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International is a brutalist display typeface drawn in 1993, built on an unforgiving 3×2 grid. Created during an early fascination with the International Typographic Style, the name nods to Swiss modernism — but the letterforms reject its clean neutrality entirely. This is not Helvetica. This is raw, reductive, and unapologetically mechanical.
There are no curves here. No subtlety. Just verticals and horizontals forced into a tight, inflexible structure. The result is a set of characters that feels more like code than typography — harsh, compressed, and barely legible by design. Inspired by the low-resolution experiments of Wim Crouwel, International treats constraint not as a setback, but as a driving force.
Originally made as an experiment, the typeface has aged into a strange, awkward artifact — proud of its flaws and still unwilling to conform. It’s best used in bold, concept-led design work where legibility takes a back seat to visual impact: editorial layouts, brutalist branding, experimental interfaces, and anywhere you want type to dominate the page.
The typeface contains just one case — lowercase only — along with digits (0–9). It does not include uppercase letters, punctuation, or additional glyphs. Please note: this is a digital product. No physical item will be shipped.
International is a brutalist display typeface drawn in 1993, built on an unforgiving 3×2 grid. Created during an early fascination with the International Typographic Style, the name nods to Swiss modernism — but the letterforms reject its clean neutrality entirely. This is not Helvetica. This is raw, reductive, and unapologetically mechanical.
There are no curves here. No subtlety. Just verticals and horizontals forced into a tight, inflexible structure. The result is a set of characters that feels more like code than typography — harsh, compressed, and barely legible by design. Inspired by the low-resolution experiments of Wim Crouwel, International treats constraint not as a setback, but as a driving force.
Originally made as an experiment, the typeface has aged into a strange, awkward artifact — proud of its flaws and still unwilling to conform. It’s best used in bold, concept-led design work where legibility takes a back seat to visual impact: editorial layouts, brutalist branding, experimental interfaces, and anywhere you want type to dominate the page.
The typeface contains just one case — lowercase only — along with digits (0–9). It does not include uppercase letters, punctuation, or additional glyphs. Please note: this is a digital product. No physical item will be shipped.