Though they are cut from the same cloth, text and display typefaces behave very differently. There is arguably more to text types because readers expect their shapes to facilitate uninterrupted reading, they must work harder and longer than display types. If a text type is considered beautiful, it is often an incident of form wedded to strategies that pertain to legibility and readability (e.g., among others: robust stems and curves, oversized counters, reduced contrast between thick and thin strokes) which, paradoxically, work against beauty.

Display faces, on the other hand, are made to be seen and read. There are countless on the market but many are suited to one-offs or trite application. They can be too heavy or too fat, too thin or too light; some are too ornate, too mannered, and so self-evident that they become caricatures of themselves. Few display faces achieve the eloquence and functionality of Thema, a beautiful rephrasing of Typonine Stencil. The broad-nib pen and brush are the soul of this new four-weight family. Thema’s strapping authoritative finesse harks back to earlier styles: the incised Roman capitals of the second century, the humanist letterforms of the Renaissance, and the rational letterforms of the eighteenth century.

Thema consists of letterforms with large x-heights, wide, bracketed hairline serifs, and slightly angled stress. Its italics have crisp yet painterly undertones that suitably contrast with its upright counterparts. These features enable typographers to set radiant headlines. Thema’s vast character set includes ligatures, nesting capitals, alternate glyphs, indices, tabular, proportional, superior and inferior figures, pre-built and arbitrary fractions and, among others, an assortment of monetary figures.

Supported languages

Latin: Afrikaans, Azeri (Latin), Basque, Bosnian, Breton, Catalan, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Finnish, French, Friulian, German, Greenlandic, Hawaiian, Hungarian, Icelandic, Indonesian, Interlingua, Irish Gaelic, Italian, Kurdish (Latin), Latvian, Lithuanian, Luxemburgish, Malay, Maltese, Māori, Norwegian (Bokmål, Nynorsk), Polish, Portuguese, Rhaeto-Romanic, Romani, Romanian, Sámi (Inari, Lule, Nrthern, Southern), Serbian (Latin), Slovak, Slovene, Sorbian, Spanish, Swahili, Swedish, Turkish and Welsh.

Cyrillic: Abaza, Adyghe, Aghul, Avar, Belarusian, Bulgarian, Chechen, Dargin, Ingush, Kabardian, Karakalpak, Kumyk, Lak, Lezgian, Macedonian, Mordvin (Erzya), Mordvin (Moksha), Nogai, Russian, Rutul, Serbian (Cyrillic), Ukrainian, Uzbek.


  • Published
    by Typonine
  • Year 2012
  • Description

    One of rare typefaces that works perfect in text and at the same time keeps beautiful curves and high contrasts that makes it unique display face.

    4 weight, 8 styles. Extended Latin supported. 8 OpenType fonts. 8 Web fonts.

    Designed by Nikola Djurek. Cyrillic designed by Ilya Ruderman.

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