
A playful mix of voices, forms, and perspectives; we are happy to see it among such great company.

Explore Joc via Type-O-Tones
Designed by @sabinakipara
•
•
•
#Alphabettes#JocDisplay #type0tones #sabinakipara #typedesign

Joc Display making an appearance in Alphabettes Soup 🍲 – Feminist Approaches to Type.
A playful mix of voices, forms, and perspectives; we are happy to see it among such great company.

Explore Joc via Type-O-Tones
Designed by @sabinakipara
•
•
•
#Alphabettes#JocDisplay #type0tones #sabinakipara #typedesign

Joc Display making an appearance in Alphabettes Soup 🍲 – Feminist Approaches to Type.
A playful mix of voices, forms, and perspectives; we are happy to see it among such great company.

Explore Joc via Type-O-Tones
Designed by @sabinakipara
•
•
•
#Alphabettes#JocDisplay #type0tones #sabinakipara #typedesign

Harri Variable: A Flared & Sans Serif Basque Variable Font

Harri Variable is the definitive Basque variable font, consolidating the structural DNA of Harri, Harri Sans, and the Condensed variants into a single, high-performance file. This evolution brings cutting-edge technology to Basque typography, empowering designers to actively modulate the typeface’s character by navigating three seamless axes: Weight, Width, and our unique Flare Axis.

Whether for high-impact print or responsive digital environments, Harri Variable ensures total creative control. By precisely dialing in any intermediate state—from minimalist linear stems to iconic stone-carved flares, you can ensure your visual identity adapts perfectly to both aesthetic and technical requirements.

Designed by @blancoletters

Harri Condensed is the narrow evolution of the Harri family, offering the same unique soul in a space-saving Basque condensed font. Inspired by the rhythmic and powerful carvings of traditional Basque gravestones, this flared font has been meticulously adjusted to maintain its historical character in much tighter proportions. It is a sturdy condensed font designed for those who need to deliver a bold, authoritative message when horizontal space is a luxury.

From headlines and logos to labels and data displays, Harri Condensed makes a strong impression while maximizing every inch of available layout space. Designed by Juan Luis Blanco.

Clean Efficiency: A Unique Basque Sans Serif Condensed Font

Harri Sans Condensed keeps the signature, terminal-free look of Harri Sans but in a tighter, space-saving form. As a professional Basque sans serif condensed font, it shares the exact structure and metrics as Harri Condensed, allowing you to swap between the flared and sans styles without worrying about line breaks or text reflow. This makes it a highly efficient condensed font for complex editorial and branding systems.

Like the rest of the family, this modern Basque typeface offers extensive OpenType features —mix and match styles, explore contextual alternates, and play with unique ligatures. Whether you’re working on posters, book covers, packaging, or digital interfaces, Harri Sans Condensed delivers a clear, bold voice while maximizing your layout space.

The perfect companion for Harri Sans. For ultimate creative control, try Harri Variable —a powerhouse Basque variable font that allows you to modulate weight, width, and flare axes to find your exact typographic voice.
Designed by @blancoletters

Harri Sans marks a decisive evolution. Redefining traditional Basque lettering through the lens of modern minimalism, it consciously distills the iconic forms of the original Harri into clean, humanist proportions. This family provides a high-performance Basque sans font built for the rigors of contemporary global branding.

The calligraphic traits of the original curves have been meticulously adjusted to align with the precision of modern geometric sans serifs. Nevertheless, Harri Sans retains a slightly organic flavour, striking a perfect balance between cultural tradition and modern branding needs. The result is a distinctive display sans serif that offers ample opportunity for experimentation through an extensive set of ligatures and contextual alternates.

Whether used for high-impact posters, book covers, packaging, or digital interfaces, Harri Sans conveys clear and powerful messages with a unique local soul.

Designed by @blancoletters, available at @typeotones

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Las calles de Barcelona están llenas de letras — grabadas, fundidas y esmaltadas.
Placa, de @laurameseguer, es una interpretación tipográfica del estilo más característico de las placas de las calles de la ciudad: una sans serif geométrica y condensada que define su ritmo visual.

