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Keratine Regular
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Keratine is a typeface exploring the space between fraktur and antiqua letterforms through the lens of low resolution digital aesthetics.

Keratine Semibold
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Keratine's variable identity design is based on internal contradictions as letterforms change dynamically with weight. 

pixel fraktur

Pangram
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Keratine Light

Start from 29 ($ 30.6)
The conversion euro/dollar is updated every day using 'European Central Bank (www.ecb.europa.eu)' exchange rate. Paypal can apply a different exchange rate

Keratine Light Italic

Start from 29 ($ 30.6)
The conversion euro/dollar is updated every day using 'European Central Bank (www.ecb.europa.eu)' exchange rate. Paypal can apply a different exchange rate

Keratine Book

Start from 29 ($ 30.6)
The conversion euro/dollar is updated every day using 'European Central Bank (www.ecb.europa.eu)' exchange rate. Paypal can apply a different exchange rate

Keratine Book Italic

Start from 29 ($ 30.6)
The conversion euro/dollar is updated every day using 'European Central Bank (www.ecb.europa.eu)' exchange rate. Paypal can apply a different exchange rate

Keratine Regular

Start from 29 ($ 30.6)
The conversion euro/dollar is updated every day using 'European Central Bank (www.ecb.europa.eu)' exchange rate. Paypal can apply a different exchange rate

Keratine Italic

Start from 29 ($ 30.6)
The conversion euro/dollar is updated every day using 'European Central Bank (www.ecb.europa.eu)' exchange rate. Paypal can apply a different exchange rate

Keratine Semibold

Start from 29 ($ 30.6)
The conversion euro/dollar is updated every day using 'European Central Bank (www.ecb.europa.eu)' exchange rate. Paypal can apply a different exchange rate

Keratine Semibold Italic

Start from 29 ($ 30.6)
The conversion euro/dollar is updated every day using 'European Central Bank (www.ecb.europa.eu)' exchange rate. Paypal can apply a different exchange rate

Keratine Bold

Start from 29 ($ 30.6)
The conversion euro/dollar is updated every day using 'European Central Bank (www.ecb.europa.eu)' exchange rate. Paypal can apply a different exchange rate

Keratine Bold Italic

Start from 29 ($ 30.6)
The conversion euro/dollar is updated every day using 'European Central Bank (www.ecb.europa.eu)' exchange rate. Paypal can apply a different exchange rate

Keratine Extrabold

Start from 29 ($ 30.6)
The conversion euro/dollar is updated every day using 'European Central Bank (www.ecb.europa.eu)' exchange rate. Paypal can apply a different exchange rate

Keratine Extrabold Italic

Start from 29 ($ 30.6)
The conversion euro/dollar is updated every day using 'European Central Bank (www.ecb.europa.eu)' exchange rate. Paypal can apply a different exchange rate

Keratine Heavy

Start from 29 ($ 30.6)
The conversion euro/dollar is updated every day using 'European Central Bank (www.ecb.europa.eu)' exchange rate. Paypal can apply a different exchange rate

Keratine Heavy Italic

Start from 29 ($ 30.6)
The conversion euro/dollar is updated every day using 'European Central Bank (www.ecb.europa.eu)' exchange rate. Paypal can apply a different exchange rate

Keratine Black

Start from 29 ($ 30.6)
The conversion euro/dollar is updated every day using 'European Central Bank (www.ecb.europa.eu)' exchange rate. Paypal can apply a different exchange rate

Keratine Black Italic

Start from 29 ($ 30.6)
The conversion euro/dollar is updated every day using 'European Central Bank (www.ecb.europa.eu)' exchange rate. Paypal can apply a different exchange rate

Available Formats

Desktop Licenses

B
N

Extended Licenses

G
A
M
L
Designed by Cosimo Lorenzo Pancini Version 1.0 / released in 2022
With design developement by Mario De Libero, Andrea Tartarelli, Francesco Canovaro
The letterforms that we now accept as the historical standard for printing latin alphabets were developed in Italy around the end of 1400. Deriving from Roman capitals and from italic handwriting, they soon replaced the blackletter letterforms that were used a few years before by Gutenberg for his first moveable types. Between these two typographical traditions there's an interesting and obscure middleground of historical oddballs, like the Pannartz-Sweynheym Subiaco types, cut in Italy in 1462.   Keratine is the result of Cosimo Lorenzo Pancini's exploration of that territory. Like our Kitsch by Francesco Canovaro it explores the impossible territory between antiqua and blackletter, not as a mere historical research, but rather as a way to re-discover and empower an unexpected and contemporary dynamism. Using contemporary digital aesthetics to combine the proportions of humanistic type with the gestural energy of Fraktur letterforms, Keratine developes a "digitally carved", quasi-pixelated appearance (clearly stressed  SHOW ALL

The letterforms that we now accept as the historical standard for printing latin alphabets were developed in Italy around the end of 1400. Deriving from Roman capitals and from italic handwriting, they soon replaced the blackletter letterforms that were used a few years before by Gutenberg for his first moveable types. Between these two typographical traditions there's an interesting and obscure middleground of historical oddballs, like the Pannartz-Sweynheym Subiaco types, cut in Italy in 1462.

 

Keratine is the result of Cosimo Lorenzo Pancini's exploration of that territory. Like our Kitsch by Francesco Canovaro it explores the impossible territory between antiqua and blackletter, not as a mere historical research, but rather as a way to re-discover and empower an unexpected and contemporary dynamism. Using contemporary digital aesthetics to combine the proportions of humanistic type with the gestural energy of Fraktur letterforms, Keratine developes a "digitally carved", quasi-pixelated appearance (clearly stressed in Keratine's italics) that allows an unexpected balance between small-size readability and display-size personality.

