Print


About

Print is a slightly condensed serif typeface shaped by the rhythm of the pointed pen. Drawn alongside its companion script, Print Script, Print balances gentle round curves with crisp, straight digital lines, creating a serif that feels both warm and precise.

The family spans a full weight range from Hairline to Black, with an optical size axis that allows it to adapt seamlessly across contexts. The optical size axis produces three sub families: Print, Print Text, and Print Slab. Print, shown here, is the most display-oriented sub family with high contrast letterforms.

Designed in dialogue with Print Script, Print provides the grounding counterpart to its flourished sibling — the perfect pairing of structure and ornament. But Print also stands firmly on its own, equally at home in editorial design, branding, and identity systems.

As with all Faire Type releases, Print is available as a variable font for maximum flexibility and precision. It supports 93 languages, including Vietnamese.


Styles

Hairline
Thin
Light
Regular
Medium
Bold
Black

Weight
Optical
  • Print Variable
  • Weight 400
  • Optical 100
×
Variable fonts are a modern type of font file that contain more than one style of a font. For example, Sprig Variable has a weight axis and contains all weights of the font ranging from hairline to super. So instead of having 8 files, a variable font allows you to have just one. In addition to reducing files and file size (which is great for the web ♥) variable fonts provide tons of amazing animation opportunities, and allow you to get super precise. In Sprig Variable you’re not limited to the weights we define, if you need something heavier than regular but lighter than medium, a variable font allows you to get it just right for your project.

Print Hairline
150px
Weight
Optical
Size

Print Thin
150px
Weight
Optical
Size

Print Light
150px
Weight
Optical
Size

Print Regular
150px
Weight
Optical
Size

Print Medium
150px
Weight
Optical
Size

Print Bold
150px
Weight
Optical
Size

Print Black
150px
Weight
Optical
Size

Print Regular
25px
Weight
Optical
Size
The Camera Club of New York was founded in 1884 as a photography club. Though the Club was created by well-to-do “gentlemen” photography enthusiasts seeking a refuge from the mass popularization of the medium in the 1880s, it accepted its first woman as a member, Miss Elizabeth A. Slade, in 1887, only four years after its inception, and later came to accept new ideas and new approaches to the medium. Over the years the Club helped launch revolutionary new approaches to photography and nurture many photographers who later became giants in the field. Alfred Stieglitz used the Club as a forum and venue to convince a still skeptical public that photography was an art worthy of comparison to painting. Later, as the medium matured, the Club was again the place where the new “straight photography” approach would emerge. Paul Strand, who joined the Camera Club at 17, was introduced to a camera at the Club that had a right-angle viewfinder, allowing one to photograph people unaware. Strand used this camera to produce some of his most memorable images on the streets of New York, including Blind Woman and Wall Street. The Camera Club was also an important place to hear about new advances in photography. For instance, X-Ray photography was demonstrated there in 1898 and the Autochrome Lumière process, an early form of color photography, in 1909. In 1930 Willard D. Morgan first introduced the new Leica camera to Club members. Among the important lectures held at the Club were Aero Photography by Edward Steichen in 1921 and The Life and Work of Eugène Atget by Berenice Abbott in 1931. Later, Richard Avedon lectured on fashion Photography in 1949.

Print Thin
270px
Weight
Optical
Size
Camera Club
of New York

Print Thin
70px
Weight
Optical
Size
Copperplate là kiểu thư pháp chủ yếu dựa trên kiểu Roundhand của Anh. Mặc dù nó thường được dùng làm thuật ngữ chung cho nhiều loại thư pháp viết bằng bút máy chấm mực, kiểu chữ Copperplate được đề cập chính xác nhất đến các kiểu chữ viết trình bày trong vở tập viết được làm bằng cách in khắc lõm.

