Originally published by OurType, Dan Milne’s Tasman has found a new home at Retype. Milne first conceived Tasman as a typeface for newspapers. This influenced the proportions and look of the face considerably: the goal was to keep the personality as warm and playful as possible without losing the credible tone required to deliver all kinds of news.
A sturdy, warm type family that is neither mechanical nor fragile. It borrows its name from Abel Janszoon Tasman (1603–1659), a Dutch seafarer, explorer, and merchant who mapped parts of Australia in 1642, including Van Diemen’s Land (now known as Tasmania).
Tasman’s primary purpose is an unbiased presentation of information; it strives for neutrality over elegance. Its characters are sturdy and unambiguous, sporting strong serifs, punctuation, and diacritics, as well as generously sized small caps and hybrid figures. Rationalized letterforms give the face enough robustness to withstand the stress of screen applications and laser printing. The figures’ three-quarter x-height makes them considerably larger than traditional oldstyle numerals, yet they still integrate with the lowercase much better than lining figures do.
Although initially intended for newspapers, Tasman’s somewhat corporate, objective appearance also makes it an excellent candidate for digital and print magazines, websites, annual reports, and corporate identities.
Tasman is a suite of feature-rich OpenType fonts fully equipped to tackle complex, professional typography. The character set includes small caps, fractions, case-sensitive forms, bullets, arrows, special quotes, and nine sets of numerals. Besides standard Latin, its extensive character set supports Central European, Baltic, and Turkish languages.
For additional license options like app, enterprise, multi-user, and self-hosted web, , visit Tasman on Type Network.
Retype Foundry is a two-person independent digital type foundry based in The Hague. Ramiro Espinoza, who founded the company in 2007, manages it in close collaboration with his partner, editorial designer Paula Mastrangelo. Retype’s catalogue reflects the pair’s interest in editorial design and a keen familiarity with Dutch type history.
Discerning design studios and art directors looking for solid, modern-looking type families will find in Retype a well-crafted and diverse selection of typefaces, many of which have won design awards. The foundry’s work meets even the most exacting requirements for aesthetics, legibility, and originality.
Companies in need of a unique visual identity can also turn to Retype for custom typeface design, as well as the fine-tuning of existing fonts, pieces of lettering, and logos.
As with everything from Adobe Fonts, you can use these fonts for:
Design Projects
Create images or vector artwork, including logos
Website Publishing
Create a Web Project to add any font from our service to your website
PDFs
Embed fonts in PDFs for viewing and printing
Video and Broadcast
Use fonts to create in-house or commercial video content
How to Use
You may encounter slight variations in the name of this font, depending on where you use it. Here’s what to look for.
Desktop
In application font menus, this font will display:
{{familyCtrl.selectedVariation.preferred_family_name}} {{familyCtrl.selectedVariation.preferred_subfamily_name}}Web
To use this font on your website, use the following CSS:
font-family: {{familyCtrl.selectedVariation.family.css_font_stack.replace('"', '').replace('",', ', ')}};
font-style: italicnormal;
font-weight: {{familyCtrl.selectedVariation.font.web.weight}};
Glyph Support & Stylistic Filters
Fonts in the Adobe Fonts library include support for many different languages, OpenType features, and typographic styles.