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Pluto font family
Designed by Hannes von Döhren
Up to 32 Typefaces / 6 Value Packs
Supports at least 21 languages (Std / OT CFF)
Available licenses for all styles:
Supports up to 74 languages.
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Supports up to 18 OpenType features.
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Pluto
Pluto: A vibrant, individual sans
Can two different design concepts be combined in one font? This question prompted Hannes von Döhren, the designer of fonts such as Opal, ITC Chino and Brandon Grotesque to experiment and develop the Pluto. Von Döhren is trying to combine the cool clarity of a structured sans serif with the vitality and dynamic character of a script font. His experiment has succeeded and from his early attempts the large and diverse Pluto family has emerged.
Quadrate stems and curves, close to circles in shape are the clear traces inherited from the structured sans serif by the Pluto. Even the forms of the closed common ’a’ and the single-storey, open tail ’g’ evoke this font type.
Nevertheless, Pluto does not give the impression of a structured font. Quite to the contrary, both a slight contrast in the font weight, and rather more frequent rounded terminals give the Pluto a very vibrant, almost ornamental character. Together with these rounded terminals, von Döhren has cleverly integrated many more elements of a cursive into the Pluto. Thus, for instance, the uppercase letters, “K” and “R” have a curved leg, while in the small “k” the upper diagonal is arched. The top of the opening in the “c” is somewhat closed with a careful arch and “v” and “w” appear in a quite particular, very rounded form. And not least, the rounded off points in the Pluto give it an even friendlier character. The alternative characters for “g” and “y” give the font an ornamental and almost playful effect with their rounded, closed lower arches.
In your designing you can fall back on seven finely coordinated stroke weight, which range from almost linear thin to black, and thus respond to quite different challenges. In addition, for each typeface there is a matching italic, with somewhat narrower, more slanted letters.
Alongside the normal tracking Pluto there are versions with reduced tracking both in the upright and the italic weights. The carefully-designed condensed letters look slimmer, but lose nothing of the special character of the Pluto.
Although Pluto has a few playful design quirks, the font looks serious and professional. The robust shapes of Pluto make it suitable both for texts and captions. Because it has been structured to the best possible effect with numerous stroke weights and condensed weights, Pluto is without doubt the perfect choice for large design projects.
A close companion of the Pluto is the Pluto Sans; this was also designed by Hannes von Döhren. Pluto Sans is based on the shapes of the Pluto, but emphasises the structured sans serif, so that the influence of the script font is in large part absent. However, von Döhren has succeeded in letting the vibrant character of the Pluto shine through in various places in the Pluto Sans and thus to prevent the font from seeming sterile. For example, Pluto Sans shows the same slight contrast in stroke weights and also uses the rounded off points. Both versions of the small “a” are also retained, although in the Pluto Sans von Döhren has taken as his standard the open Antiqua form and offers the closed form as an alternative.
You can set a special tone in the Pluto Sans with both of the alternative forms for “g” and “y”, already familiar from the Pluto. In this font variant the closed lower arch in particular catches the eye.
Pluto Sans is available in the same seven stroke weights, to match those of the Pluto. Identical italic and condensed weights are also available.
However, Pluto Sans is not just the perfect complement to the Pluto, it can also be used on its own. Its clear, open and easily readable forms give a very professional effect and can, for example, be used very effectively as a text font.
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32
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