A constructed sans serif in the tradition of fonts like Kabel and Avant Garde, Capri offers a modern and contemporary impression of the primitive charm of constructivism. Capri’s design focuses on basic shapes — square, circle and triangle — and was developed through drawing not writing. This geometric background determines the character of the font.
The landmark feature of Capri is the distinctive diagonal which makes the letters “g”, “y” and especially “e” look very prominent. The influence of these diagonals on the overall appearance of the font is even more visible in the Italic version. This detail combined with vertically cut endings of curved strokes and pointed apexes give the font its sharp-edged look and its puristic elegance.
Divergent from most other traditional constructed sans serif typefaces the proportions of the letters drift away from the humanist ideal. Ascenders and descenders are very short in comparision to the x-height and the cap height is even shorter. The widths of the lower case letters as well as that of the upper case letters are approximated and give a modern appearance to the font. The axis of the curves is vertical and the contrast in the strokes is low. Capri has a two-storey a and g to improve the recognizability of the letters and the legibility of the typeface. It is primarily designed to be used as a headline font but short copy texts are nevertheless highly readable. Capri stands for the modern interpretation of classical elegance and is particularly suitable for fashion or beauty advertising.
The Capri font family comes in 4 weights – Light, Regular, Bold and Italic. To meet the needs of global communication, Capri supports all western-, eastern- and central-european languages.
Many thanks and my deep gratitude to everyone who gave me advice and practical support on designing this typeface. Capri was first published by Fountaintype and would not have been possible without the help of Peter Bruhn who unexpectedly passed away in 2014. Rest in Peace, Peter.