Leather is a blackletter font style family. This typeface has 2 designs and was published by Canada Type.

Over the previous couple of years, every designer has seen the surprising break out of blackletter types in marketing projects for major sports clothes manufacturers, a few telephone company, soft beverage makers, and more just recently on home entertainment and music products. In such projects, blackletter type integrated with pictures of typical day-to-day activity merely includes a level of strength and mystique to things we see and do on a regular basis.

But we couldn't assist noticing that the typography was really odd in such projects, where the type overpowers all the other style aspects. This is since nearly all blackletter fonts ever made express excessive strength and time-stamp themselves in a guaranteed manner, therefore eliminating themselves as possible type choices for a variety of common contemporary style approaches, such as minimal, geometric, modular, etc.

So extending the idea of using blackletter in contemporary design was a bit of a wild goose chase for us. But we lastly found the face that completes the formula no other blackletter might suit: Leather is a digitization and significant growth of Imre Reiner's forgotten but excellent 1933 Gotika style, which was quite ahead of its time. In its own time this style saw extremely little usage since it caused problems to printers, where the thin serifs and inner bars were too delicate and broke off too quickly when utilized in metal. However now, more than seventy years later, it seems like it was made for present technologies, and it is absolutely nothing except being the perfect candidate for utilizing blackletter in grid-based settings.

Leather has 3 features usually not found in other blackletter typefaces:

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- Grid-based geometric strokes and curves: In the early 1930s, blackletter style had actually already begun connecting back with the modern sans serif it birthed at the millenium. This style is one of the very few manifestations of such interaction.

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- Fragile, Boboni-like serifs, grow from primarily anticipated locations in the minuscules, but are sprinkled extremely aesthetically on some of the majuscules. The general result is magnificently modern.

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- The normal complexity of blackletter uppercase's inner bars is rendered simple, geometric and extremely visually appealing. The contrast in between the inner bars and thick external strokes produces an unexpected circuitry-like result on a few of the letters (D, O, Q), incredibly plays with the idea of delicate balances on some others (M, N and P), and boldly presents new concepts on others (B, F, K, L, R).

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Our research study appears to suggest that the original numerals utilized with this design in the 1930s were embraced from a previous Imre Reiner typeface. They didn't really fit with the concept of this font, so we created brand brand-new characters for Leather. We likewise expanded the character set to cover all Western Latin-based languages, and scattered plenty of alternates and ligatures throughout the map.

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The name, Leather, was derived from a humorous attempt at naming a typeface. At first we wished to call it Black Leather (blackletter…… blackleather), however the closer we came to completing it, the more regard we established for its attempt to present a possible merging between 2 entirely different type classifications. Sadly for the art, this concept of merging didn't go much further at that time, due to technological constraints and the eventual war a couple of years later. We're hoping this revival would motivate individuals to take a look at blackletter under a new light in these contemporary times of several style influences.

.Font Family:
· Leather Regular
· Leather Light Regular