Nació como encargo para el documental “Barcelona. La Rosa de Fuego” (dir. Manuel Huerga, prod. Mariona Omedes Nueve ojos y Media Pro) con una pregunta clave:
¿Qué tipografía podría representar a Barcelona?

De ahí surgió Placa, una sans serif incisa con esqueleto geométrico y remates incisos, más tarde ampliada en una familia completa — de Fina a Gruixuda, con Variable Font incluida.

Su nombre, Placa (“placa” en catalán y español), nació en conversación con Ferran de @toormix: una palabra sencilla, que remite a su origen.

👉 Descubre más en type-o-tones.com/fonts/placa (Link en la bio)

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Els carrers de Barcelona són plens de lletres — gravades, foses i esmaltades.
Placa, de @laurameseguer, és una interpretació tipogràfica de l’estil més característic de les plaques dels carrers de la ciutat: una sans serif geomètrica i condensada que en defineix, silenciosament, el ritme visual.

Va néixer com un encàrrec per al documental “Barcelona. La Rosa de Foc” (dir. Manuel Huerga, prod. Mariona Omedes de Nueve ojos i Media Pro) amb una pregunta clau:
Quina tipografia podria representar Barcelona?

D’aquesta pregunta en va néixer Placa, una sans serif incisa amb esquelet geomètric i detalls precisos, ampliada més endavant fins a convertir-se en una família completa — de Fina a Gruixuda, amb Variable Font inclosa.

El seu nom, Placa (“placa” en català i castellà), va sorgir d’una conversa amb Ferran, de @toormix: una paraula senzilla, que remet al seu origen.

👉 Més a type-o-tones.com/fonts/placa

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Barcelona’s streets are filled with letters — carved, cast, and enamelled.
Placa is my typographic interpretation of the most common style found on the city’s street signs: a condensed geometric sans serif that quietly defines its visual rhythm.

Originally commissioned for the documentary “Barcelona. The Rose of Fire” — directed by Manuel Huerga and produced by Mariona Omedes (Nueveojos) and Media Pro — the challenge was simple but essential:
Which typeface could represent Barcelona?

From that question, Placa was born — an incised sans-serif with a geometric skeleton and crafted details that give it both character and function.

Years later, Laura revisited the project and expanded it into a full type family: from Fina to Gruixuda, including a Variable Font for flexibility across media. Today, Placa lives on screens, in print, and even as the voice of her own website.

Its name — Placa, meaning “plate” in both Catalan and Spanish — came during a conversation with Ferran from @toormix.
A simple word, rooted in the origin.

👉 Explore more at type-o-tones.com/fonts/placa (Link in Bio)

PART IV

Kanat Latin has a bold attitude and playful spirit. It loves avocados too! The font supports 269 languages and covers Basic Latin, Latin-1 Supplement, Latin-2 Central European and Latin Plus.

This font is best used at 48pt and above. Following its Arabic Companion called Kanat Solid by Lara Captan, it contains some stencil characters. It is designed to highlight words with flair, and finds its sweet spot in architectural, food, music, fashion, and packaging contexts.

Designed by Maria Montes and distributed by Type-Ø-Tones. Come and play with us!

PART IV

Kanat Latin has a bold attitude and playful spirit. It loves avocados too! The font supports 269 languages and covers Basic Latin, Latin-1 Supplement, Latin-2 Central European and Latin Plus.

This font is best used at 48pt and above. Following its Arabic Companion called Kanat Solid by Lara Captan, it contains some stencil characters. It is designed to highlight words with flair, and finds its sweet spot in architectural, food, music, fashion, and packaging contexts.

Designed by Maria Montes and distributed by Type-Ø-Tones. Come and play with us!

PART IV

Kanat Latin has a bold attitude and playful spirit. It loves avocados too! The font supports 269 languages and covers Basic Latin, Latin-1 Supplement, Latin-2 Central European and Latin Plus.

