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Rui Abreu |



Rui Abreu is a Portuguese type designer living in Lisbon. Originally from Porto, he studied Graphic Design at the University of Porto – School of Fine Arts, where he graduated in 2003. Rui Started experimenting with typography during his student years and in 2006 released his first attempts with fonts.

In 2008 he launched, a showcase with a selection of his work. Since 2008, Rui Abreu has been publishing fonts with the Swedish type foundry Fountain, including the typefaces Orbe Pro and Aria Pro, both awarded by Atypi’s Letter2 competition, among other distinctions. After working in design agencies for 8 years, Rui has been working as a full-time type designer since 2012.

Azo Sans

Azo Sans is a new sans serif loosely based on the elementary forms of geometry. It is constructed in a geometric manner and inspired by the constructivist typefaces of the 1920’s, but is instilled with a humanistic quality. Azo Sans is full of nuances that soften the strictness of pure geometry, making the typeface more human and pleasant to read in longer body text, while maintaining a sober and rational appearance. Azo Sans comes in six weights from Thin to Black, with a matching cursive italic for every weight.

Azo Sans Uber

Azo Sans Uber is the heavy headline version of Azo Sans. It explores the maximum weight possible in Azo’s uppercases without dismissing their geometrical appearance. Azo Sans Uber has all the optical adjustments present in the original typeface, but they are exaggerated to give it more personality. This caricaturization is combined with a slight shifting of the weight to the top part of the letters.

Azo Sans Uber also comes with flary alternative glyphs that can be used both automatically as contextual alternates or simply as stylistic alternates.

Grafolita Script

Grafolita is a type family of three fonts. It offers great versatility in composing layouts with different point sizes, as it allows the user to balance the weights between bigger and smaller letters.

Grafolita Script originally started in its bold weight, as a costum font for Grafolita®, a brand of letterpress products. It was later developed into a fully functional OpenType typeface with 3 grades, named: regular, medium and bold.Grafolita is a warm and casual typeface that evokes the liveliness of writing, but doesn’t try to emulate it. It assumes its mechanical side, with carefully uniformed shapes and letter connections that avoid having special ligatures or alternate letters that would be needed otherwise. Besides the great advantage of having three weights available, Grafolita Script’s OpenType goodies include six figures styles. That allows for combining numbers and currency symbols in different sizes and baseline-relative positions.

Signo is a dynamic sans serif with reverse contrast, designed for editorial and branding. Signo is a charismatic typeface for headlines, but its tall x-height and open counters also make it perform well in small sizes, resulting in a versatile typeface across weights. The cursive italics are a good complement to the roman fonts and will add variety and warmth to the page. The Signo family comes in six weights, from Thin to Bold, and includes two weights for text: the Book and the Regular.

Orbe is a digital interpretation of the Lombardic majuscules. For its beauty and expressiveness, Lombardic capitals were the chosen form for versals in mediaeval manuscripts. These versals were an amalgamation of roman capitals and uncials. In Orbe Some majuscules resemble the roman capital and this mixture was explored in order to allow the composition of letters in words. Orbe is available in OpenType and features a full CE supported character set, ornaments and ligatures.

The inspiration for Aria was the epigraph on the frame of a nineteenth-century painting. The high contrast and overall quirkiness of the capitals, especially the R’s tail and the M’s oblique stems, were the main triggers. Attempting to capture the romanticism of the original letters, the result is a lyric display typeface. The approach allowed for some exuberance on the regular style, but also led to more calligraphic letterforms in the italic.


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