This is a listing of all glyphs contained in the
OpenType variants that may only be accessible via OpenType-aware
Each basic character (“A”) is followed by Unicode variants of the same
character (Á, Ä…), then OpenType variants (small caps, alternates,
ligatures…). This way you can see all the variations on a single
character in one place.
You can use this font in any of the following places. Read the full EULA text for details about each license. If
you have a usage in mind that's not covered by these licenses, contact us and we'll see what we can do.
Desktop: for use on a desktop workstation
For the most common uses, both personal and professional, for use in desktop applications with a font
Install the font on your Mac OS X or Windows system
Use the font within desktop applications such as Microsoft Word, Mac Pages, Adobe InDesign, Adobe
Create and print documents, as well as static images (.jpeg, .tiff, .png)
Desktop licenses are based on the number of users of the fonts. You can change the number of users by
clicking the quantity dropdown option on Buying Choices or Cart pages.
Please be sure to review the listing foundry's
Desktop license agreement
as some restrictions may apply—such as use in logos/trademarks, geographic restrictions (number of
locations), and products that will be sold.
Adding users later:
Desktop licenses are cumulative. If you require a Desktop license that covers additional users, simply
place a new order for the same Desktop package, for the number of additional users.
Zuzana Licko's goal for Fairplex was to create a text face which would achieve legibility by avoiding contrast, especially in the Book weight. As a result of its low contrast, the Fairplex Book weight is somewhat reminiscent of a sans serif, yet the slight serifs preserve the recognition of serif letterforms.
When creating the accompanying weights, the challenge was to balance the contrast and stem weight with the serifs. To provide a comprehensive family, Licko wanted the boldest weight to be quite heavy. This meant that the "Black" weight would need more contrast than the Book weight in order to avoid clogging up. But harmonizing the serifs proved difficult. The initial serif treatments she tried didn't stand up to the robust character of the Black weight. Several months passed without much progress, and then one evening she attended a talk by Alastair Johnston on his book "Alphabets to Order," a survey of nineteenth century type specimens. Johnston pointed out that slab serifs (also known as "Egyptians") are really more of a variation on sans serifs than on serif designs. In other words, slab serif type is more akin to sans-serif type with serifs added on than it is to a version of serif type. This sparked the idea that the solution to her serif problem for Fairplex Black might be a slab serif treatment. After all, the Book weight already shared features of sans-serif types.
Shortly after this came the idea to angle the serifs. This was suggested by her husband, and was probably conjured up from his years of subconscious assimilation of the S. F. Giants logo while watching baseball, and reinforced by a similar serif treatment in John Downer's recent Council typeface design. The angled serifs added visual interest to the otherwise austere slab serifs.
The intermediate weights were then derived by interpolating the Book and Black, with the exception of several characters, such as the "n," which required specially designed features to avoid collisions of serifs, and to yield a pleasing weight balance. A range of weights was interpolated before deciding on the Medium and Bold weights.
Emigre, Inc. is a digital type foundry based in Berkeley, California. Founded in 1984, coinciding with the birth of the Macintosh computer Emigre were among the early adaptors to the new digital technology. From 1984 until 2005 Emigre published the legendary Emigre magazine, a quarterly publication devoted to visual communication. Emigre created some of the very first digital layouts and typeface designs winning them both world-wide acclaim and much criticism. The exposure of these typefaces in Emigre magazine eventually lead to the creation of Emigre Fonts, one of the first independent type foundries utilizing personal computer technology for the design and distribution of fonts. They created the model for hundreds of small foundries who followed in their footsteps.