This font is best used at 48pt and above. Following its Arabic Companion called Kanat Solid by Lara Captan, it contains some stencil characters. It is designed to highlight words with flair, and finds its sweet spot in architectural, food, music, fashion, and packaging contexts.

Designed by Maria Montes and distributed by Type-Ø-Tones. Come and play with us!

PART IV

Kanat Latin has a bold attitude and playful spirit. It loves avocados too! The font supports 269 languages and covers Basic Latin, Latin-1 Supplement, Latin-2 Central European and Latin Plus.

This font is best used at 48pt and above. Following its Arabic Companion called Kanat Solid by Lara Captan, it contains some stencil characters. It is designed to highlight words with flair, and finds its sweet spot in architectural, food, music, fashion, and packaging contexts.

Designed by Maria Montes and distributed by Type-Ø-Tones. Come and play with us!

PART IV

Kanat Latin has a bold attitude and playful spirit. It loves avocados too! The font supports 269 languages and covers Basic Latin, Latin-1 Supplement, Latin-2 Central European and Latin Plus.

This font is best used at 48pt and above. Following its Arabic Companion called Kanat Solid by Lara Captan, it contains some stencil characters. It is designed to highlight words with flair, and finds its sweet spot in architectural, food, music, fashion, and packaging contexts.

Designed by Maria Montes and distributed by Type-Ø-Tones. Come and play with us!

PART IV

Kanat Latin has a bold attitude and playful spirit. It loves avocados too! The font supports 269 languages and covers Basic Latin, Latin-1 Supplement, Latin-2 Central European and Latin Plus.

This font is best used at 48pt and above. Following its Arabic Companion called Kanat Solid by Lara Captan, it contains some stencil characters. It is designed to highlight words with flair, and finds its sweet spot in architectural, food, music, fashion, and packaging contexts.

Designed by Maria Montes and distributed by Type-Ø-Tones. Come and play with us!

PART IV

Kanat Latin has a bold attitude and playful spirit. It loves avocados too! The font supports 269 languages and covers Basic Latin, Latin-1 Supplement, Latin-2 Central European and Latin Plus.

This font is best used at 48pt and above. Following its Arabic Companion called Kanat Solid by Lara Captan, it contains some stencil characters. It is designed to highlight words with flair, and finds its sweet spot in architectural, food, music, fashion, and packaging contexts.

Designed by Maria Montes and distributed by Type-Ø-Tones. Come and play with us!

PART IV

Kanat Latin has a bold attitude and playful spirit. It loves avocados too! The font supports 269 languages and covers Basic Latin, Latin-1 Supplement, Latin-2 Central European and Latin Plus.

This font is best used at 48pt and above. Following its Arabic Companion called Kanat Solid by Lara Captan, it contains some stencil characters. It is designed to highlight words with flair, and finds its sweet spot in architectural, food, music, fashion, and packaging contexts.

Designed by Maria Montes and distributed by Type-Ø-Tones. Come and play with us!

ZooLogic is a sans-serif typeface with rounded terminals that originated from a hand-lettering project. In 2007, CocoBooks published the work of the Japanese illustration group La Zoo, known for covers that integrate informal letterforms with their illustrations.

For the Spanish and Catalan editions, we sought to bring the rhythm of the original Japanese compositions into the Latin script, using the same finishing techniques and integration methods. This led to the creation of multiple variations for each character, resulting in a vibrant and diverse collection of cover designs.

When we began developing a typeface based on the characters used for La Zoo, we established an unconventional style system: a formal version (Style 1), a more idiosyncratic version (Style 2), and finally, the most informal of the family (Style 3), where the letterforms vary significantly in design and size, creating a lively, bouncing effect along the baseline.

ZooLogic is a sans-serif typeface with rounded terminals that originated from a hand-lettering project. In 2007, CocoBooks published the work of the Japanese illustration group La Zoo, known for covers that integrate informal letterforms with their illustrations.

For the Spanish and Catalan editions, we sought to bring the rhythm of the original Japanese compositions into the Latin script, using the same finishing techniques and integration methods. This led to the creation of multiple variations for each character, resulting in a vibrant and diverse collection of cover designs.

