The Pyte Foundry

The Pyte Foundry
Plain and
Ornamental Types
¶apítulo primero…

…que trata de la condición y ejercicio
del famoso hidalgo don Quijote de la Mancha.
Plagiarists, unite!
Perguntei a um homem o que era o Direito.
Ele me respondeu que era a garantia
do exercício da possibilidade.
Esse homem chama-se Galli Mathias.
Eight-Line Pica
“Never index your own books.”
«My son,» said he, when we got there, «what is the chief end of your existence?»
«Father,» I said, «it is the study of Nosology.»
«And what, Thomas,» he continued, «is nosology?»
«Sir,» I replied, «it is the Science of Noses.»
«And can you tell me,» he asked, «what is the meaning of a nose?»
de Jules Verne
The Commodifi¢ation
of the Past
Le plus grand chef-d’oeuvre
de la literature n’est jamais
qu’un alhpabet en desordre.
Quousque tandem abutere, Catilina,
patientia nostra? quam diu etiam furor
iste tuus nos eludet? quem ad finem sese
effrenata iactabi taudacia? 1 2 3 4 5 6 7

Triptych consists of three distinct styles amplifying the notion of structural differentiation within a typeface family. The triplet of Roman, Italick [sic] and Grotesque is designed to take on clearly defined hierarchical functions in a typographic system.

Roman and Italick [sic] are irreverently free interpretations of the sturdiest of all sturdy book faces ever produced, namely O.S. (Old Style) Antique No. 7 by Miller & Richard of Edinburgh first issued in 1858 [citation needed].

Most probably not designed by Miller & Richard’s prime punchcutter Alexander Phemister, this style was in widespread circulation on either side of the Atlantic. Its derivatives were marketed both as Old Style Antique and Antique Old Style; in some German foundry catalogues it can be encountered curiously baptized Mediaeval-Egyptienne.

The accompanying Bold weight is a mental extrapolation of a manifold of Grotesques spanning the best part of the Nineteenth Century. Nonchalantly appropriating various historical sources it is a subconscious amalgamation of unsorted Sans Surryph influences.

Despite its name, Triptych is of secular, utilitarian nature: its unsentimental, at times mechanical drawing makes for a stubbornly robust and economic design. Bare any bourgeois flamboyance it is suited for confident and hard-working typography. Where other typefaces are promoted as workhorses, this one is a mule.

For text samples, character set and OpenType feature overviews consult the PDF-Specimen.


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