Erode
A serif that looks rained on. The contrast is soft because certainty is soft. Set it large and it argues; set it small and it agrees.
Counterpunch draws retail typefaces and hints them until they hold their position at nine pixels. Everything below is set in the faces it sells. Move through the field, then read on.
Drawn in Sofia and RotterdamThe collection, set in itself
A serif that looks rained on. The contrast is soft because certainty is soft. Set it large and it argues; set it small and it agrees.
Thin hairlines, fat stems, and an opinion about both. Ranade is the face that wears the good coat to the meeting and lets the coat do the talking.
No jewellery, no accent, no excuses. Synonym is the face you reach for when the interface has to work at 13 pixels on a bad phone in bright sun.
The corners are rounded on purpose, not because someone was afraid of an edge. Pally is friendly the way a good bartender is friendly: quickly, and then it leaves you alone.
Every visitor gets to cut their own specimen. Type below, pick a face or let the dice pick, and take the artwork with you. The download is exactly what you see, at print resolution.
Enter a word, up to sixteen letters. The layout fits it for you.
Three nights of drone, choir, and one cello.
A weekly that still believes in the front page.
Numbers that line up so the panic does not.
| Licence | Desktop | Web | App and games |
|---|---|---|---|
| One person, one machineYou, a laptop, and a deadline. | 45 | 60 | 120 |
| A small studio, up to 10The whole floor, plus the intern. | 180 | 240 | 480 |
| A brand at scaleAirports, apps, and one very large sign. | 640 | 900 | 1,900 |
EUR, one-time. No subscription, because a font is not a streaming service.
Full disclosure. Counterpunch is a design fiction. The faces on this page are real, free releases (OFL and Fontshare), credited in the colophon. Nothing here charges your card.
Drawing a letter is the romantic part. You chase a curve for a week, you fight the same bowl of a lowercase a until it stops looking like a mistake and starts looking like a decision. Everyone wants to talk about that part.
Hinting is the part nobody photographs. It is the work of telling a curve how to behave when it is only nine pixels tall and the screen has no patience. A face is not finished when it looks good at 300 point. It is finished when it survives a spreadsheet.
We draw slowly and hint stubbornly. Between the two, a letter learns to hold its position: generous when it has room, disciplined when it does not. That argument, curve against grid, is the whole job.
A typeface is a long argument about the shape of a sound, and the best ones never quite concede.from the Counterpunch house notes
Four to nine months
A retail family is a season of your brand's voice. We start with the awkward letters (a, g, and the ampersand), because if those work the rest will follow. You get progress every fortnight, not a reveal at the end.
From EUR 18,000. Half up front, the rest when the italic behaves.
Six to twelve weeks per script
Cyrillic, Greek, a heavier display cut, a set of real small caps. We match the drawing you already have rather than improvise a new one. Bring the source, keep the licence, gain a script.
From EUR 4,200 per script. We will tell you if you do not need it.