When we began developing a typeface based on the characters used for La Zoo, we established an unconventional style system: a formal version (Style 1), a more idiosyncratic version (Style 2), and finally, the most informal of the family (Style 3), where the letterforms vary significantly in design and size, creating a lively, bouncing effect along the baseline.

ZooLogic is a sans-serif typeface with rounded terminals that originated from a hand-lettering project. In 2007, CocoBooks published the work of the Japanese illustration group La Zoo, known for covers that integrate informal letterforms with their illustrations.

For the Spanish and Catalan editions, we sought to bring the rhythm of the original Japanese compositions into the Latin script, using the same finishing techniques and integration methods. This led to the creation of multiple variations for each character, resulting in a vibrant and diverse collection of cover designs.

When we began developing a typeface based on the characters used for La Zoo, we established an unconventional style system: a formal version (Style 1), a more idiosyncratic version (Style 2), and finally, the most informal of the family (Style 3), where the letterforms vary significantly in design and size, creating a lively, bouncing effect along the baseline.

ZooLogic is a sans-serif typeface with rounded terminals that originated from a hand-lettering project. In 2007, CocoBooks published the work of the Japanese illustration group La Zoo, known for covers that integrate informal letterforms with their illustrations.

For the Spanish and Catalan editions, we sought to bring the rhythm of the original Japanese compositions into the Latin script, using the same finishing techniques and integration methods. This led to the creation of multiple variations for each character, resulting in a vibrant and diverse collection of cover designs.

When we began developing a typeface based on the characters used for La Zoo, we established an unconventional style system: a formal version (Style 1), a more idiosyncratic version (Style 2), and finally, the most informal of the family (Style 3), where the letterforms vary significantly in design and size, creating a lively, bouncing effect along the baseline.

ZooLogic is a sans-serif typeface with rounded terminals that originated from a hand-lettering project. In 2007, CocoBooks published the work of the Japanese illustration group La Zoo, known for covers that integrate informal letterforms with their illustrations.

For the Spanish and Catalan editions, we sought to bring the rhythm of the original Japanese compositions into the Latin script, using the same finishing techniques and integration methods. This led to the creation of multiple variations for each character, resulting in a vibrant and diverse collection of cover designs.

When we began developing a typeface based on the characters used for La Zoo, we established an unconventional style system: a formal version (Style 1), a more idiosyncratic version (Style 2), and finally, the most informal of the family (Style 3), where the letterforms vary significantly in design and size, creating a lively, bouncing effect along the baseline.

PART IV

Green Fairy is a chromatic font family highly ornamented for display purposes. This super display family has four chromatic weights:

1. Green Fairy Outline
2. Green Fairy Dots
3. Green Fairy Stencil
4. Green Fairy Full

The Outline weight has been created as the base for the other styles. You can combine these weights as well as add colours to obtain multiple effects and type styles.

Chromatic weights: 7
Glyphs per weight: 443
Languages supported: 207
Latin Plus diacritics: 95%

Designed by Maria Montes and distributed by Type-Ø-Tones. Come and play with us!

PART IV

Green Fairy is a chromatic font family highly ornamented for display purposes. This super display family has four chromatic weights:

1. Green Fairy Outline
2. Green Fairy Dots
3. Green Fairy Stencil
4. Green Fairy Full

The Outline weight has been created as the base for the other styles. You can combine these weights as well as add colours to obtain multiple effects and type styles.

Chromatic weights: 7
Glyphs per weight: 443
Languages supported: 207
Latin Plus diacritics: 95%

Designed by Maria Montes and distributed by Type-Ø-Tones. Come and play with us!

PART IV

Green Fairy is a chromatic font family highly ornamented for display purposes. This super display family has four chromatic weights:

1. Green Fairy Outline
2. Green Fairy Dots
3. Green Fairy Stencil
4. Green Fairy Full

The Outline weight has been created as the base for the other styles. You can combine these weights as well as add colours to obtain multiple effects and type styles.

