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Right Serif Spatial

Right Serif
Spatial Family

Free to try
Licenses starting at $30

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Infos

Imagine if Helmut Lang, Maison Margiela and Jil Sander created a collaborative label, what might the imagery look and feel like? This was our starting point for our “campaign” for Right Serif. We created a series of imagery that felt part of a wider fashion campaign, this tied nicely to the unusual and contrasting anatomy of the characters of Right Serif. We explored these characteristics in the form or imagery that played with inversion & contrast.

Right Serif is a funky multitool, a spiced up workhorse that stretches between being highly functional and having a unique personality. Unlike many other serif typefaces taking roots in history, Right Serif originated as a sans-serif (Right Gothic to be specific) growing serifs. From there, the typeface inherited moderate contrast and features common among grotesks but rare in serifs, notably large x-height and a wide range of variable styles covering 7 weights × 7 widths. Although the family is mostly intended for large and medium sizes, styles close to Regular work really well for paragraphs of smaller-sized text too.

Credits & details

Styles	7 Styles with 564 Glyphs each
Designer	Alex Slobzheninov
Collaborator	Visual Campaign by Studio Nari
Latest Update	November 2022
Version	1.00
Available Formats	OTF, TTF, WOFF, WOFF2

Supported languages

Afrikaans

Albanian

Asu

Basque

Bemba

Bena

Breton

Catalan

Chiga

Colognian

Cornish

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Filipino

Finnish

French

Friulian

Galician

Ganda

German

Gusii

Hungarian

Inari Sami

Indonesian

Irish

Italian

Jola-Fonyi

Kabuverdianu

Kalenjin

Kinyarwanda

Koyraboro Senni

Koyra ChiiniLatvian

Lithuanian

Lower Sorbian

Luo

Luxembourgish

Luyia

Machame

Makhuwa-Meetto

Makonde

Malagasy

Maltese

Manx

Morisyen

Northern Sami

North Ndebele

Norwegian Bokmål

Norwegian Nynorsk

Nyankole

Oromo

Polish

Portuguese

Quechua

Romanian

Romansh

Rombo

Rundi

Rwa

Samburu

Sango

Sangu

Scottish Gaelic

Sena

Serbian

Shambala

Shona

Slovak

Soga

Somali

Spanish

Swahili

Swedish

Swiss German

Taita

Tasawaq

Teso

Turkish

Upper Sorbian

Uzbek (Latin)

Volapük

Vunjo

Walser

Welsh

Western Frisian

Zarma

Zulu

Styles

Fine 100

Light 200

Regular 340

Medium 470
Bold 620

Dark 770

Black 900

Size

Letter Spacing 0px

Line Height

Try me

Gotta ♥ Variable Fonts.

Right Serif Spatial
is variable in
weight!

Regular

2000s fashion is often described as being a global mash up, where trends saw the fusion of vintage styles, global and ethnic clothing (e.g. boho), as well as the fashions of numerous music-based subcultures. Hip-hop fashion generally was the most popular among young people of all sexes, followed by the retro inspired indie look later in the decade. Those usually age 25 and older adopted a dressy casual style which was popular throughout the decade. Globalization also influenced the decade's clothing trends, with the incorporation of Middle Eastern and Asian dress into mainstream European, American and Australasian fashion. Furthermore, eco-friendly and ethical clothing, such as recycled fashions and fake fur, were prominent in the decade. In the early 2000s, many mid and late 1990s fashions remained fashionable around the globe, while simultaneously introducing newer trends. The later years of the decade saw a large-scale revival of clothing designs primarily from the 1960s, 1970s, and 1980s. At the same time that fast fashion became able to supply vast quantities of imitation luxury goods, Western income inequalities had risen steadily. To create an image of belonging to a higher income consumer group, people sought real or copied branded items of 'high fashion' items. In haute couture, designers were becoming increasingly inspired by pop culture and street style. These designs could succeed in high fashion because some top percentile earners wanted to present as being less wealthy: to communicate 'street cred' or equality ideals. In addition, designer street style enabled the few social climbers that did exist (in entertainment industry, for example), to show that they valued their roots. The tensions of income inequalities and fast fashion therefore led to the blending of street style and haute couture, so that the designer logo was seen boldly printed on all types of clothing, particularly items that needed to be replaced less often, such as a purse or pair of sunglasses. A logo purse was a visual unifier, worn by celebrities, models and 'middle class' shoppers (who, because of growing income inequalities, earned increasingly less than habitual haute couture customers). Thanks to outlet stores and plentiful supplies of fast fashion 'knock-offs', a logo purse became available to everyone. For the majority of shoppers, a branded purse was a form of escapism; a unifying factor that let people forget how much money they made, and present themselves as being like the rest.

Light

When the 2000s kicked off, the fashion was profoundly influenced by technology. Around the year 2000, there was a monochromatic futuristic approach to fashion, with metallics, shiny blacks, heavy use of gray, straps, and buckles becoming commonplace. This was called 'Y2K fashion'.

Characters

Basic Latin A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z ! # ( ) * - . / 0 1 2 3 4 5 6 7 8 9 : ; ? [ ] _ { } $ % + < = > ^ ~ @ & |

Font in use

Here are some beautiful projects using our fonts ● You can go check out our Font in Use Section and don't forget to send us your projects using our fonts to get featured.

Chunky Chunks

Branding, Packaging

Eve's Pottery

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The Thinking Traveller

Branding

National Museum in Gdańsk

Branding, Event

NOPé

Branding

See all Fonts in use →

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