Eurostile

Taca is a typeface built around a shape that Portuguese designer Ruben R Dias calls a “squircle” — neither square nor circle. We usually associate the rounded, convex box with the television screens of the 1960s and Aldo Novarese’s classic typeface, Eurostile. But whereas Eurostile is cold and machined, Taca is warm and rugged, as if it was molded from clay or carved from stone. Taca’s organic nature is also derived from another unique feature: rounded crotches at the right angles where perpendicular strokes meet. This subtle finish, along with blunt stroke endings, softens the otherwise rigid skeleton. With such a strong conceptual vision, Taca could be relegated to the bin of experimental designs, severely limited in their application. But that fate is usually born of a less experienced maker.

The Platinum Collection is the exclusive series of optimized classic typefaces from the Linotype Library.

Includes:
Avenir Next Pro
Compatil
Eurostile Next Pro
Frutiger Next
Optima Nova
Sabon Next
Syntax Letter
Univers 3.0

FONTS INSIDE:

Rank | Font Name | [Date Designed - Designed By]
1. Helvetica [1957 - Max Miedinger]
2. Garamond [1530 - Claude Garamond]
3. Frutiger [1977 - Adrian Frutiger]
4. Bodoni [1970 - Giambattista Bodoni]
5. Futura [1927 - Paul Renner]

The future is squarish. Georg Trump knew it in 1930 when he designed City. Hermann Zapf knew it in 1952 when he designed Melior. Aldo Novarese knew it in 1962 when he designed Eurostile. Center isn’t about to argue. Based on a rounded rectangle, its geometry has been subtly refined for smoother reading. Angled branches pay homage to OCR-A. Terminals are gently softened. Early versions had a somewhat science-fictiony look, but over time Center evolved into a crisp and useful text/display family with just a hint of futurity. A combination of open counters, unequivocal curves, and ruler-straight vertical and horizontal strokes suit it admirably for onscreen display. Its seven weights range from the taut, elegant Thin to the massive Ultra, each with a matching italic. Tabular figures duplex across all weights, case-sensitive forms keep punctuation in line, and a variety of alternative glyphs let designers vary its mood at will. A full range of diacritics provides support for over 130 languages