Chromatic weights: 7
Glyphs per weight: 443
Languages supported: 207
Latin Plus diacritics: 95%

Designed by Maria Montes and distributed by Type-Ø-Tones. Come and play with us!

PART IV

Green Fairy is a chromatic font family highly ornamented for display purposes. This super display family has four chromatic weights:

1. Green Fairy Outline
2. Green Fairy Dots
3. Green Fairy Stencil
4. Green Fairy Full

The Outline weight has been created as the base for the other styles. You can combine these weights as well as add colours to obtain multiple effects and type styles.

Chromatic weights: 7
Glyphs per weight: 443
Languages supported: 207
Latin Plus diacritics: 95%

Designed by Maria Montes and distributed by Type-Ø-Tones. Come and play with us!

PART IV

Green Fairy is a chromatic font family highly ornamented for display purposes. This super display family has four chromatic weights:

1. Green Fairy Outline
2. Green Fairy Dots
3. Green Fairy Stencil
4. Green Fairy Full

The Outline weight has been created as the base for the other styles. You can combine these weights as well as add colours to obtain multiple effects and type styles.

Chromatic weights: 7
Glyphs per weight: 443
Languages supported: 207
Latin Plus diacritics: 95%

Designed by Maria Montes and distributed by Type-Ø-Tones. Come and play with us!

PART IV

Green Fairy is a chromatic font family highly ornamented for display purposes. This super display family has four chromatic weights:

1. Green Fairy Outline
2. Green Fairy Dots
3. Green Fairy Stencil
4. Green Fairy Full

The Outline weight has been created as the base for the other styles. You can combine these weights as well as add colours to obtain multiple effects and type styles.

Chromatic weights: 7
Glyphs per weight: 443
Languages supported: 207
Latin Plus diacritics: 95%

Designed by Maria Montes and distributed by Type-Ø-Tones. Come and play with us!

PART IV

Green Fairy is a chromatic font family highly ornamented for display purposes. This super display family has four chromatic weights:

1. Green Fairy Outline
2. Green Fairy Dots
3. Green Fairy Stencil
4. Green Fairy Full

The Outline weight has been created as the base for the other styles. You can combine these weights as well as add colours to obtain multiple effects and type styles.

Chromatic weights: 7
Glyphs per weight: 443
Languages supported: 207
Latin Plus diacritics: 95%

Designed by Maria Montes and distributed by Type-Ø-Tones. Come and play with us!

PART IV

Green Fairy is a chromatic font family highly ornamented for display purposes. This super display family has four chromatic weights:

1. Green Fairy Outline
2. Green Fairy Dots
3. Green Fairy Stencil
4. Green Fairy Full

The Outline weight has been created as the base for the other styles. You can combine these weights as well as add colours to obtain multiple effects and type styles.

Chromatic weights: 7
Glyphs per weight: 443
Languages supported: 207
Latin Plus diacritics: 95%

Designed by Maria Montes and distributed by Type-Ø-Tones. Come and play with us!

NEW RELEASE: Kanat Latin

In 2024, the Arabic type designer Lara Captan challenged Maria Montes to create a Latin companion for her existing Arabic display font called Kanat — the Turkish word for “wing.” Captan’s beautiful typeface is a detached stencil design, originally created for letterpress, which carries architectural playfulness and delivers a warm kind of boldness to the reader.

Based on the description above— and challenged by the question: How can I create a Latin companion for an Arabic font I cannot read or write? — Montes spent many hours observing and analysing Kanat Arabic, its personality and DNA, followed by many more hours of consulting with Lara Captan. The result is a Latin interpretation that carries a bold attitude and playful spirit.

NEW RELEASE: Kanat Latin

In 2024, the Arabic type designer Lara Captan challenged Maria Montes to create a Latin companion for her existing Arabic display font called Kanat — the Turkish word for “wing.” Captan’s beautiful typeface is a detached stencil design, originally created for letterpress, which carries architectural playfulness and delivers a warm kind of boldness to the reader.

Based on the description above— and challenged by the question: How can I create a Latin companion for an Arabic font I cannot read or write? — Montes spent many hours observing and analysing Kanat Arabic, its personality and DNA, followed by many more hours of consulting with Lara Captan. The result is a Latin interpretation that carries a bold attitude and playful spirit.

