Tesseract Display
Specimen
Tesseract Display In Use
Tesseract in early use for the lastest issue of Wired Italia, a magazine about technology and lifestyle with art direction by Pitis e Associati. Issue n. 91 (winter 2019/2020) is titled “Visioni 2020”. Wired asked twelve photographers to show how the world is changing. The prologue to the features is by Jeremy Rifkin. Japanese artist Hiroto Hikeuchi contributed the cover image. Headlines are set in caps from Tesseract Display. Each of the features gets a different typographic treatment: Sliced words on sloping baselines for Preston Yarger’s “Post Acopalittico”, supersized caps interlaced with images for Brian Finke’s “Fenomeno Fortnite”, or letterforms of varying size hung on a line for Hiroto Hikeuchi’s “Cyber Funk”. The running heads at the bottom of the pages are set in Tesseract. The Text size of the typeface collection by Production Type is distinguished by a smaller x-height and a less pronounced stroke contrast. Pitis e Associati paired Tesseract with Exchange (Frere-Jones Type) as well as Atlas Grotesk and the monospaced Atlas Typewriter (Commercial Type) for text. The business supplement in tabloid format is dedicated to the changes in the world of energy. Headings, infographics, and drop caps in this section use ITC Motter Corpus.
Tesseract Display Black + Tesseract Black
Wired Italia, n. 91, “Visioni 2020”
Bickerstaff developed a visual identity for Ostriv Khortytsia (Острів Хо́ртиця), the largest island in the River Dnieper, Ukraine. The project was jointly commissioned from the Office of the President of Ukraine, Metinvest Group, and BigCityLab. From our interview with designer Ksenia Milchenko: It wasn’t easy to find a relevant typeface — there is actually a broader problem with general scarcity of serifs supporting the Ukrainian language. Normally, people design new typefaces for projects like this. But we had neither time, nor resources. Tesseract is modern, and it fits very well in terms of image. It has quite sharp and strict forms, yet looks ‘nice’. Tesseract is easy to use — it doesn’t drag all the attention, well balanced with signs and graphics. We limited ourselves to its two styles: Light in the logo, ExtraLight for body text. I particularly like how elegant the typeface looks in the material. We printed posters using stencil in 5-6 layers of paint, with only two copies of each. Read the entire article on the type.today website.
Tesseract Display Light
Khortytsia identity
Information
Design
Release Date
2019-10-22Team
Version
2.001About this font
As Tesseract plunged into classical references, it earned its contemporaneity through whetted endings and constrained curves, lending a focused aspect to texts and titles.
With optical sizes for text and a display, Tesseract shimmers across media. The Display size plays the wide aperture and x-height card, with chiseled terminals and see-through counterspace. The Text size is quieter, with a firm and sturdy structure for immersive reading. The matching italics dance a vibrant staccato and complete the family.
The crucible for Tesseract is made of many, and contains paradoxes. Where round turns give affability and amplitude to the design, abrupt endings and spiky details grant some grave austerity to an otherwise delicate design. For adventurous users, Tesseract contains multiple dimensions. Dive in.
