RACTICE is a font
This Font Software is licensed under the SIL Open Font License, Version 1.1.
This license is copied below, and is also available with an FAQ at:
https://openfontlicense.org1
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Renowned
type
designer
Matthew
Carter
type
designer
Matthew
Carter
is often quoted as saying, “Type is a beautiful group of letters, not a group of beautiful letters.” In other words, most successful typefaces achieve harmony as a cohesive system, not through individually striking letterforms. “Practice” playfully inverts this principle—it's intentionally a collection of distinctive characters, each with its own personality. We’re setting these opinionated characters loose. We hope you will embrace their individual beauty—quirks and all.
______________ enowned ______________ type designer Matthew Carter is often quoted as saying, “Type is a beautiful group of letters, not a group of beautiful letters.” In other words, most successful typefaces achieve harmony as a cohesive system, not through individually striking letterforms. “Practice” playfully inverts this principle—it’s intentionally a collection of distinctive characters, each with its own personality. We’re setting these opinionated characters loose. We hope you will embrace their individual beauty—quirks and all.
Inspiration for the
font was
largely drawn from
the style of
our book on craft and design, also titled “Practice.” Playing with formal elements of book design, the publication blends ornate borders, custom typography, and classical proportions, creating a mash-up where the sensibilities of artist William Morris’s Kelmscott Press collide with a DIY zine aesthetic. Many of the letterforms that make up this typeface were originally created as dropcaps introducing articles in the book.
font was
largely drawn from
the style of
our book on craft and design, also titled “Practice.” Playing with formal elements of book design, the publication blends ornate borders, custom typography, and classical proportions, creating a mash-up where the sensibilities of artist William Morris’s Kelmscott Press collide with a DIY zine aesthetic. Many of the letterforms that make up this typeface were originally created as dropcaps introducing articles in the book.
_______ nspiration for the _______ font was largely _______ drawn from the _______ style of our book on craft and design, also titled “Practice.” Playing with formal elements of book design, the publication blends ornate borders, custom typography, and classical proportions, creating a mash-up where the sensibilities of artist William Morris’s Kelmscott Press collide with a DIY zine aesthetic. Many of the letterforms that make up this typeface were originally created as dropcaps introducing articles in the book.
Made in collaboration
with design studio
Other Means and
type designer Kia Tasbihgou. This free, Open Type Font (OTF) incorporates ornamental elements reminiscent of traditional dingbats—those typographic symbols historically used as borders and section dividers.
with design studio
Other Means and
type designer Kia Tasbihgou. This free, Open Type Font (OTF) incorporates ornamental elements reminiscent of traditional dingbats—those typographic symbols historically used as borders and section dividers.
___________ ade in ___________ collaboration with design studio Other Means and type designer Kia Tasbihgou. This free, Open Type Font (OTF) incorporates ornamental elements reminiscent of traditional dingbats—those typographic symbols historically used as borders and section dividers.
Download Font
Na M. Es
A Contrived Reduction of Nomenclature Yielding Mnemonics
Pictographic Logos
RACTICE is a font
This Font Software is licensed under the SIL Open Font License, Version 1.1.
This license is copied below, and is also available with an FAQ at: https://openfontlicense.org
1
!
Q
W
E
R
T
Y
U
I
O
P
A
Z
X
C
V
B
N
M
,
.
?
S
D
F
G
H
J
K
L
2
3
4
5
6
7
8
9
0
Renowned
type
designer
Matthew
Carter is often quoted as saying, “Type is a beautiful group of letters, not a group of beautiful letters.” In other words, most successful typefaces achieve harmony as a cohesive system, not through individually striking letterforms. “Practice” playfully inverts this principle—it's intentionally a collection of distinctive characters, each with its own personality. We’re setting these opinionated characters loose. We hope you will embrace their individual beauty—quirks and all.
type
designer
Matthew
Carter is often quoted as saying, “Type is a beautiful group of letters, not a group of beautiful letters.” In other words, most successful typefaces achieve harmony as a cohesive system, not through individually striking letterforms. “Practice” playfully inverts this principle—it's intentionally a collection of distinctive characters, each with its own personality. We’re setting these opinionated characters loose. We hope you will embrace their individual beauty—quirks and all.
__________________________ enowned __________________________ type __________________________ designer __________________________ Matthew Carter is often quoted as saying, “Type is a beautiful group of letters, not a group of beautiful letters.” In other words, most successful typefaces achieve harmony as a cohesive system, not through individually striking letterforms. “Practice” playfully inverts this principle—it’s intentionally a collection of distinctive characters, each with its own personality. We’re setting these opinionated characters loose. We hope you will embrace their individual beauty—quirks and all.
Inspiration for the font was
largely drawn from the style of
our book on craft and design, also titled “Practice.” Playing with formal elements of book design, the publication blends ornate borders, custom typography, and classical proportions, creating a mash-up where the sensibilities of artist William Morris’s Kelmscott Press collide with a DIY zine aesthetic. Many of the letterforms that make up this typeface were originally created as dropcaps introducing articles in the book.
largely drawn from the style of
our book on craft and design, also titled “Practice.” Playing with formal elements of book design, the publication blends ornate borders, custom typography, and classical proportions, creating a mash-up where the sensibilities of artist William Morris’s Kelmscott Press collide with a DIY zine aesthetic. Many of the letterforms that make up this typeface were originally created as dropcaps introducing articles in the book.
