Art Direction: Swiss Typefaces
Typeface Design: Emmanuel Rey / Swiss Typefaces
Font Development & Technology: Benedikt Bramböck / Swiss Typefaces
ABOUT RASKAL ONER
Raskal Oner Write
Three letters contextual ligature
Three variants of the “L”, depending on the letter following it.
Capitals rhythm and connections.
Raskal’s diacritics connect, just as the base characters in the typeface do.
Two OpenType Stylistic Sets allow Raskal users to choose the appearance of dots above the letters “i” and “j”.
Three letters contextual ligature
Three variants of the “L”, depending on the letter following it.
Capitals rhythm and connections.
Raskal’s diacritics connect, just as the base characters in the typeface do.
Two OpenType Stylistic Sets allow Raskal users to choose the appearance of dots above the letters “i” and “j”.
Raskal is a visual statement. There’s no denying that it looks direct. Its design digitally translates and transforms handwriting and hand lettering’s most exciting elements. Although it has a lot in common with “script fonts,” Raskal’s relationship to handwriting or formal script styles is not as close as what you see in revival typefaces or ones based on a famous calligrapher’s oeuvre.
Raskal uses contextual alternates to create the appearance of ligatures in text, often combining three or more letters. When designers use it, the font’s OpenType features convert inputted text into digital lettering. Or, at least, the visual results Raskal gives you come pretty close to achieving this.
Even though it is influenced by historical calligraphic styles and experiences from its designer’s past, it is a lettering system unique to today.
WANT TO READ MORE?
In order to properly tell the whole story behind Raskal’s design, we collaborated with type nerd and scholar: Dan Reynolds. With great care and patience, Dan put the words to narrate the 10-year-long process that led to the first Swiss Typefaces script font.