Kessler Super Display

Styles

RegularBuy from €80 ItalicBuy from €80

Kessler Super Display In Use

Study For No is the title of Issy Wood’s first solo exhibition in France. The show by the up-and-coming painter from London is on display at Lafayette Anticipations in Paris until January 7, 2024: Borrowing its title from a 2019 painting, it explores the potential of refusal, discussing and resisting orders which secretly weave their way into our daily lives. Building through seduction, humor and cynicism, her work is marked by the recurrence of serialized motifs: hypersexualized glossy leather jackets, gleaming car interiors, immaculate porcelain sets, representations of animals, female figures, and self-portraits —all counting as sites where our ways of being are played out. Curator Rebecca Lamarche-Vadel commissioned Pierre Vanni with the visual identity of the exhibition. Among the items designed by Vanni are the exhibition poster, subway ads, and a bilingual booklet. The selected artwork is an unnerving one, certainly for those of us who are dreading our next dentist’s appointment. It’s titled Study for Wednesday (oil on linen, 2022; © Issy Wood, courtesy the artist; Carlos/Ishikawa, London; and Michael Werner, New York. Photographer: Stephen James). There are two title typefaces used throughout the applications: Kessler is Alaric Garnier’s contemporary take on inscriptional serifs, released with Production Type. Englische Schreibschrift is a classic Anglaise with not-quite-joining letters. It was made in-house at Berthold in the 1970s, under the supervision of Günter Gerhard Lange. All text is shown in silver, echoing the shiny metal of the dental drill.
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Kessler Super Display Regular
Issy Wood – Study For No at Lafayette Anticipations
Tessa Mars is a Haitian contemporary visual artist, born in 1985 in Port-au-Prince. Her work focuses on Caribbean identity, how this region’s history was shaped by violence, and questions the status of women and their bodies in this legacy. Île Modèle, Manman Zile, Island Template is the catalog of her exhibition presented at Le Centre d'Art in Port-au-Prince from May 31 to June 29, 2019. Paris-based studio Maison Solide took care of the book design and chose to work with Kessler from Production Type. This family by Alaric Garnier is available in three optical sizes. While titles on the cover and for the chapters use capitals from the sharp Super Display style, the body copy is set in the sturdier Kessler Text. There, the designers harnessed much of the potential of the family: from the Italic – which is a modified sloped roman, with cursive elements for unseriffed glyphs – to oldstyle figures and small caps. Kessler is supported by the sans-serif Surt by Blaze Type which is used to set captions and marginal notes. The catalog includes texts by Barbara Prézeau-Stephenson, Veerle Poupeye, and David Frohnapfel, as well as dialogues with Christopher Cozier and Carlo A. Célius. It was published in a bilingual softcover edition (in French and English) by Le Centre d’Art d’Haiti in collaboration with Naima.
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Kessler Super Display Regular
Tessa Mars: Île Modèle, Manman Zile, Island Template exhibition catalog

Information

Design

Alaric Garnier

Team

Quentin Schmerber

Hugues Gentile

Arthur Schwarz

Léa Bruneau

Version

1.003

Awards & distinctions

Type Directors Club New York 2020 Certificate of excellence

Download PDF Specimen

About this font

Kessler Text is the natural companion to Kessler Display, reflecting the same structure, but with the technical nuance required of smaller scale, long-form texts.

Where its Display shines in the details of its hairlines and diamond shapes, Kessler Text distills this personality, ensuring the same twinkle without losing weight or causing reading discomfort. Kessler Text Regular is comfortable at 8pt with 12pt leading, while the Light weight will want slightly more scale to hold together. There is a ton of character in the small, sharp details maintained in the Text sizes, and distinctive curves found in glyphs like the lowercase a are maintained across all of Kessler’s styles. The italics carry the rhythms of Kessler quite literally forward, particularly with its standout, looping lowercase g. Other notable characters — such as the spurred lowercase r and the aristocratic capital A — sustain rich texture and even typographic color.

Traditionally, one could swap out the Text weight for the Display once the scale exceeds, say, 16pt. For more emphatic titling, or if you’re just too lazy for the nuance, Kessler Text Light can still serve just fine at larger sizes, and will create a more impactful horizontal rhythm due to the more significant top serifs. You’ll still get to enjoy Kessler’s diamond-shape titles and humble curves of its bowled letters.

Kessler Mono takes all of this systemic thinking and applies it to a monospace structure. Sure, one could say it’s a bit overdressed for coding, but who hasn’t met an engineer with a diva complex? The spacing is blissfully wide and doesn’t sacrifice detail by forcing characters to fill the width. Use the beautiful lining numerals, delicate brackets and backslashes to create an elegant texture.

Setting the point sizes with consideration to ample leading will help the white space maintain evenness — 9pt text with at least 13 pts of leading will achieve this, but be careful not to overdo it and lose the thread of the paragraph. Setting a handful of words in the mono will create a wholly unique essay title; a couple of lines of AI prompts might just encourage surprising results.

Kessler Japanese support is powered by TP Mincho Fitfont (Type Project).

