ES Peak

16 Styles, 11 Sets

StyleCHF 70

FamilyCHF 560

Peak is a linear typeface with sharp and pointed detail that blends together geometric and calligraphic curves. It was initiated in 2013 by Xavier Erni (Neo Neo), with the aim of offering a contemporary vision of humanist fonts. Its large range of alternative glyphs enables the designers who use it to focus their aesthetics on geometry or calligraphy, at their discretion.

It is very readable both on paper and on screen while also carrying a strong identity thanks to its sharp detail. Peak was tested over several years before being developed into a complete family of eight weights, from thin to Extrabold, including italics. Peak Rounded complements the family with rounder, softer details and an organic aesthetic.

Thin 15 px

At first, Tony resists but then delivers a terrifying, bloody, psychic vision of the past. Danny is connected with the hotel’s murderous forces and senses something evil about their future home even before they arrive. Torrential waves of deep-red blood silently splash from the double-doors of an elevator in the hotel lobby, decorated art-deco style. Blood squeezes out of the firmly-shut red elevator doors and fills the lobby. Two of the Overlook’s time-warped occupants – a pair of young girls (Lisa and Louise Burns), each wearing a blue party dress [are they the previous caretaker Grady’s two murdered daughters?], holding hands in a flower wallpapered hallway, and staring grimly at the camera, appear in a cut-in for an instant between the engulfing waves of spilling blood. [It is later learned that the hotel was built upon American Indian burial grounds – does the blood also symbolize the spilling of native-American blood?] Danny’s horrified face reacts with mouth gaping open. As Danny is treated by a female Doctor (Anne Jackson), Tony is described as a little boy that lives in my mouth and as his imaginary friend. While trying to diagnose the not-uncommon episode, although there is nothing physically wrong with Danny and he has no serious malady, the soft-spoken doctor describes that the reaction was brought on by emotional factors – and they rarely occur again. They’re more akin to auto-hypnosis, a kind of self-induced trance.

Extralight 15 px

At first, Tony resists but then delivers a terrifying, bloody, psychic vision of the past. Danny is connected with the hotel’s murderous forces and senses something evil about their future home even before they arrive. Torrential waves of deep-red blood silently splash from the double-doors of an elevator in the hotel lobby, decorated art-deco style. Blood squeezes out of the firmly-shut red elevator doors and fills the lobby. Two of the Overlook’s time-warped occupants – a pair of young girls (Lisa and Louise Burns), each wearing a blue party dress [are they the previous caretaker Grady’s two murdered daughters?], holding hands in a flower wallpapered hallway, and staring grimly at the camera, appear in a cut-in for an instant between the engulfing waves of spilling blood. [It is later learned that the hotel was built upon American Indian burial grounds – does the blood also symbolize the spilling of native-American blood?] Danny’s horrified face reacts with mouth gaping open. As Danny is treated by a female Doctor (Anne Jackson), Tony is described as a little boy that lives in my mouth and as his imaginary friend. While trying to diagnose the not-uncommon episode, although there is nothing physically wrong with Danny and he has no serious malady, the soft-spoken doctor describes that the reaction was brought on by emotional factors – and they rarely occur again. They’re more akin to auto-hypnosis, a kind of self-induced trance.

Light 15 px

At first, Tony resists but then delivers a terrifying, bloody, psychic vision of the past. Danny is connected with the hotel’s murderous forces and senses something evil about their future home even before they arrive. Torrential waves of deep-red blood silently splash from the double-doors of an elevator in the hotel lobby, decorated art-deco style. Blood squeezes out of the firmly-shut red elevator doors and fills the lobby. Two of the Overlook’s time-warped occupants – a pair of young girls (Lisa and Louise Burns), each wearing a blue party dress [are they the previous caretaker Grady’s two murdered daughters?], holding hands in a flower wallpapered hallway, and staring grimly at the camera, appear in a cut-in for an instant between the engulfing waves of spilling blood. [It is later learned that the hotel was built upon American Indian burial grounds – does the blood also symbolize the spilling of native-American blood?] Danny’s horrified face reacts with mouth gaping open. As Danny is treated by a female Doctor (Anne Jackson), Tony is described as a little boy that lives in my mouth and as his imaginary friend. While trying to diagnose the not-uncommon episode, although there is nothing physically wrong with Danny and he has no serious malady, the soft-spoken doctor describes that the reaction was brought on by emotional factors – and they rarely occur again. They’re more akin to auto-hypnosis, a kind of self-induced trance.

Regular 20 px

We pause long enough to establish the shoddy character of this hotel. Its open, curtainless windows, its silent resigned look so characteristic of such hole-and-corner hotels. We move forward with purposefulness and-toward a certain window. The sash is raised as high as it can go, but the shade is pulled down to three or four inches of the inside sill, as if the occupants of the room within wanted privacy but needed air. We are close now, so that only the lower half of the window frame is in shot. No sounds come from within the room. Suddenly, we tip downward, go to the narrow space between shade and sill, peep into the room. A young woman is stretched out on the mussed bed. She wears a full slip, stockings, no shoes. She lies in and attitude of physical relaxation, but her face, seen in the dimness of the room, betrays a certain inner-tension, worrisome conflicts. 