 

Keratine also relies heavily on a variable identity as the letterforms change dynamically with weight, developing from a contrasted, text-oriented light range to more expressive and darker display range, for a total of 8 weights with italics. Open type features and glyph alternates further enrich the usage possibility of this typeface that embodies our contemporary swap culture by embracing the contradictory complexity at the crossroads between Gothic and Humanist styles, while playfully empathising with a digital, brutalist spirit.

SUPPORT 190 LANGUAGES  SHOW ALL HIDE ALL
English, Spanish, Portuguese, French, German, Javanese (Latin), Turkish, Italian, Polish, Afaan Oromo, Tagalog, Sundanese (Latin), Filipino, Moldovan, Romanian, Indonesian, Cebuano, Malay, Uzbek (Latin), Kurdish (Latin), Swahili, Hungarian, Czech, Haitian Creole, Hiligaynon, Afrikaans, Somali, Zulu, Serbian, Swedish, Shona, Quechua, Albanian, Ilocano, Kikongo, Kinyarwanda, Neapolitan, Xhosa, Tshiluba, Slovak, Danish, Finnish, Norwegian, Sicilian, Sotho (Southern), Kirundi, Tswana, Sotho (Northern), Belarusian (Latin), Turkmen (Latin), Lombard, Lithuanian, Tsonga, Jamaican, Dholuo, Galician, Low Saxon, Waray-Waray, Makhuwa, Bikol, Kapampangan (Latin), Aymara, Ndebele, Slovenian, Tumbuka, Venetian, Genoese, Piedmontese, Swazi, Zazaki, Latvian, Silesian, Bashkir (Latin), Sardinian, Estonian, Afar, Cape Verdean Creole, Occitan, Tetum, Oshiwambo, Basque, Chavacano, Dawan, Montenegrin, Walloon, Asturian, Kaqchikel, Ossetian (Latin), Zapotec, Frisian, Guadeloupean Creole, Q’eqchi’, Karakalpak (Latin), Crimean Tatar (Latin), Sango, Luxembourgish, Samoan, Maltese, Tzotzil, Fijian, Friulian, Icelandic, Sranan, Wayuu, Papiamento, Aromanian, Corsican, Breton, Amis, Gagauz (Latin), Māori, Tok Pisin, Tongan, Alsatian, Kiribati, Seychellois Creole, Võro, Tahitian, Scottish Gaelic, Chamorro, Kashubian, Faroese, Rarotongan, Sorbian (Upper Sorbian), Karelian (Latin), Romansh, Chickasaw, Arvanitic (Latin), Nagamese Creole, Saramaccan, Ladin, Palauan, Sorbian (Lower Sorbian), Drehu, Wallisian, Aragonese, Tuvaluan, Zuni, Montagnais, Hawaiian, Marquesan, Niuean, Yapese, Vepsian, Bislama, Hopi, Megleno-Romanian, Creek, Aranese, Rotokas, Tokelauan, Mohawk, Warlpiri, Cimbrian, Sami (Lule Sami), Jèrriais, Arrernte, Murrinh-Patha, Kala Lagaw Ya, Cofán, Gwich’in, Seri, Sami (Southern Sami), Istro-Romanian, Wik-Mungkan, Anuta, Yindjibarndi, Noongar, Hotcąk (Latin), Meriam Mir, Manx, Shawnee, Gooniyandi, Ido, Wiradjuri, Hän, Ngiyambaa, Delaware, Potawatomi, Abenaki, Folkspraak, Interglossa, Interlingua, Latin, Latino sine Flexione, Lojban, Novial, Occidental, Slovio (Latin), Volapük

Weights

  • c
    Light
  • c
    Book
  • c
    Regular
  • c
    Semibold
  • c
    Bold
  • c
    Extrabold
  • c
    Heavy
  • c
    Black

Features

  • 12360
    Oldstyle Figures
  • Away
    gothic letterforms
  • Maman
    single story a
  • Gagging
    single story c
  • Horror
    alternate r
  • THIEF
    medieval letterforms
  • yoyo
    alternate y
  • C&G
    alternate ampersand
  • 237
    alternate numbers

Variable Typefaces

Keratine Variable

VARIABLE FONTS ARE ONLY AVAILABLE WITH THE FULL FAMILY PACKAGE, MAY NOT WORK WITH ALL THE SOFTWARE

Keratine Heavy
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Pannartz & Sweynheym

Keratine Light Italic
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Type design is mostly re-inventing something that both is already there and has never existed.

Keratine Book
CLICK ON TEXT TO EDIT

The Subiaco Press was a printing press located in Subiaco, Italy. The Press was established in 1464 by the German monks Arnold Pannartz and Konrad Sweynheim in the Abbey of Santa Scolastica, Subiaco. Sweynheim had worked with Johannes Gutenberg, the inventor of the mechanical movable-type printing press. Making use of the invention, Subiaco Press was the first printing press in Italy. The first book printed at Subiaco was a work by 4th century writer Aelius Donatus; it has not been preserved. This was followed by Cicero's 1st century BC work De Oratore, printed at Subiaco in September 1465, a copy of which is preserved in the Buchgewerbehaus at Leipzig. The next book was the Lactantius 4th century work The Divine Institutes, printed in October 1465. In 1467, Augustine of Hippo's 5th century The City of God was printed. These early books are notable for their typography. Unlike earlier German books, they were not printed in blackletter type. Instead, they were printed in a "half Roman" type, as in Italy there was a desire to use Roman characters. Furthermore, Lactantius's The Divine Institutes contains the world's first Greek printed characters. These were used for the extensive quotations in Greek which employed mobile letters now called "Subiaco type". In 1467, Pannartz and Sweinheim left Subiaco and settled in Rome.

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