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Antina’s sharp edges

The latest typeface to emerge from Tony Di Spigna’s expert hands: Antina adds angled, high-contrast flare to the foundry’s library . . . and to your designs.

When naming their type foundry, Tony Di Spigna and Bill Hilson kept returning to one unique aspect of Di Spigna’s designs: Truly hairline thin strokes. Achievable only though years of perfecting the craft, a hair line is a challenge for any calligrapher.

Once they had decided on the name, Thinstroke, Di Spigna began inking their logo. He drew sharp, condensed letters. With high-contrast, condensed width, and a tall x-height, the Thinstroke logo appears sturdy—almost immovable—without abandoning elegance.

The Thinstroke logo (top) compared to the letters set in Antina Extra Light and Ultra.

Like the name Thinstroke, Di Spigna kept revisiting these sharp, clean letterforms, adding more letters and weights. From this exploration, Antina was born. With seven masterfully hand-drawn weights, Antina adds to Thinkstroke’s library of stylish display faces.

Unlike some of his other scripts, Di Spigna’s Antina is a roman face, with contemporary features like triangle tittles, terminals, and full stops.

Not to be used at text sizes, Antina pairs well with high-contrast serif faces like Didones. From our library: Amster, IvyPresto Text, Louvette Text, Lavigne Text, Escrow Text, Stilson, and Benton Modern Text all pair well with Antina.

Antina pairs well with any high-contrast serif face. Here, it’s used with Amster.

When a text calls for a typographic palette that is at once both elegant and edgy, set your body text in any of those faces and your titles in Antina. You can license its seven weights exclusively from Type Network.

Like all Thinstroke fonts, Antina can be licensed for print, web, mobile apps, and ePubs. Webfonts may be tested for thirty days, and desktop trials are available upon request. Have a licensing question? Check out our support page or get in touch.