Formats

Static (OTF, TTF, WOFF, WOFF2)

Language support

Acheron, Achinese, Acholi, Afar, Afrikaans, Alekano, Aleut, Amahuaca, Amarakaeri, Amis, Anaang, Andaandi, Dongolawi, Anuta, Ao Naga, Aragonese, Arbëreshë Albanian, Arvanitika Albanian, Asháninka, Ashéninka Perené, Asu (Tanzania), Balinese, Bari, Basque, Batak Dairi, Batak Karo, Batak Mandailing, Batak Simalungun, Batak Toba, Bemba (Zambia), Bena (Tanzania), Bikol, Bislama, Borana-Arsi-Guji Oromo, Bosnian, Breton, Buginese, Candoshi-Shapra, Caquinte, Cashibo-Cacataibo, Catalan, Cebuano, Central Aymara, Central Kurdish, Chamorro, Chavacano, Chiga, Chiltepec Chinantec, Chokwe, Chuukese, Cimbrian, Cofán, Congo Swahili, Cook Islands Māori, Cornish, Corsican, Creek, Crimean Tatar, Croatian, Czech, Danish, Dehu, Dutch, Eastern Arrernte, Eastern Oromo, Embu, English, Ese Ejja, Faroese, Fijian, Filipino, Finnish, French, Friulian, Ga’anda, Galician, Ganda, German, Gheg Albanian, Gilbertese, Gooniyandi, Gourmanchéma, Guadeloupean Creole French, Gusii, Haitian, Hani, Hiligaynon, Ho-Chunk, Hopi, Huastec, Hungarian, Icelandic, Iloko, Inari Sami, Indonesian, Irish, Istro Romanian, Italian, Ixcatlán Mazatec, Jamaican Creole English, Japanese, Javanese, Jola-Fonyi, K'iche', Kabuverdianu, Kala Lagaw Ya, Kalaallisut, Kalenjin, Kamba (Kenya), Kaonde, Karelian, Kashubian, Kekchí, Kenzi, Mattokki, Khasi, Kikuyu, Kimbundu, Kinyarwanda, Kituba (DRC), Kölsch, Kongo, Konzo, Kuanyama, Kven Finnish, Ladin, Ladino, Latgalian, Ligurian, Lithuanian, Lombard, Low German, Lower Sorbian, Luba-Lulua, Lule Sami, Luo (Kenya and Tanzania), Luxembourgish, Macedo-Romanian, Makhuwa, Makhuwa-Meetto, Makonde, Makwe, Malagasy, Malaysian, Maltese, Mandinka, Manx, Maore Comorian, Maori, Mapudungun, Matsés, Mauritian Creole, Meriam Mir, Meru, Minangkabau, Mirandese, Mískito, Mohawk, Montenegrin, Munsee, Murrinh-Patha, Mwani, Naga Pidgin, Ndonga, Neapolitan, Ngazidja Comorian, Niuean, Nobiin, Nomatsiguenga, North Ndebele, Northern Kurdish, Northern Qiandong Miao, Northern Sami, Northern Uzbek, Norwegian, Nyanja, Nyankole, Occitan, Orma, Oroqen, Palauan, Paluan, Pampanga, Papiamento, Pedi, Picard, Pichis Ashéninka, Piemontese, Pijin, Pintupi-Luritja, Pohnpeian, Polish, Portuguese, Potawatomi, Quechua, Romanian, Romansh, Rotokas, Rundi, Rwa, Samburu, Samoan, Sango, Sangu (Tanzania), Saramaccan, Sardinian, Scottish Gaelic, Sena, Seri, Seselwa Creole French, Shambala, Shawnee, Shipibo-Conibo, Shona, Sicilian, Silesian, Slovak, Slovenian, Soga, Somali, Soninke, South Ndebele, Southern Aymara, Southern Qiandong Miao, Southern Sami, Southern Sotho, Spanish, Sranan Tongo, Standard Estonian, Standard Latvian, Standard Malay, Sundanese, Swahili, Swati, Swedish, Swiss German, Tagalog, Tahitian, Taita, Tedim Chin, Tetum, Tetun Dili, Tiv, Tok Pisin, Tokelau, Tonga (Tonga Islands), Tosk Albanian, Tsonga, Tswana, Tumbuka, Turkish, Turkmen, Tzeltal, Tzotzil, Uab Meto, Ume Sami, Upper Guinea Crioulo, Upper Sorbian, Venetian, Veps, Võro, Walloon, Walser, Wangaaybuwan-Ngiyambaa, Waray (Philippines), Warlpiri, Wayuu, Welsh, West Central Oromo, Western Abnaki, Western Frisian, Wik-Mungkan, Wiradjuri, Wolof, Xhosa, Yanesha', Yao, Yapese, Yindjibarndi, Yucateco, Záparo, Zulu

About the designers

Alaric Garnier
Designer
Alaric Garnier superimposes the practices of a typeface designer, a letter painter, a graphic designer, and a publisher. His views on letter shapes have produced a small collection of explorative typefaces.
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Glyphs

OpenType Features

Production Type ships OpenType fonts with built-in features such as ligatures, alternates, or pictograms. Here are some of the most important features. To view a comprehensive list of features, please refer to the PDF specimen.

Case-Sensitive Forms

[CASE-SENSITIVE] !¡?¿-–—()[]{}‹›«»·

off

<>+−×÷=±

off

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