Dapifer™
Dapifer includes small capitals in all styles.
Dapifer includes uppercase, lowercase and small capitals figures.
Dapifer includes two forms of capital M, with splayed and vertical stems.
Dapifer includes two forms of capital N, with and without a head serif.
Dapifer includes two forms of capital R, with concave and convex leg.
Dapifer's default capital S is bottom-heavy, while the alternate is weighted evenly from top to bottom.
Dapifer includes two forms of capital T, with splayed and upright head serifs.
Dapifer includes two forms of capital U, with symmetrical and inscriptional forms.
Dapifer includes alternate forms of oldstyle figure 1 and 4.
Dapifer includes schoolbook forms of lowercase a, g, and y.
Dapifer includes two forms of lowercase y, with and without a seriffed descender.
Dapifer's italics include an alternate z.
Dapifer includes a canted hyphen.
Dapifer includes tabular figures in all styles.
- A
- Afrikaans
- B
- Basque
- Bokmöl Norwegian
- Bosnian
- Breton
- C
- Catalan
- Croatian
- Czech
- D
- Danish
- Dutch
- E
- English
- Esperanto
- Estonian
- F
- Faroese
- Finnish
- French
- Friulian
- G
- Gaelic
- German
- Greenlandic
- H
- Hawaiian
- Hungarian
- I
- Icelandic
- Indonesian
- Irish
- Italian
- L
- Ladin
- Latin
- Latinized Kurdish
- Latvian
- Lithuanian
- Luxembourgish
- M
- Maltese
- N
- Nones
- Norwegian
- P
- Polish
- Portuguese
- R
- Romani
- Romanian
- Romansh
- S
- Serbian
- Slovak
- Slovene
- Solandro
- Sorbian
- Spanish
- Swahili
- Swedish
- T
- Turkish
- W
- Welsh
Commissioned by Mucca Design for One Atlantic. Designed by Joshua Darden. Design and production assistance by Noam Berg, Thomas Jockin, Scott Kellum, Lucas Sharp, and Eben Sorkin.
Springing forth from the premise of an unbracketed “Old Style”, Dapifer expresses the canonical serif face within the rational framework of a slab serif.
Fundamental to any treatment of the 20th century serif is the notion that Classicism is itself a Modern invention — only within the past century or so has it been possible to approach book type as a smorgasbord from which to choose one’s favored forms.
Dapifer sallies through this terrain with an eye to agility, sourcing strokes from designers as varied as William Morris and Emil Rudolf Weiss to provide a host of alternate forms with which to define a flexible, precise typographic voice.
