Commercial Type, Christian Schwartz, Kai Bernau, Paul Barnes, CSTM Fonts, Ilya Ruderman, Ross Milne, Greg Gazdowicz
Publico originated as one of many stops on the long road to The Guardian’s 2005 redesign and the Guardian family. However, it was finished for Mark Porter and Simon Esterson’s redesign of Público in Lisbon. Because it shares the skeletal form of the Guardian typeface, Publico is a perfect companion.
The collection contains four families: Publico Нeadline with the interplay between sharp serifs and soft ball terminals, Publico Text, where elegance gives way to sturdiness, Publico Banner, which was initially designed to meet the needs of Público magazine web-designers and Publico Text Mono drawn for Bloomberg Businessweek infographics.
Despite its long history, Publico still feels contemporary and appears not only in newspapers, but also in web-design and brand identity.
Structurally, Publico takes many cues from contemporary type design, with its narrow proportion, consistent character widths, square, sturdy skeleton, and a pleasant openness. The balanced interplay between sharp serifs and soft ball terminals and lack of fussy details gives the face a clean, contemporary look and a quiet elegance, and the wide range of weights makes Publico Headline well-suited to any kind of publication design.
Small capitals, standard ligatures, proportional lining figures, proportional oldstyle figures, ordinals, fractions, denominator, numerator, subscript / inferiors, superscript / superiors, four stylistic sets
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), Mongolian (lat), Norwegian, Polish, Portuguese, Romanian, Russian, Serbian, Slovene, Spain, Swedish, Tadzhik, Tatar, Turkish, Turkmen, Ukrainian, Uzbek (Cyr), Uzbek (lat)