Medium 20 px

We pause long enough to establish the shoddy character of this hotel. Its open, curtainless windows, its silent resigned look so characteristic of such hole-and-corner hotels. We move forward with purposefulness and-toward a certain window. The sash is raised as high as it can go, but the shade is pulled down to three or four inches of the inside sill, as if the occupants of the room within wanted privacy but needed air. We are close now, so that only the lower half of the window frame is in shot. No sounds come from within the room. Suddenly, we tip downward, go to the narrow space between shade and sill, peep into the room. A young woman is stretched out on the mussed bed. She wears a full slip, stockings, no shoes. She lies in and attitude of physical relaxation, but her face, seen in the dimness of the room, betrays a certain inner-tension, worrisome conflicts. 

Semibold 20 px

We pause long enough to establish the shoddy character of this hotel. Its open, curtainless windows, its silent resigned look so characteristic of such hole-and-corner hotels. We move forward with purposefulness and-toward a certain window. The sash is raised as high as it can go, but the shade is pulled down to three or four inches of the inside sill, as if the occupants of the room within wanted privacy but needed air. We are close now, so that only the lower half of the window frame is in shot. No sounds come from within the room. Suddenly, we tip downward, go to the narrow space between shade and sill, peep into the room. A young woman is stretched out on the mussed bed. She wears a full slip, stockings, no shoes. She lies in and attitude of physical relaxation, but her face, seen in the dimness of the room, betrays a certain inner-tension, worrisome conflicts. 

Bold 25 px

A small room, a slow fan buzzing on a shelf above the narrow bed. A card of hotel rules is pasted on the mirror above the bureau. An unopened suitcase and a woman’s large, straw open top handbag are on the bureau. On the table beside the bed there are a container of Coca Cola and an unwrapped, untouched egg & salad sandwich. There is no radio. The man standing by the bed, wearing only trousers, T-shirt and sox, is Sam Loomis, a good looking, sensual shirt man with warm humorous eyes and a compelling smile. He is blotting his neck and face with a thin towel, and is staring down at Mary, a small sweet smile playing about his mouth. Mary keeps her face turned away from him. After a moment, Sam drops the towel, sits on the bed, leans over and takes Mary into his arms, kisses her long and warmly, holds her with a firm possessivenes. The kiss is disturbed and finally interrupted by the buzzing closeness of an inconsiderate fly. Sam smiles, pulls away enough to allow Mary to relax again against the pillow.

Extrabold 25 px

A small room, a slow fan buzzing on a shelf above the narrow bed. A card of hotel rules is pasted on the mirror above the bureau. An unopened suitcase and a woman’s large, straw open top handbag are on the bureau. On the table beside the bed there are a container of Coca Cola and an unwrapped, untouched egg & salad sandwich. There is no radio. The man standing by the bed, wearing only trousers, T-shirt and sox, is Sam Loomis, a good looking, sensual shirt man with warm humorous eyes and a compelling smile. He is blotting his neck and face with a thin towel, and is staring down at Mary, a small sweet smile playing about his mouth. Mary keeps her face turned away from him. After a moment, Sam drops the towel, sits on the bed, leans over and takes Mary into his arms, kisses her long and warmly, holds her with a firm possessivenes. The kiss is disturbed and finally interrupted by the buzzing closeness of an inconsiderate fly. Sam smiles, pulls away enough to allow Mary to relax again against the pillow.

Combined a, e, t, u Alternate a Alternate e Alternate t Second alternate t Alternate u Alternate y Alternate M Alternate R Alternate Q Alternate 3

Corrigan: There is no smoking in this building, Ms. Tramell.

Catherine: What are you going to do? Charge me with smoking? Ever so casually, she blows her smoke across at Nick.

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Language Coverage
Basic Latin-1 / Mac Roman
Latin Extended-A,
Western Europe, Central Europe,
South-West Europe,
Vietnamese, Pinyin

Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic, Asturian, Atayal, Aymara, Bashkir, Basque, Belarusian, Bemba, Bikol, Bislama, Bosnian, Breton, Bulgarian Romanization, Cape Verdean, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Chinese Pinyin, Cimbrian, Cofan, Cornish, Corsican, Creek, Crimean Tatar, Croatian, Czech, Danish, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz, Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic, Guadeloupean, Gwichin, Haitian Creole, Han, Hawaiian, Hiligaynon, Hopi, Hotcak, Hungarian, Icelandic, Ido, Igbo, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Istroromanian, Italian, Jamaican, Javanese, Jerriais, Kaingang, Kala Lagaw Ya, Kapampangan, Kaqchikel, Karakalpak, Karelian, Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Kurdish, Ladin, Latin, Latino Sine, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, Maori, Marquesan, Meglenoromanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinhpatha, Nagamese Creole, Nahuatl, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Oshiwambo, Ossetian, Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Qeqchi, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami Inari, Sami Lule, Sami Northern, Sami Southern, Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Seri, Seychellois, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio, Somali, Sorbian Lower, Sorbian Upper, Sotho Northern, Sotho Southern, Spanish, Sranan, Sundanese, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen, Tuvaluan, Tzotzil, Uzbek, Venetian, Vepsian, Vietnamese, Volapuk, Voro, Wallisian, Walloon, Waraywaray, Warlpiri, Wayuu, Welsh, Wikmungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zazaki, Zulu, Zuni

ES Peak

16 Styles, 11 Sets

StyleCHF 70

FamilyCHF 560

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