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Amsterdam
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Bengaluru
ExtraLightBuy
Copenhagen
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Damascus
LightBuy
Edinburgh
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Fortaleza
RegularBuy
Guangzhou
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Hong Kong
MediumBuy
Istanbul
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Jerusalem
SemiboldBuy
Kathmandu
Semibold ItalicBuy
Luxembourg
BoldBuy
Montevideo
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New Delhi
HeavyBuy
Ouagadougou
Heavy ItalicBuy
Providence
BlackBuy
Quebec City
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Reykjavík
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In its most general sense, the term ‘world' refers to the totality of entities, to the whole of reality or to everything that is. The nature of the world has been conceptualized differently in different fields. Some conceptions see the world as unique while others talk of a 'plurality of worlds'. Some treat the world as one simple object while others analyze the world as a complex made up of many parts. In scientific cosmology the world or universe is commonly defined as 'the totality of all space and time; all that is, has been, and will be'. Theories of modality, on the other hand, talk of possible worlds as complete and consistent ways how things could have been. Phenomenology, starting from the horizon of co-given objects present in the periphery of every experience, defines the world as the biggest horizon or the 'horizon of all horizons'. In philosophy of mind, the world is commonly contrasted with the mind as that which is represented by the mind. Theology conceptualizes the world in relation to God, for example, as God’s creation, as identical to God or as the two being interdependent. In religions, there is often a tendency to downgrade the material or sensory world in favor of a spiritual world to be sought through religious practice. A comprehensive representation of the world and our place in it, as is commonly found in religions, is known as a worldview. Cosmogony is the field that studies the origin or creation of the world while eschatology refers to the science or doctrine of the last things or of the end of the world.
RegularBuy
In its most general sense, the term ‘world' refers to the totality of entities, to the whole of reality or to everything that is. The nature of the world has been conceptualized differently in different fields. Some conceptions see the world as unique while others talk of a 'plurality of worlds'. Some treat the world as one simple object while others analyze the world as a complex made up of many parts. In scientific cosmology the world or universe is commonly defined as 'the totality of all space and time; all that is, has been, and will be'. Theories of modality, on the other hand, talk of possible worlds as complete and consistent ways how things could have been. Phenomenology, starting from the horizon of co-given objects present in the periphery of every experience, defines the world as the biggest horizon or the 'horizon of all horizons'. In philosophy of mind, the world is commonly contrasted with the mind as that which is represented by the mind. Theology conceptualizes the world in relation to God, for example, as God’s creation, as identical to God or as the two being interdependent. In religions, there is often a tendency to downgrade the material or sensory world in favor of a spiritual world to be sought through religious practice. A comprehensive representation of the world and our place in it, as is commonly found in religions, is known as a worldview. Cosmogony is the field that studies the origin or creation of the world while eschatology refers to the science or doctrine of the last things or of the end of the world.

Design concept

Irma Text Slab is a contemporary interpretation of a geometric slab serif informed by a humanist cursive style. Irma Text Slab avoids the rigidity of most slab designs, entering the relatively unexplored area of mixing humanistic handwriting forms with the firmness of a geometric sans. It is strong, useful and easier on the reader’s eye, even in long continuous text. It has inherited the geometric structure of the previously published caps-only Irma Display typefaces, and it is also inspired by the principles of drawing and cursive writing. Although combining geometric and handwritten models may seem paradoxical at first sight, this synthesis of two different construction principles lends the typeface its unique, dynamic character.

Irma Text Slab, Design Concept

Three flavours

Its numerous styles and various construction versions make Irma ideal for the formal requirements of contemporary publishing or to give a unique voice to brand identity projects. With its combination of text and display fonts in two styles (sans and slab), and three flavours of text typefaces (Sans, Slab and Round), Irma is a versatile family of fonts, offering a complete palette of typographic choices.

Irma Text Slab, three flavours

Stylistic Sets

Choose your level of cursiveness, and control how distinctive Irma Text should be with the help of Stylistic Sets, which enable individual letters and their accented variants to be controlled. When you take a licence for Irma Text, you can also choose the default version of these alternative characters.

Irma Text Slab, Stylistic Sets

Numeral styles

Each weight of Irma Text Slab includes eight different kinds of numerals. Proportional old-style figures come as default figures in Irma Text. It also, however, includes lining figures, tabular numerals (both lining and old-style), superior, inferior, circled and circled inverted numerals. For the running text, old-style figures work best; for use in capital setting, use lining figures. When you take a licence for this font, you can choose the default numeral variants inside the fonts.

