The Family
Syncro Typeface is a growing set of distinct styles. It rejects the idea of linear (interpolated) styles from thin to bold but offers convenience in mixing type within editorial projects. The initial release of Book (1), Italic (2), Mono (3) and Mono Italic (4) build the sturdy foundation. Bold Extended and Script will follow later and add plenty possibilities for even more eccentric designs.
The Style
Syncro is strongly characterised by its modulation and serifs. While the confident, almost provocative serifs of C, E, F, G, L, S and Z create a very expressive look in bigger type sizes, the distinctive modulation and rhythm within the design create a highly readable typeface.
The Source
The study of Ronaldson Clarendon by Alexander Kay for L. Johnson & Co (1885) was the starting point for Syncro Book. Cut in metal, its size-specific cuts reveal quite different characteristics. Syncro captures the spirit of the small type sizes ( 6, 8, 10pt) and translates it into a scalable modern design.
Syncro Typeface is a growing set of distinct styles. It rejects the idea of linear (interpolated) styles from thin to bold but offers convenience in mixing type within editorial projects. The initial release of Book (1), Italic (2), Mono (3) and Mono Italic (4) build the sturdy foundation. Bold Extended and Script will follow later and add plenty possibilities for even more eccentric designs.
The Style
Syncro is strongly characterised by its modulation and serifs. While the confident, almost provocative serifs of C, E, F, G, L, S and Z create a very expressive look in bigger type sizes, the distinctive modulation and rhythm within the design create a highly readable typeface.
The Source
The study of Ronaldson Clarendon by Alexander Kay for L. Johnson & Co (1885) was the starting point for Syncro Book. Cut in metal, its size-specific cuts reveal quite different characteristics. Syncro captures the spirit of the small type sizes ( 6, 8, 10pt) and translates it into a scalable modern design.
Licensing and Trial fonts are available via: outofthedark.xyz/syncro
Design of Syncro
by Fabio Furlani and Philipp Herrmann
Spacing and Kerning of Syncro Family by Igino Marini
Out of the Dark Typefaces ©2020
