type.today
12 styles,
2017
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    $108
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72px
Vesterbro
Medium Italic
А это я в трусах и в майке под одеялом с головой бегу по солнечной лужайке, и мой сурок со мнойА это я в трусах и в майке под одеялом с головой бегу по солнечной лужайке, и мой сурок со мной
48px
Vesterbro
Medium Italic
Исследуется механизм спонтанно возникающих и саморазрушающихся коммуникаций.Исследуется механизм спонтанно возникающих и саморазрушающихся коммуникаций.
24px
Vesterbro
Medium 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.
15px
Vesterbro
Medium Italic
Покойный А. В. Сутягин: "Бывают ли у вас, Любочка, такие состояния, при которых буквально все, что происходит с вами и вокруг вас – вон старушка – видите? – что-то ищет в сумке, а вон кошка забежала за угол, – что все это исполнено какого-то великого и тайного смысла, который, кажется, сделай лишь малое усилие – и поймешь сразу и навсегда? Что, простите?"Покойный А. В. Сутягин: "Бывают ли у вас, Любочка, такие состояния, при которых буквально все, что происходит с вами и вокруг вас – вон старушка – видите? – что-то ищет в сумке, а вон кошка забежала за угол, – что все это исполнено какого-то великого и тайного смысла, который, кажется, сделай лишь малое усилие – и поймешь сразу и навсегда? Что, простите?"
About

Vesterbro is a versatile typeface built for global communication. The fonts may be used for a wide range of design projects, including branding and identity design, editorial design, and even advertising or packaging design. Its name comes from Copenhagen’s Vesterbro district, where the city had its old western gate. The family’s six weights are tied together by their stroke-contrast. Vesterbro combines characteristics from both the Garalde and Scotch models; while the typeface’s serifs are Scotch, the angle of stress in the letterforms is diagonal. The terminals on the lowercase ‘a,’ ‘c,’ and ‘f’ are noticeably calligraphic; they look like foxtails – or in keeping with the Nordic theme of the typeface’s name, like the horns on Viking helmets.

The Vesterbro family encompasses two different, but complementary designs. The heaviest font is Vesterbro Poster; this was designed first and is intended for use in the largest sizes. While working as a stand-alone font, Vesterbro Poster can accompany the rest of the family, too. Thanks to its diagonal stress, it has more warmth than the so-called ‘Fat Faces’ – typical high-contrast serifed display types, rooted in the Didone style. Vesterbro Poster’s letterforms have organic shapes and a very generous x-height, combined with small counterforms and short serifs.

The other five Vesterbro weights, which range from Light through Extrabold, form a cohesive series of their own. They can be combined with each other in a wide number of sizes. The lighter-weight letters have less contrast, as well as more-regularised counterform sizes. Their serifs are more pronounced. The Vesterbro family’s character set supports both the Latin and Cyrillic scripts. It also includes several styles of numerals and ligatures, as well as a full complement of arrows. Vesterbro come from Black[Foundry] in Paris; it was begun by Jérémie Hornus and developed collaboratively with Alisa Nowak and Ilya Naumoff.

Features

Standard ligatures, proportional lining figures, proportional oldstyle figures, tabular lining figures, tabular oldstyle figures, case sensitive forms, fractions, subscript / inferiors, superscript / superiors

Languages

Afrikaans, Belarusian, Bulgarian, Catalan, Czech, Danish, Dutch, English, Esperanto, Estonian, Finnish, French, Gaelic (Irish), Galician, German, Hungarian, Icelandic, Italian, Kurdish (lat), Latvian, Lithuanian, Mongolian (lat), Norwegian, Polish, Portuguese, Romanian, Russian, Serbian, Slovene, Spain, Swedish, Turkish, Ukrainian, Uzbek (lat)

Authors

Black[Foundry]

Based in Paris, Black[Foundry] founded by Jérémie Hornus and Grégori Vincens is a type-foundry that combines design, technology and multi-script. Through its Type+Tech® approach, the company helps major international brands, both on the development of their typographical identity, and on all the complex issues associated with new type technologies. Jérémie Hornus is a typeface designer with an engineering profile. He discovered typography at the Scriptorium of Toulouse in 2000 and then obtained a Master of Art in Typeface Design at the University of Reading in 2006. He now shares his time between lettering and programming.

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