A P P A L A C H I A
Typeface Overview
To see a full list of included glyphs, check out the specimen.
Uppercase
A B C D E F G H I J K L M
N O P Q R S T U V W X Y Z
A B C D E F G H
I J K L M N O P Q
R S T U V W X Y Z
Lowercase
a b c d e f g h i j k l m
n o p q r s t u v w x y z
a b c d e f g h i j
k l m n o p q r
s t u v w x y z
Numbers
0 1 2 3 4 5 6 7 8 9
⅛ ¼ ⅜ ½ ⅝ ¾ ⅞
0 1 2 3 4
5 6 7 8 9
⅛ ¼ ⅜ ½ ⅝ ¾ ⅞
Assorted Symbols
$ € ¥ ¢ ¤ ƒ £ ₴ ₽
†© ® ¶ § ™ & №‡
$ € ¥ ¢
¤ ƒ £ ₴ ₽
†© ® §
‡™ ¶ & №
Features
Fractions • Tabular Figures
Old Style Figures
Tabular Old Style Figures
Alternate Single Storey a
Alternate % + ‰
Discretionary Ligatures
Slashed Zero • Stylistic Sets
Superscripts • Subscripts
Alternate ß & more.
Supported
Languages
Afrikaans • Albanian • Asu • Azerbaijani
Basque • Bemba • Bena • Bosnian
Catalan • Cebuano • Chiga • Colognian
Cornish • Corsican • Croatian • Czech
Danish • Dutch • Embu • English
Esperanto • Estonian • Faroese • Filipino
Finnish • French • Friulian • Galician
German • Gusii • Hungarian • Icelandic
Ido • Indonesian • Interlingua • Irish
Italian • Javanese • Jju • Kabuverdianu
Kalaallisut • Kalenjin • Kamba • Kikuyu
Kinyarwanda • Kurdish • Latvian
Lithuanian • Lojban • Low German
Lower Sorbian • Luo • Luxembourgish
Luyia • Machame • Makhuwa-Meetto
Makonde • Malagasy • Malay • Maltese
Manx • Māori • Meru • Morisyen
North Ndebele • Northern Sotho
Norwegian Bokmål • Norwegian Nynorsk
Nyanja • Nyankole • Occitan • Oromo
Polish • Portuguese • Romanian
Romansh • Rombo • Rundi • Rwa
Samburu • Sango • Sangu • Sardinian
Scottish Gaelic • Sena • Shambala
Shona • Slovak • Slovenian • Soga
Somali • South Ndebele
Southern Sotho • Spanish • Sundanese
Swahili • Swati • Swedish
Swiss German • Taita • Taroko
Teso • Tsonga • Tswana • Turkish
Turkmen • Upper Sorbian • Vunjo
Walloon • Walser • Welsh
Western Frisian • Xhosa • Zulu
notes on
the design
Appalachia was inspired by several type families designed during the Weimar Republic, a period of social and intellectual prosperity immediately preceding the rise of fascism in Prewar Germany.
Looking at the fonts that served as inspiration, I noticed a great deal of them had features that would more or less disqualify them from practical use in a modern setting.
Attributes like low x-heights, inconsistently cut terminals, and odd ratios are all present. Yet all these fonts had a certain zhuzh that fascinated me to the extent of attempting to replicate them in a more practical manner.
In a more technical sense, Appalachia is a low-contrast, geometric, sans-serif typeface. And when we say low-contrast, we meant it... we tried for months to get it to a 1:1 contrast ratio but are pretty sure that's an impossible feat.