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2 families,
2020
  • Desktop
    $640
  • Web
    $670
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    $3,990
72px
Signal
Regular
The Lifelong Republicans Who Love Bernie SandersThe Lifelong Republicans Who Love Bernie Sanders
24px
Signal
Regular Italic
Acabáronse las vísperas, y la fiesta de Santa Ana, y quedó Preciosa algo cansada; pero tan celebrada de hermosa, de aguda y de discreta, y de bailadora, que a corrillos se hablaba della en toda la Corte. De allí a quince días volvió a Madrid con otras tres muchachas, con sonajas y con un baile nuevo, todas apercebidas de romances y de cantarcillos alegres, pero todos honestos. Pusiéronse a bailar a la sombra en la calle de Toledo, y de los que las venían siguiendo se hizo luego un gran corro; y en tanto que bailaban.Acabáronse las vísperas, y la fiesta de Santa Ana, y quedó Preciosa algo cansada; pero tan celebrada de hermosa, de aguda y de discreta, y de bailadora, que a corrillos se hablaba della en toda la Corte. De allí a quince días volvió a Madrid con otras tres muchachas, con sonajas y con un baile nuevo, todas apercebidas de romances y de cantarcillos alegres, pero todos honestos. Pusiéronse a bailar a la sombra en la calle de Toledo, y de los que las venían siguiendo se hizo luego un gran corro; y en tanto que bailaban.
72px
Signal Mono
Regular
Согласно Книге рекордов Гиннесса, больше всего букв в алфавите кхмерского языкаСогласно Книге рекордов Гиннесса, больше всего букв в алфавите кхмерского языка
24px
Signal Mono
Italic
Acabáronse las vísperas, y la fiesta de Santa Ana, y quedó Preciosa algo cansada; pero tan celebrada de hermosa, de aguda y de discreta, y de bailadora, que a corrillos se hablaba della en toda la Corte. De allí a quince días volvió a Madrid con otras tres muchachas, con sonajas y con un baile nuevo, todas apercebidas de romances y de cantarcillos alegres, pero todos honestos. Pusiéronse a bailar a la sombra en la calle de Toledo, y de los que las venían siguiendo se hizo luego un gran corro; y en tanto que bailaban.Acabáronse las vísperas, y la fiesta de Santa Ana, y quedó Preciosa algo cansada; pero tan celebrada de hermosa, de aguda y de discreta, y de bailadora, que a corrillos se hablaba della en toda la Corte. De allí a quince días volvió a Madrid con otras tres muchachas, con sonajas y con un baile nuevo, todas apercebidas de romances y de cantarcillos alegres, pero todos honestos. Pusiéronse a bailar a la sombra en la calle de Toledo, y de los que las venían siguiendo se hizo luego un gran corro; y en tanto que bailaban.
About

Signal leans on a significant part of the French typographic landscape: Caractères, the typeface found on road signs throughout France. Although the genesis of these standardized alphabets (originally instated by the Ministry of Transport) remains obscure, they’ve officially dominated the French road network since 1946, and embody its typographic identity. Until now, Caractères had existed only in its standardized form: four incomplete styles named L1, L2, L4 (an italic variant with both upper- and lowercase characters), and L5. The bootleg digital versions available were similarly incomplete and poorly executed. Specifically developed with urban signage, interfaces, and exhibition design in mind, Production Type’s new Signal series completes and extends the pre-existing set of styles. The palette is an extrapolation of previously unexisting roman lowercases in four weights and their matching italics, a complete set of accents for multilingual typesetting, numerous arrows and pictograms, and characters for mathematical typesetting. As a new ensemble, Signal boosts Caractères’ potential, making it particularly well-suited for interface design. An epitome of late-modernist thinking, Signal’s aesthetic is inextricably bound up with administrative design. The letters conform to the rigor that suffused most sans serifs of the second half of the twentieth century. Signal has a bespoke appearance and a distinctive typographic color (see especially the unconventional spacing of the italic cuts). Signal Mono is a monospace subfamily, which dives deeper into the initial concept of a straightforward bureaucratic typeface, that would be well-suited for plain, no-nonsense typesettings. Serious and technical, translating any text into the rigorous monospace language, Signal Mono, is a great fit for data visualization, timetables, numbered lists, and other documents where the numerical information counts. Production Type has a long-standing relationship with signage typefaces, making them a focus of research from as early as 2003. This new Signal, revisited and harmonized, continues our reflexion and opens up new possibilities for dialogue. Cyrillic: Hugues Gentile, consulted by Ilya Ruderman and Yury Ostromentsky (CSTM Fonts).

Features

Case sensitive forms, standard ligatures, proportional lining figures, proportional oldstyle figures, fractions, denominator, numerator, subscript / inferiors, superscript / superiors, slashed zero, six stylistic sets, ordinals

Languages

Afrikaans, Azeri (cyr), Azeri (lat), Bashkir, Belarusian, Bulgarian, Catalan, Chechen, Chuvash, Czech, Danish, Dutch, English, Esperanto, Estonian, Finnish, French, Gaelic (Irish), Galician, German, Hungarian, Icelandic, Ingush, Italian, Kazakh, Kurdish (lat), Kyrghiz, Latvian, Lithuanian, Moldavian (cyr), Mongolian (cyr), Norwegian, Polish, Portuguese, Russian, Serbian, Slovene, Spain, Swedish, Tadzhik, Tatar, Turkish, Turkmen, Ukrainian, Uzbek (lat)

Authors

Production Type

Based in Paris, Production Type is a digital type design agency founded in 2014 by Jean-Baptiste Levée. Its activities span from the exclusive online distribution of its retail type for design professionals, to the creation of custom typefaces for the industrial, luxury, and media sectors. Production Type’s collection is well known for gathering talented and innovative designers, and strives to release contemporary, unique typefaces for demanding designers. Through numerous awards (D&AD, Type Directors Club, Tokyo TDC…), the agency has also been acclaimed for its projects for Renault, Vanity Fair or Courrèges.

Hugues Gentile

After an MA degree in typeface design at École Estienne, Hugues Gentile followed the EsadType postgraduate program in Amiens, where he developed typefaces for complex Latin-Bengali typesettings. He is a senior typeface designer at Production Type.

Emmanuel Besse

Emmanuel Besse holds a degree in typographic design from the École Estienne in Paris. His varied experiences have allowed him to build a profile willingly mixing disciplines: he works on projects ranging from web design and publishing, to typeface design. He is the co-founder of the design studio Large Projects.