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Typeface Review

Atlas Typewriter

Reviewed by Andrew J. Austin on March 13, 2013

Atlas Typewriter, the lovely complement to Atlas Grotesk, is described by its creators as possessing a fundamental “monospaced­ness”. I think it is this principle that helps make the face stand out, even amidst a year of many other fine monospaced releases.

The ascenders and x-height are confidently high, contrasted by noticeably shorter, squattier descenders. The result is quite legible, and gives a base practicality upon which to build the rest of the design’s personality. Rather than relying on traditional typewriter quirks or the precepts of other digital monospace fonts for its character, Atlas Typewriter truly embodies the influence of its Grotesque companion. Specifically, the ‘C’, ‘G’, ‘Q’, ‘a’, and ‘2’ glyphs lend themselves to the eccentricities of the Grotesque genre.

The face, released through Commercial Type, comes in six weights. Each weight includes companion italics and — uncommon among monospace fonts — small caps.

Atlas Typewriter is my new choice for working in text editors due to its easy readability and demeanor. It stands as a beautiful addition to the somewhat young but quite impressive catalog of faces from Atelier Carvalho Bernau.

Andrew J. Austin is a designer based in Denver, Colorado.

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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.

Set in Bureau Grot by Font Bureau, Nocturno Display by Nikola Djurek, Fern (unreleased) by David Jonathan Ross, and JAF Bernini Sans by Tim Ahrens.

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