They’re mine now, and I’ve turned them inside out.
Take Eden, further south:
At dawn today I ordered up my troops to tear away
Its walls and gates so everyone can see
That gorgeous fruit which dangles from its tree.
You want it, don’t you? Go and eat it then,
And lick your lips, and pick the same again.
Take Tigris and Euphrates; once they ran
Through childhood-coloured slats of sand and sun.
Not any more they don’t; I've filled them up
With countless different kinds of human crap.
Take Babylon, the palace sprouting flowers
Which sweetened empires in their peaceful hours –
I’ve found a different way to scent the air:
Already it’s a by-word for despair.
Which leaves Baghdad – the star-tipped minarets,
The marble courts and halls, the mirage-heat.
These places, and the ancient things you know,
You won’t know soon. I'm working on it now.”
Historical influences coalesce with a contemporary twist to form the striking slab serif typeface Regime. In the early 19th century, as the Industrial Revolution began to transform Britain, the slab serif was born. The impact of new technology created a demand for a visual language that was compatible with mass-production and that could capture the attention of a newly-literate consumer. The design of the first slab serif typeface is credited to British punchcutter and typefounder Vincent Figgins and was released under the name Antique in 1815. In the same year, Napoleon was defeated at Waterloo. The name Regime alludes to this moment in history, when Britain emerged as the principal naval and imperial power of the 19th century.
Regime pays homage to the visual impact of its historical source material but has been drawn with a contemporary eye to incorporate a number of playful details. Regime includes a series of alternate characters and range of weights from light to ultra, the boldest weight being an extreme display weight based on 19th century woodblock poster types.