Formats
Static (OTF, TTF, WOFF, WOFF2)Language support
Abaza, Acheron, Achinese, Acholi, Adyghe, Afar, Afrikaans, Aghul, Alekano, Aleut, Amahuaca, Amarakaeri, Amis, Anaang, Andaandi, Dongolawi, Andi, Anuta, Ao Naga, Aragonese, Arbëreshë Albanian, Arvanitika Albanian, Asháninka, Ashéninka Perené, Asu (Tanzania), Atayal, Avaric, Balinese, Bari, Bashkir, Basque, Batak Dairi, Batak Karo, Batak Mandailing, Batak Simalungun, Batak Toba, Belarusian, Bemba (Zambia), Bena (Tanzania), Bikol, Bislama, Borana-Arsi-Guji Oromo, Bosnian, Breton, Budukh, Buginese, Candoshi-Shapra, Caquinte, Cashibo-Cacataibo, Catalan, Cebuano, Central Aymara, Central Kurdish, Chamalal, Chamorro, Chavacano, Chechen, Chiga, Chiltepec Chinantec, Chinese Buriat, Chokwe, Chuukese, Chuvash, Cimbrian, Cofán, Congo Swahili, Cook Islands Māori, Cornish, Corsican, Creek, Crimean Tatar, Crimean Tatar, Croatian, Czech, Danish, Dargwa, Dehu, Dungan, Dutch, Eastern Arrernte, Eastern Oromo, Embu, English, Erzya, Ese Ejja, Faroese, Fijian, Filipino, Finnish, French, Friulian, Galician, Ganda, Ga’anda, German, Gheg Albanian, Gilbertese, Gooniyandi, Gourmanchéma, Guadeloupean Creole French, Gusii, Haitian, Halh Mongolian, Hani, Hiligaynon, Ho-Chunk, Hopi, Huastec, Hungarian, Icelandic, Iloko, Inari Sami, Indonesian, Ingush, Irish, Istro Romanian, Italian, Ixcatlán Mazatec, Jamaican Creole English, Japanese, Javanese, Jola-Fonyi, Judeo-Tat, K'iche', Kabardian, Kabuverdianu, Kala Lagaw Ya, Kalaallisut, Kalenjin, Kalmyk, Kamba (Kenya), Kaonde, Karachay-Balkar, Karelian, Kashubian, Kazakh, Kekchí, Kenzi, Mattokki, Khasi, Kikuyu, Kimbundu, Kinyarwanda, Kirghiz, Kituba (DRC), Komi-Permyak, Komi-Zyrian, Kongo, Konzo, Kuanyama, Kumyk, Kven Finnish, Kölsch, Ladin, Ladino, Lak, Latgalian, Lezghian, Ligurian, Lithuanian, Lombard, Low German, Lower Sorbian, Luba-Lulua, Lule Sami, Luo (Kenya and Tanzania), Luxembourgish, Macedo-Romanian, Macedonian, Makhuwa, Makhuwa-Meetto, Makonde, Makwe, Malagasy, Malaysian, Maltese, Mandinka, Manx, Maore Comorian, Maori, Mapudungun, Matsés, Mauritian Creole, Meriam Mir, Meru, Minangkabau, Mirandese, Mohawk, Moksha, Mongolian Buriat, Montenegrin, Munsee, Murrinh-Patha, Muslim Tat, Mwani, Mískito, Naga Pidgin, Ndonga, Neapolitan, Ngazidja Comorian, Niuean, Nobiin, Nogai, 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, Russian, Russian Buriat, Rusyn, Rutul, 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, Tabassaran, Tagalog, Tahitian, Taita, Tajik, Tatar, Tedim Chin, Tetum, Tetun Dili, Tiv, Tok Pisin, Tokelau, Tonga (Tonga Islands), Tosk Albanian, Tsakhur, Tsonga, Tswana, Tumbuka, Turkish, Turkmen, Tuvinian, Tzeltal, Tzotzil, Uab Meto, Udi, Ukrainian, 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, Zulu, Záparo
About the designers
Jean-Baptiste Levée is a type designer with a strong focus on corporate and bespoke typefaces.
Jean-Baptiste Levée
CEO, founder
Jean-Baptiste Levée (1981) has designed over a hundred typefaces for industry, moving pictures, fashion and media. He is the founder of the independent foundry Production Type.
OpenType Features
Pair well with Tesseract Display
Tesseract Display Bold Cobalte LightUseful type with an edge.
Creates versatile, expressive, and functional fonts
Tesseract Display Italic Proto Grotesk LightUseful type with an edge.
Creates versatile, expressive, and functional fonts
Tesseract Display Regular Boreal LightUseful type with an edge.
Creates versatile, expressive, and functional fonts
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