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Acta & Acto
DST Acta PosterDST Acta PosterDST Acta Symbols
DST ActoDST ActoDST Acta
DST Acta
Typeface Review

Acta & Acto

Reviewed by Yves Peters on January 25, 2012

Newspaper typography has been getting a lot of love from type designers over the past few years. Whereas newsprint typefaces have been largely utilitarian for decades, even centuries, improvements in paper stock and printing allows for more refinement, while changing formats and increased competition demand more diversity. Most type designers, however, still largely stick to respectable and dignified type families. Fortunately Dino dos Santos is not one of them.

Originally designed for Chilean newspaper La Tercera in 2010, Acta is the serif part of an extensive type system for demanding and complex publication design. It consists of a text and a display version, an impressive collection of symbols for newspapers and magazines, and a heavy poster weight. The family – with its generous proportions and large x-height – achieves the perfect balance between down-to-earth reliability and sensual elegance. Acta Text looks as if Dino dissected Times, removed all the stuffiness, sprinkled it with some Cooper, and injected it with his characteristic Latin flair. The high-contrast Acta Display veers towards Didone territory, yet devoid of any rigidity. Both variants offer an impressive range from delicate Light to impact-full Black. Cherry on the cake is the breath-taking Acta Poster – a joyful yet controlled take on the fat faces of the ’70s, complete with flamboyant swashes, alternates, and an extended set of delightful, sometimes surprising ligatures. Many of these special features were designed by Pedro Leal, who also created Acta Symbols.

This year the sans serif counterpart Acto was released, completing the super family. Dino thawed out the American Gothic model and optimized its legibility by incorporating humanist influences. More than sharing just the basic character structure, Acto displays the serif variants’ openness and confidence. Its slightly more subdued personality increases its versatility. The number of weights is even more impressive – eleven, with matching italics, from Hairline to Ultra Black.

Dino dos Santos is bringing sexy back to newspaper type. Art directors take note.

Yves Peters is a [typo]graphic designer, drummer with Rosa Luxe*, Grand Theft, Troubleman, and The Secret Reggae Band, and father of three. He writes about type and typography for The FontFeed and Unzipped, his blog for FontShop Benelux. His talent for being able to identify most typefaces on sight is utterly useless in daily life.


  1. Fábio Santos says:

    These two guys make the world beautiful.

  2. Carlos says:

    Tremenda tipo! .. el diseñador es chileno?

  3. Yves Peters says:

    No Carlos, the designers are Portuguese.

  4. Alejandra says:

    Where can I buy it?

  5. Yves Peters says:

    At the bottom of the narrow column with the credits, it says: Get the Fonts. That’s where you can buy it. :)

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Typographica is a review of typefaces and type books, with occasional commentary on fonts and typographic design. Edited by Stephen Coles with Caren Litherland and designed by Chris Hamamoto. Founded in 2002 by Joshua Lurie-Terrell. Relaunched in 2009 by Coles and Hamamoto.

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