Type Capsule (Vol.02) – Fonts from Elegant to Underground
by Jules Bigot
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Every typeface starts somewhere. A street in Utrecht. A sketch by an American architect. A flyer taped to a wall at 2 a.m. A rock found in nature. A fast car in a fast city.
Vol.02 of the Type Capsule follows those origins. Five fonts from five independent designers, each rooted in a very different universe: elegant and slightly dangerous, futuristic and distorted, smoky and handwritten, organic and heavy, geometric and systematic. They do not share a style. They share a conviction that type should arrive with a story and a point of view, not just a set of well-drawn letters. For brand identity, poster design, packaging or editorial work, that is exactly what separates a font you notice from a font you forget.
Oldenorth by Peter Roeleveld
Decorative serif. Low cap height. Elegant and dangerous.
The name is a small puzzle. Oldenorth is the English translation of Oudenoord, a street in Utrecht in the Netherlands, which is where the typeface was created. A typeface named after a place, then translated back and forth between two languages, says a lot about its slightly playful spirit.
Visually, Oldenorth is built on contrasts. It has a low cap height, flat surfaces on each glyph and a few unusual letter designs, notably the m and the k. It combines rounded shapes with sharp strokes and pointed endings, which gives it a presence that feels both elegant and a little dangerous. It is decorative without being fussy, and confident without shouting.
Where it works: fashion and beauty branding, cultural posters, editorial headlines, music artwork, wine and spirits labels, and any identity that wants a distinctive serif with edge. Set it large to let the unusual m and k do the talking, and keep the layout simple around it.
EVO2 by Alex Ortiga
Futuristic display. Six styles. Structure versus chaos.
EVO2 is built for impact, and its six styles show how far one idea can be pushed: Regular, Oblique, Massive, Massive Oblique, Extreme and Extreme Oblique. The progression moves from clean precision to extreme distortion, so the same typeface can behave very differently depending on which style you choose.
That range is the real value. In Regular, EVO2 reads as a sharp, modern display face. Move into Massive and Extreme, and the letterforms stretch and compress into something closer to pure graphic energy. The oblique versions add movement, as if the type were already in motion. The designer describes the result as a balance between structure and chaos, and that is an accurate summary.
Where it works: posters, logos, bold branding, sportswear, tech and automotive identities, event visuals and motion-led campaigns. Mixing two or three styles inside one layout is a simple way to create rhythm and hierarchy with a single typeface.
Hiker TM by Type Mania
Handwriting. Underground. Unapologetic.
Hiker TM is the rawest voice in this capsule. It sits on the underground end of the spectrum, with a handwriting feel that is unconventional on purpose and a smoky, lived-in attitude that is hard to fake. This is not handwriting as a friendly accent. It is handwriting as a statement.
The typeface is honest about where it belongs: flyers, posters, branding and campaigns, provided the client fits the aesthetic. That condition is a strength. Hiker TM does not try to suit every brief, which is exactly why it is memorable when it does. In addition, the glyphs automatically alternate as you type, which opens up a wide range of creative possibilities for your logos.
Where it works: gig posters, music and festival graphics, skate and streetwear brands, independent zines, alternative publishing and campaigns aimed at audiences who recognize a handmade, imperfect voice. Use it big, use it loud, and resist the urge to clean it up.
HV Geode by hvnter
Organic display. Thick, uneven, alive.
HV Geode looks like something found rather than drawn. The letterforms are thick, irregular and deliberately uneven. Strokes swell and contract unpredictably, edges ripple instead of resolving cleanly, and the overall silhouette sits closer to a natural form than to a grid.
It comes in three styles that vary in visual weight and surface texture. Style 1 is the roughest and most detailed, while Style 3 is a denser, heavier mass. All three share the same core character and work together as one visual system, so you get real flexibility without losing consistency. At display scale, the font is built to hold attention on its own.
Where it works: poster design, streetwear branding, album artwork, editorial titles, packaging and any brand identity that needs strong, unconventional personality. Because the shapes are so expressive, HV Geode shines with minimal supporting elements: a single word, generous space and a confident color.
Radial by Liad Shadmi
Radial grid. Systematic. Architectural.
Radial begins with a rule. The typeface evolved directly from The Alphabetical Room, an experimental project by Liad Shadmi, and every character is constructed on a strict radial grid. Each letter lives within the constraints and possibilities of that geometric structure, which gives the whole alphabet a consistent, almost scientific logic.
The inspiration comes from the sketches and spatial systems of Richard Buckminster Fuller, the American architect, systems theorist, designer and inventor. You can feel that heritage in the way the forms behave: less like calligraphy, more like a design system. Radial comes in a single weight, Regular Wide, which keeps the identity focused and recognizable.
Where it works: experimental posters, science and technology branding, music visuals, architecture and design studios, and titling for editorial projects. A wide display typeface like this works best in short strings, such as a name, a title or a date, where the grid logic is visible at a glance.