NEW RELEASE: Kanat Latin

In 2024, the Arabic type designer Lara Captan challenged Maria Montes to create a Latin companion for her existing Arabic display font called Kanat — the Turkish word for “wing.” Captan’s beautiful typeface is a detached stencil design, originally created for letterpress, which carries architectural playfulness and delivers a warm kind of boldness to the reader.

Based on the description above— and challenged by the question: How can I create a Latin companion for an Arabic font I cannot read or write? — Montes spent many hours observing and analysing Kanat Arabic, its personality and DNA, followed by many more hours of consulting with Lara Captan. The result is a Latin interpretation that carries a bold attitude and playful spirit.

NEW RELEASE: Kanat Latin

In 2024, the Arabic type designer Lara Captan challenged Maria Montes to create a Latin companion for her existing Arabic display font called Kanat — the Turkish word for “wing.” Captan’s beautiful typeface is a detached stencil design, originally created for letterpress, which carries architectural playfulness and delivers a warm kind of boldness to the reader.

Based on the description above— and challenged by the question: How can I create a Latin companion for an Arabic font I cannot read or write? — Montes spent many hours observing and analysing Kanat Arabic, its personality and DNA, followed by many more hours of consulting with Lara Captan. The result is a Latin interpretation that carries a bold attitude and playful spirit.

NEW RELEASE: Kanat Latin

In 2024, the Arabic type designer Lara Captan challenged Maria Montes to create a Latin companion for her existing Arabic display font called Kanat — the Turkish word for “wing.” Captan’s beautiful typeface is a detached stencil design, originally created for letterpress, which carries architectural playfulness and delivers a warm kind of boldness to the reader.

Based on the description above— and challenged by the question: How can I create a Latin companion for an Arabic font I cannot read or write? — Montes spent many hours observing and analysing Kanat Arabic, its personality and DNA, followed by many more hours of consulting with Lara Captan. The result is a Latin interpretation that carries a bold attitude and playful spirit.

NEW RELEASE: Kanat Latin

In 2024, the Arabic type designer Lara Captan challenged Maria Montes to create a Latin companion for her existing Arabic display font called Kanat — the Turkish word for “wing.” Captan’s beautiful typeface is a detached stencil design, originally created for letterpress, which carries architectural playfulness and delivers a warm kind of boldness to the reader.

Based on the description above— and challenged by the question: How can I create a Latin companion for an Arabic font I cannot read or write? — Montes spent many hours observing and analysing Kanat Arabic, its personality and DNA, followed by many more hours of consulting with Lara Captan. The result is a Latin interpretation that carries a bold attitude and playful spirit.

NEW RELEASE: Kanat Latin

In 2024, the Arabic type designer Lara Captan challenged Maria Montes to create a Latin companion for her existing Arabic display font called Kanat — the Turkish word for “wing.” Captan’s beautiful typeface is a detached stencil design, originally created for letterpress, which carries architectural playfulness and delivers a warm kind of boldness to the reader.

Based on the description above— and challenged by the question: How can I create a Latin companion for an Arabic font I cannot read or write? — Montes spent many hours observing and analysing Kanat Arabic, its personality and DNA, followed by many more hours of consulting with Lara Captan. The result is a Latin interpretation that carries a bold attitude and playful spirit.

NEW RELEASE: Kanat Latin

In 2024, the Arabic type designer Lara Captan challenged Maria Montes to create a Latin companion for her existing Arabic display font called Kanat — the Turkish word for “wing.” Captan’s beautiful typeface is a detached stencil design, originally created for letterpress, which carries architectural playfulness and delivers a warm kind of boldness to the reader.

Based on the description above— and challenged by the question: How can I create a Latin companion for an Arabic font I cannot read or write? — Montes spent many hours observing and analysing Kanat Arabic, its personality and DNA, followed by many more hours of consulting with Lara Captan. The result is a Latin interpretation that carries a bold attitude and playful spirit.