This is a listing of all glyphs contained in the
font, including
OpenType variants that may only be accessible via OpenType-aware
applications.
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
menu.
For example:
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
Photoshop, etc.
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.
Webfonts allow you to embed the font into a webpage using the @font-face rule, so paragraphs and headings
of text can be styled as the webfont. You will be serving the webfont kit for your own site and linking
it in the CSS.
Webfonts can be used on a single domain. Agencies responsible for multiple websites, for example web
design agencies or hosting providers, may not share a single webfont license across multiple websites.
If the font file itself won't be embedded in the website (for example, when the font is used in a static
graphic image such as a logo) you should purchase a Desktop license instead.
Most foundries on MyFonts offer their webfonts with the Annual license model. Click here to
Learn more.
Select this license type when you are developing an app for iOS, Android, or Windows Phone, and you will
be embedding the font file in your mobile application's code.
You can use an Electronic Doc license to embed the font in an electronic publication such as an eBook,
eMagazine, eNewspaper, or interactive PDF.
An Electronic Doc license is based on the number of publications in which the font is used. Each issue
counts as a separate publication. Regional or format variations don't count as separate publications.
Updated versions of publications that are free to previous customers do not need a new license; otherwise,
each new version that is released counts as a separate publication.
For font usage in graphic images shown as the ePub cover, consider a Desktop license instead as most allow
for it.
‘Krul’ is a typographic interpretation of the lettering style created by Dutch letter painter Jan Willem Joseph Visser at the end of the 1940s, which decorated the traditional brown bars of Amsterdam. In the beginning, these letters were strongly associated with the pubs connected to the Amstel brewery, given that Visser was the company’s official painter. As the years passed, the style became increasingly popular, and various business owners in Amsterdam and other Dutch and Belgian cities also commissioned its use. In the 1970s and 1980s, Leo Beukeboom, another talented letter painter, continued and expanded this lettering tradition while employed under the Heineken brand. Much of his work can still be found in the Jordaan and De Pijp neighborhoods in Amsterdam.
The Amsterdamse Krulletter, or Amsterdam’s curly letter, is strongly inspired by the calligraphic works of the 17th century Dutch writing masters, of which Jan van den Velde was a central figure. However, distinct characteristics of this style, for example, its unusual and beautiful ‘g’, originate from a model that was published by Johannes Heuvelman in 1659, which J. W. J. Visser referenced.
Typographic circles have somehow overlooked the Amsterdamse Krulletter and its heritage. The Dutch calligraphic hands preceded and influenced the formal English penmanship which has inspired numerous typefaces in the Copperplate style. In contrast, the models from van den Velde, Heuvelman, and Jean de la Chambre, among others, are a missing chapter in Dutch typographic history, and had never been turned into typefaces until now.
Conscious of the cultural and identity issues that arise in reviving a unique style, and concerned about the speed with which the lettering style was disappearing, Ramiro Espinoza focused the project of designing ‘Krul’ on digitally recreating the calligraphic complexity of these beautiful letters. Created through several years of research, ‘Krul’ is not a direct digitization of the Amsterdamse Krulletter, but instead, an interpretation that incorporates numerous alternative characters absent in the original model, and improves upon details where necessary, resulting in an optimal performance on the printed page. The typeface is presented in Open Type format, with an abundance of intricate ligatures, fleurons, and swashes, which permit the creation of numerous calligraphic effects. The very high contrast and rhythm of the strokes in this typeface make it especially suited for media applications conveying a sense of elegance and sophistication. Designers of feminine magazines, advertisements, and corporate identities within the fragrance and fashion industries will find in this typeface to be an extremely useful and appropriate resource.The great Amsterdamse Krulletter is finally back, and we are proud to make it available to you.
ReType is a digital type foundry based in Amsterdam, The Netherlands. The company was created in 2007 and it is run by Ramiro Espinoza.
Originally from Argentina he worked there in several editorial companies, co-founded the first Argentinian type foundry and moved in 2003 to The Hague to study in the KABKs MA in Type Design (Type]Media). In the Netherlands he worked at Studio Smidswater were expanded their corporate typeface adding italics and new weights.
After leaving the studio and becoming independent, he has researched vernacular dutch lettering, published articles and worked in numerous freelance assignments for Fontshop and The Foundry.