Irma Text Slab, numeral styles

  • Released2011

Cyrillic

  • Rusyn
  • Kazakh
  • Russian
  • Abaza
  • Buryat
  • Dargin
  • Kabardian
  • Komi
  • Bulgarian
  • Chechen
  • Kirghyz
  • Macedonian
  • Ossetic
  • Serbian
  • Tajik (Cyrillic)
  • Ukrainian
  • Belarusian
  • Yakut
  • Abkhaz
  • Dolgan
  • Kalmyk
  • Adyghe
  • Avar
  • Dungan
  • Balkar
  • Karakalpak
  • Mordvin (Moksha)
  • Nivkh
  • Enets
  • Ingush
  • Itelmen
  • Kumyk
  • Azeri (Cyrillic)
  • Bashkir
  • Selkup
  • Nanai
  • Nenets
  • Lak
  • Lezgian
  • Mordvin (Erzya)
  • Tabasaran
  • Altai
  • Chukcha
  • Chuvash
  • Yupik
  • Even
  • Khanty
  • Koryak
  • Manci
  • Nogai
  • Tuva
  • Tatar
  • Uighur
  • Rutul
  • Tuvan
  • Moldovan
  • Mari
  • Aghul
  • Evenki
  • Khakas
  • Mansi
  • Nganasan
  • Tsakhur
  • Udmurt
  • Kildin Sami

Greek

  • Greek (modern)
  • Greek (classical)

Latin

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

  • k
    k

    Alternative `k`

    ss01

    Alternative version of the lower case letter ‘k’, including its accented variants.
  • Ha
    Ha

    Small Caps

    smcp

    Most Typotheque fonts implement the Small Caps feature. In Adobe applications you can replace lower case letters with small caps using the keyboard shortcut (⌘ + ⇧ + H), or the OpenType menu.
  • Ha
    Ha

    All Small Capitals

    smcp, c2sc

    There are two methods of applying small capitals. The first one replaces only lower case letters with small caps. The second method, All Small Caps, also replaces capital letters with small caps. It also replaces regular quotation marks, exclamation points, question marks, slashes and usually also numerals with small caps variants.
  • (H:
    (H:

    Case Sensitive Forms

    case

    When the ‘change to caps’ function is applied from within an application (not when text is typed in caps) appropriate case-sensitive forms are automatically applied. Regular brackets, parenthesis, dashes and hyphens are replaced with their capital forms.
  • (1)
    (1)

    Circled numerals and arrows

    dlig

    The discretionary ligature feature creates real arrows when you type the combination -> (right arrow), <- (left arrow), -^ (up arrow) or ^- (down arrow). It also creates enclosed numerals when you type numerals inside parenthesis, and inverse enclosed numerals when you type numerals inside brackets. Discretionary ligatures are off by default in Adobe applications.
  • fi
    fi

    Standard Ligatures

    liga

    Standard ligatures are those which are designed to improve the readability of certain letter pairs. For example, when this feature is activated, typing ‘f’ and ‘i’ will automatically produce the ‘fi’ ligature. Using ligatures does not affect the spelling and hyphenation of your text in any way.
  • 19
    19

    Proportional Lining Figures

    lnum, pnum

    Typotheque fonts contain various styles of numerals within one font. Old-style Figures, also known as ranging figures, come standard in our text fonts. They are specifically designed to work well in running text, as they have the same proportions as lower case letters with their ascenders and descenders. The proportional Lining Figures feature changes standard figures to Lining figures which work better with all-capital text.
  • 19
    19

    Tabular Lining Figures

    lnum, tnum

    Tabular figures are for use in tables where numerals need to be aligned vertically. Tabular figures are available as a OpenType feature and have a fixed width in all weights. Typotheque fonts include both Lining and Old-style Tabular figures.
  • 19
    19

    Tabular Old-style Figures

    onum, tnum

    Tabular figures are for use in tables where numerals need to be aligned vertically. Tabular figures are available as a OpenType feature and have a fixed width in all weights. Typotheque fonts include both Lining and Old-style Tabular figures.
  • 1:0
    1:0

    Vertically centered colon

    calt

    This stylistic set centers the colon. Same behaviour can be triggered by the Contextual Alternative feature, which is automatically applied when colon is followed by a lining numeral or a capital letter.
  • 2/9
    2/9

    Arbitrary Fractions

    frac

    Typotheque OpenType fonts already include a number of pre-designed diagonal fractions. The fraction feature allows you to create other fractions quickly and easily.
  • H1
    H1

    Superiors

    sups

    Replaces all styles of figures (old style, tabular, lining) and letters with their superior alternates, which can be used for footnotes, formulas, etc. Superior characters are more legible than mathematically scaled characters, have a similar stroke weight, are spaced more generously, and better complement the rest of the text.
  • H1
    H1

    Inferiors

    sinf

    Replaces all styles of figures (old style, tabular, lining) and letters with their inferior alternates, used primarily for mathematical or chemical notation. Inferior characters are more legible than mathematically scaled characters, have a similar stroke weight, are spaced more generously, and better complement the rest of the text
  • ж
    ж

    Bulgarian Cyrillic

    ss06

    Bulgarian readers prefer to set text in a variation of Cyrillic that differs from the standard Cyrillic by using shapes of letters based on cursive handwriting, where letters are easier to tell apart. Typotheque fonts use standard Cyrillic forms as default, and Bulgarian Cyrillic is applied when the text is tagged as Bulgarian. When the Localised forms feature is not available, you can also apply the same forms by using a Stylistic Set.
  • п
    п

    Serbian & Macedonian Cyrillic

    ss07

    Serbian and Macedonian Cyrillic has different preferred shapes for some italic letters, which differ from the standard Cyrillic. Typotheque fonts use standard Cyrillic forms as default, and Serbian Cyrillic italic is applied when the text is tagged as Serbian Or Macedonian. When the Localised forms feature is not available, you can also apply the same forms by using a Stylistic Set.