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by Hoefler & Co.
Licenses from $208.99
Complete family of 8 fonts: $208.99
Requiem Font Family was designed by Jonathan Hoefler and published by Hoefler & Co.. Requiem contains 8 styles and family package options.

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Requiem Complete Family Pack

8 fonts

Best Value!

  • Requiem Text Roman Requiem Text Roman

  • Requiem Text Italic Requiem Text Italic

  • Requiem Display Roman Requiem Display Roman

  • Requiem Display Italic Requiem Display Italic

  • Requiem Fine Roman Requiem Fine Roman

  • Requiem Fine Italic Requiem Fine Italic

  • Requiem Ornaments Text Requiem Ornaments Text

  • Requiem Ornaments Display Requiem Ornaments Display

Per style:


Pack of 8 styles:


About Requiem Font Family

Inspired by an illustration in a sixteenth-century writing manual, Requiem celebrates the fertile world of Renaissance humanism.

The Requiem typeface was designed by Jonathan Hoefler in 1991. Rooted in the ‘humanist’ style of renaissance Venice, which arose in contrast the dark gothic letters of Gutenberg, Requiem’s capitals are modeled on an alphabet appearing in Il Modo de Temperare le Penne, the 1523 calligraphy manual by writing master Ludovico Vicentino degli Arrighi. The family includes an invented roman lowercase, a ‘chancery italic’ of a contemporaneous style, and separate masters for large, medium, and small sizes. Requiem was commissioned by Travel & Leisure magazine, in whose pages the typeface first appeared in 1993.

From the desk of the designer:

The typefaces of the first generation after Gutenberg were all based on contemporary handwritten forms. But with the Renaissance came a renewed interest in the inscriptional lettering of the classical period, especially the capital letters that come to us directly from Roman monuments. Attempting to dissect these letters scientifically was a common pastime among the most prominent Renaissance minds: Fra Luca de Pacioli, remembered as the father of double-entry bookkeeping, took up the subject in De Divina Proportione (1497); publisher Geoffroy Tory offered a more mystical analysis in Champ Fleury (1529). One of the great treatises on the constructed alphabet was On the Just Shaping of Letters (1535), by no less than the old master Albrecht Dürer.

Approaching lettering from the perspective of practitioners were the writing masters, whose writing manuals taught the methods by which every form of lettering could be rendered. First among equals was Ludovico Vicentino degli Arrighi (1480-1527), a calligrapher at the Apostolic Chancery in Rome. His writing manual Il Modo de Temperare le Penne (1523) includes one of the most elegant renderings of the classical alphabet, letters which were freed from the shackles of geometry and simply shown floating in a solid field of black. These letters served as the basis for Requiem’s Display Roman and Small Caps.

Missing from most of the renaissance writing manuals — including Arrighi’s — is a viable roman lowercase. The upright lowercase was more the province of typefounding than calligraphy, so the few writing masters who attempted a lowercase did so hesitatingly, often with gloomy results. (The lowercase in Giovanni Francesco Cresci’s 1570 Il Perfetto Scrittore is among the best, though even this is overly gothic.) Requiem’s lowercase is therefore an invention, as are its figures and punctuation, but for its italic it returns wholeheartedly to the full-blooded “chancery cursive” for which Arrighi is most famous. Finally, Requiem includes two sets of alphabets contained within decorative “cartouches,” whose endpieces are inspired by the work of Arrighi’s contemporaries Giovanni Battista Palatino and Vespasiano Amphiareo.

Designers: Jonathan Hoefler

Publisher: Hoefler & Co.

Foundry: Hoefler & Co.

Design Owner: Hoefler & Co.

MyFonts debut: null

Requiem® is a registered trademark of The Hoefler Type Foundry, Inc.

About Hoefler & Co.

Famous for designing long-lived typefaces marked by high performance and high style, Hoefler&Co creates the fonts that give voice to the world’s foremost institutions, publications, causes, and brands. With a library of 1,500 fonts designed for print, web, office, and mobile fonts, Hoefler&Co is everywhere. Their typefaces shaped the presidential campaigns of Barack Obama and Joe Biden; they’re on the cornerstone of One World Trade Center and on every iPhone ever made. They serve brands from Delta Air Lines to Tiffany & Co., publications from Harper’s Bazaar to The New York Times, institutions such as the Guggenheim Museum, The Public Theater, and New York University, and non-profit organizations including the Natural Resources Defense Council, the Southern Poverty Law Center, and The Peconic Land Trust. The Premium foundry page can be viewed Here.

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