Print Regular
19px
Weight
Optical
Size
Intaglio printmaking emerged in Europe well after the woodcut print, with the earliest known surviving examples being undated designs for playing cards made in Germany, using drypoint technique, probably in the late 1430s. Engraving had been used by goldsmiths to decorate metalwork, including armor, musical instruments and religious objects since ancient times, and the niello technique, which involved rubbing an alloy into the lines to give a contrasting color, also goes back to late antiquity. Scholars and practitioners of printmaking have suggested that the idea of making prints from engraved plates may well have originated with goldsmiths’ practices of taking an impression on paper of a design engraved on an object, in order to keep a record of their work, or to check the quality. Martin Schongauer was one of the most significant early artists in the engraving technique, and Albrecht Dürer is one of the most famous intaglio artists. Italian and Dutch engraving began slightly after the Germans, but were well developed by 1500. Drypoint and etching were also German inventions of the fifteenth century, probably by the Housebook Master and Daniel Hopfer respectively. In the 15th century, woodcut and engraving served to produce both religious and secular imagery. One of the most popular secular uses of engraver’s art was in the production of playing cards, a diversion enjoyed by the aristocracy and the common people. In the nineteenth century, Viennese printer Karel Klíč introduced a combined intaglio and photographic process. Photogravure retained the smooth continuous tones of photography but was printed using a chemically etched copper plate. This permitted a photographic image to be printed on regular paper, for inclusion in books or albums. In the 1940s and 1950s, the Italian security printer Gualtiero Giori brought intaglio printing into the era of high-technology by developing the first ever six-colour intaglio printing press, designed to print banknotes which combined more artistic possibilities with greater security.

Print Bold
115px
Weight
Optical
Size
La généralisation de l’écriture anglaise est une conséquence de l’invasion des plumes de fer.

Print Hairline
265px
Weight
Optical
Size
Lateinische Schreibschrift

Print Light
31px
Weight
Optical
Size
In anderen Sprachräumen entstanden eigene Variationen der lateinischen Schreibschrift. Da viele Sprachen Variationen des lateinischen Alphabets mit besonderen Buchstaben und/oder diakritischen Zeichen verwenden, finden sich diese Sonderbuchstaben und -zeichen auch in den entsprechenden Ausprägungen der lateinischen Schreibschrift. In den USA bildete eine bestimmte Form der lateinischen Schreibschrift, Spencerian script, von etwa 1850 bis 1925 einen De-facto-Standard für die Geschäftskorrespondenz bis zur Einführung der Schreibmaschine. Diese Schrift, die Platt Rogers Spencer (1800–1864) entwickelte, basiert auf ovalen Formen mit markanten Schlaufen in den Ober- und Unterlängen und soll schnelles Schreiben mit einem eleganten Schriftbild und guter Lesbarkeit vereinen. Die Logos von Ford und Coca-Cola verwenden kalligrafische Schriftzüge basierend auf der Spencerian script.

Glyphs

Basic Latin

Extended Latin

Ligatures and Alternates

Punctuation

Case Sensitive Glyphs

Numerals, Superior, Inferior, Fractions

Currency, Symbols, Math, Arrows

Tabular Glyphs

Emojis


FAIRE Print Emojis

Print


Print Colophon


Design
Sabrina Nacmias

Engineering
Sabrina Nacmias

Vietnamese Support
Rosie Mai

Release
2025

Version
1.0

File Types
.OTF, .TTF, .WOFF2

Supported Languages


Albanian
Asu
Basque
Bemba
Bena
Breton
Catalan
Chiga
Colognian
Cornish
Croatian
Czech
Danish
Dutch
English
Estonian
Faroese
Filipino
Finnish
French
Friulian
Galician
Ganda
German
Gusii
Hungarian
Inari Sami
Indonesian
Irish
Italian
Jola-Fonyi
Kabuverdianu
Kalenjin
Kinyarwanda
Koyra ChiiniLatvian
Koyraboro Senni
Lithuanian
Lower Sorbian
Luo
Luxembourgish
Luyia
Machame
Makhuwa-Meetto
Makonde
Malagasy
Maltese
Manx
Marshallese
Moldavian
Morisyen
North Ndebele
Northern Sami
Norwegian Bokmål
Norwegian Nynorsk
Nyankole
Oromo
Polish
Portuguese
Quechua
Romanian
Romansh
Rombo
Rundi
Rwa
Samburu
Sango
Sangu
Scottish Gaelic
Sena
Serbian
Shambala
Shona
Slovak
Soga
Somali
Spanish
Swahili
Swedish
Swiss German
Taita
Tasawaq
Teso
Turkish
Upper Sorbian
Uzbek (Latin)
Vietnamese
Volapük
Vunjo
Walser
Welsh
Western Frisian
Zarma
Zulu

The Sprig Collection

The Octave Collection

The Luma Collection

The Link Collection

The Palme Collection