Typeroom®. The space

19 Dec 2017

Recently relocated in the center of Athens, Typeroom (an offspring of Parachute®) is set to become a creative hub, transferring the work of Parachute® and the online typography platform Typeroom, to brick and mortar. The driving force behind the choice of location derives from a genuine need to engage in a dialogue with other designers, creatives and cultural figures, 
but furthermore invite anyone in who is curious to see what it is we really do.

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Venue Condensed

Copyright ©2017

Designer: Panos Vassiliou

 

BE ONE OF THE FIRST 100 TO PURCHASE THE ENTIRE FAMILY AND RECEIVE A COMPLIMENTARY COPY OF AN ORIGINAL ‘ROCKER AT HEART’ HANDPRINTED SILKSCREEN POSTER


PF Venue takes its cues from several sans serif type styles of the twentieth century particularly the more subdued and sleek geometric styles of the Art Deco movement, characterised by the low and high-waisted monostroke designs. Venue is a quite large x-height set of 2 families with alternate letterforms, which manifest a unique texture when set in uppercase. The daring combination of non-uniform structures such as the normal narrow forms with the alternate wide forms exudes a striking eye-catching personality. Consider using these for posters, ads, book covers and imaginative fashion editorials.
PF Venue draws inspiration from numerous condensed grotesques used by music album covers since the fifties and for several decades to follow. Underlined by the avid necessity of the underground music scene for non conformity, expression, freedom of spirit, rule breaking and challenging preconceptions, this collection pays tribute to a rocker at heart!
The full collection includes 2 separate families Venue and Venue Condensed plus a complimentary Stencil version (when you purchase the full family) which support Latin, Greek and Cyrillic. Each family includes 5 weights with 5 sets of alternate letterforms.

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DIN Serif® Arabic

Copyright ©2017

Designer: Panos Vassiliou /Hasan Abu Afash

 

DIN Serif was originally designed as a low contrast typeface with functional and distinct novelties which set it apart from most classic romans. Its solid, simple and subtle serif nature directed the development of its Arabic counterpart away from the traditional calligraphic styles, towards a more simplified contemporary design mixing Naskh characteristics with early Kufi style. Its Arabic letterforms carry through the feel of the original design by using attributes of DIN Serif such as the tension and contrast without copying the curves of the Latin script in its entirety. In fact, several basic characters originated on paper after many tedious trials with a traditional calligraphic bamboo pen. This provided a deeper understanding of its structure and visual rhythm, before converting the letterforms into a digital form and applying additional adjustments.The descenders of DIN Serif Arabic are short to match the proportions of the Latin version. The contrast between the thick and thin is maintained although inverted. Finally, it has carefully designed open counters that match the colour of the original. DIN Serif Arabic is fresh, clean, reliable and quite legible. Therefore, it is highly recommended for newspapers, magazines and other printed matter.
This version takes into consideration the new Unicode standard and supports additional languages such as Persian, Tajik, Kurdish Sorani, Kurdish Kirmanji, Pashtu, Baluchi, Urdu, Punjabi, Azeri, Kazakh, Tatar, Uighu.
Furthermore, each font style includes several Arabic practical symbols as well as swashes. All weights from Regular to Extra Black were meticulously hinted for excellent display performance on the web.

 

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PF Bague picks up a new award

03 Nov 2016

The German Design Awards 2017 were announced this week and we are pleased to share with you our latest achievement. The PF Bague type system picked up a new award which is the 3rd it receives since its official release back in 2014. Bague is a clean and versatile type system with a striking combination of letterforms.

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Brummell

Copyright ©2016

Designer: Panos Vassiliou

 

Based on a design which was originally commissioned by a financial institution in 2008, Brummell takes a more simplistic geometric approach without missing its original humanist characteristics. In fact, Brummell combines classical organic proportions (such as the varying width of capitals) with sharp geometrics, resulting to a less mechanical but refined structure. It is firm, sharp and extremely versatile. Its large round counters introduce an engaging element which delivers clarity equally well on fine print, harsh analog signage and pixel environments. Recurring minimal shapes in Brummell are interrupted by more traditional and easily perceived forms (such as the two-storeyed roman ‘a’ with a vertical spur, or the traditional ‘r’) in order to maximize legibility.
Brummell exudes a progressive, elegant and understated personality, which coupled with its natural wit comes out distinctively simple. It is carefully tuned to fit long text with the right balance of rhythm, harmony and a subtle dose of individuality pronounced by the distinct diamond-shaped dots above letters such as ‘i’ and ‘j’ or characters such as the smart two-stroke ‘k’ (an homage to the one-stroke oldstyle lowercase Greek kappa).
Its vertical strokes grow into angled endings whereas curved strokes and open counter shapes are terminated with vertical endings. On the other hand, the ascenders and descenders are quite compact to allow tight leading.
Designed for extended reading as well as signage applications, Brummell accommodates both by cleverly combining narrow letterforms (such as ‘b’ or ‘n’), with spacious counters and open shapes such as the circular ‘o’ or ‘c’. This technique offers economy of space without sacrificing legibility even from a distance. The addition of distinctive shapes (such as ‘k’), whimsical alternates (such as the cursive ‘B’) or humanist proportions, create a synergy of characteristics which provide an understated contemporary quality, lacking from most mainstream san serifs.
The strokes are simple and monolinear and for those who prefer a less striking impact, there is a number of subtle alternate glyphs such as letters ‘i’ and ‘j’ with round instead of diamond-shaped dots.
Brummell is a multiscript typeface which supports Latin, Greek and Cyrillic. The family consists of a total 16 styles from Hairline to Black including italics.

 

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Beau Sans is the official typeface of EURO2016

15 Jun 2016

Typography and soccer require discipline. Ideal for people with passion and creativity, both “fields” require thought to express one’s expertise. As EURO 2016 has already kicked off we take a look of its official typeface Beau Sans Pro. Beau Sans is a type designer’s attempt to simplify the anatomy of a text typeface without compromising its readability.

Adamant Sans wins 2016 Typography Competition

18 Jan 2016

Congratulations to Vedran Erakovic for winning an award for Adamant Sans at the Communication Arts competition 2016. Adamant Sans Pro is a contemporary and a very functional typeface. It stands out from the crowd with its uniquely designed rounded corners and beautiful italics.

Three new serif families for demanding editorials

07 Oct 2015

Three sharp new serif families have been released by Parachute®. They complement the award-winning Centro Serif family. Altogether, they offer a diverse selection of cuts for demanding editorials.

Parachute excels at Hiiibrand Typography Competition

06 May 2015

We are pleased to announce that once more Parachute received two international awards at the Hiii Typography Competition 2014. Specifically, Bague Sans Pro received a Bronze Award and Occula received a Merit Award

Das Grotesk wins 2015 Typography Competition

13 Oct 2014

Communication Arts magazine, a professional journal for those involved in creativity in visual communications, has announced the winners of its 5th Annual Typography Competition. Parachute’s Das Grotesk Pro is among the winners. One hundred and forty typography projects –of which only 12 typefaces– were selected by a jury of creative professionals; 1,811 entries were submitted to the competition.

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