Nara

About

Nara explores gaps in traditional type classification, exhibiting characteristics not only of old-style humanist typefaces, but also of modern typefaces, with high contrast and flat, unbracketed serifs. Nara includes two secondary type styles: an upright cursive and an angled italic.

PDF Specimen
Available in
  • Latin
More
Rent
LightBuy
Amsterdam
Light ItalicBuy
Bengaluru
Light CursiveBuy
Copenhagen
RegularBuy
Damascus
Regular ItalicBuy
Edinburgh
Regular CursiveBuy
Fortaleza
MediumBuy
Guangzhou
Medium ItalicBuy
Hong Kong
Medium CursiveBuy
Istanbul
BoldBuy
Jerusalem
Bold ItalicBuy
Kathmandu
Bold CursiveBuy
Luxembourg
BlackBuy
Montevideo
Black ItalicBuy
New Delhi
Black CursiveBuy
Ouagadougou
BoldBuy
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.
Nara In Use

Design Concept

Nara explores gaps in traditional type classification. It exhibits characteristics of humanist typefaces, such as an oblique axis of contrast between the thick and thin strokes (as in Garamond, Bembo, etc.), but also characteristics of modern typefaces, such as high contrast, narrower underlying letter structures, and flat, unbracketed serifs (as in Bodoni, Didot, etc.). Nara is one of the earliest digital typefaces, originating in the 1980s, before font editors were widely available. Read more about the design process in this article ▸

Andrej Kratky, sketch from 1988

Two Italics

Nara is an unusual font family that includes two different secondary scripts for situations where you need to emphasise a selection of text that is already italicised. The designer of Nara also explored the notions of what defines a secondary script. While the Cursive version is perfectly upright with a stroke structure inspired by expressive handwriting, Italic uses a slope at 12 degrees of the cursive model.

Nara, Two Italic models

Numeral Styles

Each weight of Nara includes nine different kinds of numerals. Proportional old-style figures come as default figures in Nara Serif. It also, however, includes lining figures, tabular numerals (both lining and old-style), small caps numerals, superior, inferior, circled and circled inverted numerals. For running text, old-style figures work best; for use in capital setting, use lining figures, and with the small caps, choose the specially designed Small Caps numerals applicable via OpenType layout features. When you take a licence for this font, you can choose your own default numeral variant.

Nara font, numeral styles

  • AwardsSlovak National Prize for Design
  • Released2009

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

  • 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.
  • 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