Luperca
Regular
400
Characters
Luperca was conceived by Paris-based designer and art director Ariel Martín Pérez—founder of the Tainome studio and co-founder of Tunera Type Foundry—initially drafted in 2023 for the eleventh issue of the French publication Cercle magazine, which was dedicated to the theme of "Mythology". Formally released into the open commons under the SIL Open Font License through Tunera, the face takes its name from the mythical Capitoline she-wolf that nursed Romulus and Remus. Rather than offering another dutiful, museum-grade replica of the imperial capitalis monumentalis found on the Column of Trajan, Pérez envisioned a speculative evolution of the monumental Roman capital, cross-pollinating the rigid epigraphy of antiquity with the physical ductus of calligraphy and the sharp mannerisms of modern editorial design.
Anatomically, the design is structured as an all-caps titling face defined by the ongoing friction between the chiseled incised letter and the fluid gesture of a flat pen. While it honors classical Roman proportions—contrasting expansive circular characters like O, C, and D against slender, compact forms like E, B, and S—it consistently subverts historical orthodoxy through unexpected ductal choices. Most notably, the crossbar of the E is formed through the physical rotation of a broad-nib pen, introducing an organic, swelling curve into what is traditionally a static horizontal beam. Terminals taper into acute, razor-sharp wedges that evoke inscriptional stonecutting, while internal joints pinch tightly to admit crisp light into character counters. Distributed across five dedicated optical display grades, the family modulates its stroke modulation and weight distribution so that its architectural spurs and calligraphic contours retain graphic tension whether locked into compact lines or scaled across massive display formats.
This pronounced inscriptional character clearly stakes out its functional domain. As an all-caps display instrument with strong mythic resonance, Luperca is deliberately unsuited for continuous narrative prose or utilitarian interface design, where its acute contrast and lack of a lowercase character set would rapidly exhaust the reading eye. It commands the page instead in cultural publishing, exhibition identities, book covers, packaging, and cinematic titling—environments where the gravity of ancient epigraphy and the expressive flair of contemporary display craft can intersect. Within the open-source catalog, Luperca stands as a daring conceptual entry, proving that the libre commons can nurture specialized, historically subversive titling types alongside pragmatic digital workhorses.
Words
Questography
difficult waffles
Havana Plywood
Château d’Yquem
Högertrafikomläggningen
hamburgevontpids
Headlines
Regular · 400
Brawny gods just flocked up to quiz and vex him
Paragraphs
With matted beard, and swathed in a bristling shark-skin apron, about mid-day, Perth was standing between his forge and anvil, the latter placed upon an iron-wood log, with one hand holding a pike-head in the coals, and with the other at his forge’s lungs, when Captain Ahab came along, carrying in his hand a small rusty-looking leathern bag. While yet a little distance from the forge, moody Ahab paused; till at last, Perth, withdrawing his iron from the fire, began hammering it upon the anvil—the red mass sending off the sparks in thick hovering flights, some of which flew close to Ahab. “Are these thy Mother Carey’s chickens, Perth? they are always flying in thy wake; birds of good omen, too, but not to all;—look here, they burn; but thou—thou liv’st among them without a scorch.” “Because I am scorched all over, Captain Ahab,” answered Perth, resting for a moment on his hammer; “I am past scorching; not easily can’st thou scorch a scar.” “Well, well; no more. Thy shrunk voice sounds too calmly, sanely woeful to me. In no Paradise myself, I am impatient of all misery in others that is not mad. Thou should’st go mad, blacksmith; say, why dost thou not go mad? How can’st thou endure without being mad? Do the heavens yet hate thee, that thou can’st not go mad?—What wert thou making there?”
With matted beard, and swathed in a bristling shark-skin apron, about mid-day, Perth was standing between his forge and anvil, the latter placed upon an iron-wood log, with one hand holding a pike-head in the coals, and with the other at his forge’s lungs, when Captain Ahab came along, carrying in his hand a small rusty-looking leathern bag. While yet a little distance from the forge, moody Ahab paused; till at last, Perth, withdrawing his iron from the fire, began hammering it upon the anvil—the red mass sending off the sparks in thick hovering flights, some of which flew close to Ahab. “Are these thy Mother Carey’s chickens, Perth? they are always flying in thy wake; birds of good omen, too, but not to all;—look here, they burn; but thou—thou liv’st among them without a scorch.” “Because I am scorched all over, Captain Ahab,” answered Perth, resting for a moment on his hammer; “I am past scorching; not easily can’st thou scorch a scar.” “Well, well; no more. Thy shrunk voice sounds too calmly, sanely woeful to me. In no Paradise myself, I am impatient of all misery in others that is not mad. Thou should’st go mad, blacksmith; say, why dost thou not go mad? How can’st thou endure without being mad? Do the heavens yet hate thee, that thou can’st not go mad?—What wert thou making there?”
With matted beard, and swathed in a bristling shark-skin apron, about mid-day, Perth was standing between his forge and anvil, the latter placed upon an iron-wood log, with one hand holding a pike-head in the coals, and with the other at his forge’s lungs, when Captain Ahab came along, carrying in his hand a small rusty-looking leathern bag. While yet a little distance from the forge, moody Ahab paused; till at last, Perth, withdrawing his iron from the fire, began hammering it upon the anvil—the red mass sending off the sparks in thick hovering flights, some of which flew close to Ahab. “Are these thy Mother Carey’s chickens, Perth? they are always flying in thy wake; birds of good omen, too, but not to all;—look here, they burn; but thou—thou liv’st among them without a scorch.” “Because I am scorched all over, Captain Ahab,” answered Perth, resting for a moment on his hammer; “I am past scorching; not easily can’st thou scorch a scar.” “Well, well; no more. Thy shrunk voice sounds too calmly, sanely woeful to me. In no Paradise myself, I am impatient of all misery in others that is not mad. Thou should’st go mad, blacksmith; say, why dost thou not go mad? How can’st thou endure without being mad? Do the heavens yet hate thee, that thou can’st not go mad?—What wert thou making there?”
Optical Size
font-variation-settings: 'opsz';
'opsz' 12
'opsz' 30
'opsz' 42
'opsz' 60
'opsz' 90
Discretionary Ligatures
font-feature-settings: 'dlig';
Contextual Alternates
font-feature-settings: 'calt';
Stylistic Sets
font-feature-settings: 'ss--';
'ss01'
'ss02'
'ss03'
'ss04'
'ss05'
'ss06'
Loading glyphs…
- Glyph name
- Not available
- Unicode
- Not encoded
- HTML code
- Not available
- CSS code
- Not available