Punta | Hot Type — Home of Contemporary Typefaces

Punta

10 Styles
€70.00 Single style / €700.00 Complete

Concept

Contemporary high contrast serif family characterized by extremely sharp & pointy details. The type family ranges from Light to Black with corresponding italics. A unique texture, large lowercase proportions, and compact spacing make this inviting typeface perform well in titles, headlines, or shorter paragraphs of text in bigger sizes.

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Packages

Punta complete family
30% OFF €700.00 €490.00 Add to Cart Added

Single styles

Punta Light
€70.00 Add to Cart Added
Punta Light Italic
€70.00 Add to Cart Added
Punta Regular
€70.00 Add to Cart Added
Punta Regular Italic
€70.00 Add to Cart Added
Punta Medium
€70.00 Add to Cart Added
Punta Medium Italic
€70.00 Add to Cart Added
Punta Bold
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Punta Bold Italic
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Punta Black
€70.00 Add to Cart Added
Punta Black Italic
€70.00 Add to Cart Added

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Punta

Design Concept

Contemporary high contrast serif family characterized by extremely sharp & pointy details. The type family ranges from Light to Black with corresponding italics. A unique texture, large lowercase proportions, and compact spacing make this inviting typeface perform well in titles, headlines, or shorter paragraphs of text in bigger sizes.

PDF Specimen

The PDF contains information, specimens of the type including further settings of more languages, features, character sets, all in one document. If you’re a bit old school you can even print it. Download it here.

Design notes

Already during his lifetime in the mid-16th century, Garamont’s work influenced other styles and was even redesigned or customised for the needs of specific printers. One such example are the typefaces of Hendrik van der Keere, who worked for Christophe Plantin in Antwerp. Usually, van der Keere would shorten ascenders and descenders as well as adjust several other details in the typeface, but these were still evidently Garamont’s designs. Therefore, the centre of gravity for type design later shifted away from France, the place of its origination, towards the Netherlands, where, throughout the 17th century, printers and typefounders would be setting out to refresh and hone the Garalde model. 

Letter X Metal Punch
Close-up of the Garamont's original Saint-Augustin Roman capital letter X punch dating back to 1556. 

The initial seeds for the design of Punta were planted in the Netherlands as well, back in 2014, while studying at Type and Media. Working on a revival of Claude Garamont’s Saint Augustin Roman, a 12-point metal type cut from around 1556, opened up new possibilities for the interpretation of original shapes. The revival typeface, dubbed Etienne, is a fairly true-to-the-source interpretation in terms of weight and proportion. From the get-go, it was intended to even enhance the legibility for today’s users. 

Scanned Page Book Revival Page Book
Left-hand side: Scanned original page from the book Lettres sur divers sujets concernant la religion et la métaphisique (Paris, 1718). Right-hand side: Replicated page using the revival typeface Etienne (including spacing adjustments). 
Serif Font Etienne Type Specimen
Revival typeface Etienne. 

On the other hand, there were so many sources collected during the process—particularly numerous photographs of original punches cut by Garamont himself. The visual collection of experiences working in both analogue and digital crafts, from hand lettering and stone carving to drawing precise vectors, was instructive for the early design decisions. Punta is a product of impression rather than interpretation. 

letter R
Saint-Augustin Roman cut letter R as found in type specimen.
type punch
Saint-Augustin Roman cut letter R punch photographed.
printed letter R
Saint-Augustin Roman cut letter R as found in a printed book.

Punta is a contemporary high contrast serif family characterized by extremely pointy details. It’s an interpretation of the famous Garalde genre, with the main focus on big sizes. Although its appearance is rough at first, all the curves are delicately drawn and preserve the warmth of the broad nib pen writing. Punta’s upright styles showcase clear references that are elegant and confident, with pointedly chiselled serifs (a, c, r), pinched stroke endings, and a dramatic curve tension. On the other hand, the italics do not build on any historical model. Instead, they introduce a rational simplicity, making room for more flamboyant letters to stand out (f, g, y), and feature some unexpected details (k, x) to spice things up. The italics are designed to take a punt at being a true companion to the Romans, a concept still not in existence during Garamont’s life. 

Stone carving
Doing stone carving in between vector drawing sessions definitely steered Punta’s design direction. 
Stone carving
One of the ideas behind Punta is to digitally translate the ability of the chisel to cut extremely sharp corners in stone.
Pen Sketches Typeface Idea
Early sketches depicting the exploration of different types of constructions using sharp serifs and pointy stroke terminations. 

The type family ranges from Light to Black with corresponding italics. A unique texture, large lowercase proportions, and compact spacing make this typeface perform well in titles, headlines, or shorter paragraphs of text in bigger sizes, really hitting it out of the park. To top things off, in 2019, Punta Display was awarded the Certificate of Typographic Excellence by the Type Directors Club in New York. 

Street Name Sign Punta
In southern Croatian dialect, Punta would translate as a small headland or cape.

Language Support

Afar, Afrikaans, Albanian, Aranese, Araona, Aromanian, Aymara, Ayoreo, Azeri (Latin), Basque, Bemba, Bislama, Bosnian, Breton, Catalan, Cavineña, Chamorro, Cheyenne, Chichewa, Chokwe, Chuukese, Cofán, Comorian, Cornish, Crimean Tatar, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Finnish, French, Frisian, Friulian, Ganda, German, Gikuyu, Greenlandic, Guaraní, Gwich’in, Haitian, Hawaiian, Hungarian, Icelandic, Ido, Indonesian, Interlingua, Irish Gaelic, Italian, Javanese, Karelian, Kashubian, Kinyarwanda, Kiribati, Kirundi, Kituba, Kongo, Kurdish, Kwanyama, Ladin, Latvian, Lingala, Lithuanian, Luba-Kasai, Luxemburgish, Malagasy, Malay, Maltese, Maninka, Manx, Māori, Marquesan, Marshallese, Montenegrin, Náhuatl, Nauruan, Navajo, Ndebele (Northern), Ndebele (Southern), Norn, Norwegian, Nyanja, Occitan, Oromo, Otomi, Palauan, Polish, Portuguese, Quechua, Rarotongan, Rhaeto-Romanic, Romani, Romanian, Sámi (Inari), Sámi (Lule), Sámi (Northern), Sámi (Southern), Sango, Sardinian, Scottish Gaelic, Seychelles Creole, Shona, Silesian, Slovak, Slovene, Somali (Latin), Sorbian, Sotho, Spanish, Swahili, Swati, Swedish, Tagalog (Filipino), Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tsonga, Tswana, Turkish, Twi, Umbundu, Venda, Veps, Welsh, Wolof, Xhosa, Zulu.

Awards

Certificate of Typographic Excellence, Type Directors Club New York, 2019

Credits & details

Year published: 2021
Type design: Marko Hrastovec
Font mastering: Nikola Djurek
Cover image: Appear Offline
Text: Krešimir Bobaš

Many thanks to all my former Type and Media teachers for passing on their knowledge and experience. Special thanks to Françoise Berserik and Paul van der Laan under whose guidance I started what would later become this project.

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