_________nspiration for the font was _________largely drawn from the style of _________our book on craft and design, _________also titled “Practice.” Playing with formal elements of book design, the publication blends ornate borders, custom typography, and classical proportions, creating a mash-up where the sensibilities of artist William Morris’s Kelmscott Press collide with a DIY zine aesthetic. Many of the letterforms that make up this typeface were originally created as dropcaps introducing articles in the book.
Made in collaboration
with design studio
Other Means and type
designer Kia Tasbihgou. This free, Open Type Font (OTF) incorporates ornamental elements reminiscent of traditional dingbats—those typographic symbols historically used as borders and section dividers.
with design studio
Other Means and type
designer Kia Tasbihgou. This free, Open Type Font (OTF) incorporates ornamental elements reminiscent of traditional dingbats—those typographic symbols historically used as borders and section dividers.
__________________ ade in collaboration __________________ with design studio __________________ Other Means and type designer Kia Tasbihgou. This free, Open Type Font (OTF) incorporates ornamental elements reminiscent of traditional dingbats—those typographic symbols historically used as borders and section dividers.
__________________ ade in collaboration __________________ with design studio __________________ Other Means and type designer Kia Tasbihgou. This free, Open Type Font (OTF) incorporates ornamental elements reminiscent of traditional dingbats—those typographic symbols historically used as borders and section dividers.
Download Font
Na M. Es
A Contrived Reduction of Nomenclature Yielding Mnemonics
Pictographic Logos
1
!
Q
W
E
R
T
Y
U
I
O
P
A
Z
X
C
V
B
N
M
,
.
?
S
D
F
G
H
J
K
L
2
3
4
5
6
7
8
9
0
This Font Software is licensed under the SIL Open Font License, Version 1.1.
This license is copied below, and is also available with an FAQ at:
https://openfontlicense.orgRenowned
type
designer
Matthew
Carter is often quoted as saying, “Type is a beautiful group of letters, not a group of beautiful letters.” In other words, most successful typefaces achieve harmony as a cohesive system, not through individually striking letterforms. “Practice” playfully inverts this principle—it's intentionally a collection of distinctive characters, each with its own personality. We’re setting these opinionated characters loose. We hope you will embrace their individual beauty—quirks and all.
type
designer
Matthew
Carter is often quoted as saying, “Type is a beautiful group of letters, not a group of beautiful letters.” In other words, most successful typefaces achieve harmony as a cohesive system, not through individually striking letterforms. “Practice” playfully inverts this principle—it's intentionally a collection of distinctive characters, each with its own personality. We’re setting these opinionated characters loose. We hope you will embrace their individual beauty—quirks and all.
__________________________ enowned __________________________ type __________________________ designer __________________________ Matthew Carter is often quoted as saying, “Type is a beautiful group of letters, not a group of beautiful letters.” In other words, most successful typefaces achieve harmony as a cohesive system, not through individually striking letterforms. “Practice” playfully inverts this principle—it’s intentionally a collection of distinctive characters, each with its own personality. We’re setting these opinionated characters loose. We hope you will embrace their individual beauty—quirks and all.
Inspiration for the font was
largely drawn from the style of
our book on craft and design, also titled “Practice.” Playing with formal elements of book design, the publication blends ornate borders, custom typography, and classical proportions, creating a mash-up where the sensibilities of artist William Morris’s Kelmscott Press collide with a DIY zine aesthetic. Many of the letterforms that make up this typeface were originally created as dropcaps introducing articles in the book.
largely drawn from the style of
our book on craft and design, also titled “Practice.” Playing with formal elements of book design, the publication blends ornate borders, custom typography, and classical proportions, creating a mash-up where the sensibilities of artist William Morris’s Kelmscott Press collide with a DIY zine aesthetic. Many of the letterforms that make up this typeface were originally created as dropcaps introducing articles in the book.
_________nspiration for the font was _________largely drawn from the style of _________our book on craft and design, _________also titled “Practice.” Playing with formal elements of book design, the publication blends ornate borders, custom typography, and classical proportions, creating a mash-up where the sensibilities of artist William Morris’s Kelmscott Press collide with a DIY zine aesthetic. Many of the letterforms that make up this typeface were originally created as dropcaps introducing articles in the book.
Made in collaboration
with design studio
Other Means and type
designer Kia Tasbihgou. This free, Open Type Font (OTF) incorporates ornamental elements reminiscent of traditional dingbats—those typographic symbols historically used as borders and section dividers.
with design studio
Other Means and type
designer Kia Tasbihgou. This free, Open Type Font (OTF) incorporates ornamental elements reminiscent of traditional dingbats—those typographic symbols historically used as borders and section dividers.
__________________ ade in collaboration __________________ with design studio __________________ Other Means and type designer Kia Tasbihgou. This free, Open Type Font (OTF) incorporates ornamental elements reminiscent of traditional dingbats—those typographic symbols historically used as borders and section dividers.
RACTICE is a font
