Sirca distills Walter Käch’s serif display experiments into a contemporary display system. Rooted in a critical re-reading of his mid-century letterforms, what began as a single study evolved into a concise family of three essential weights, each balancing typographic clarity with subtle warmth.
Käch’s models stood at the intersection of geometric construction and humanist gesture, a dialogue that Sirca reopens through a contemporary lens. All cuts share the same serif structure, an uncommon choice that defines the family’s collective tone. The Bold is drawn with weight added inward, resulting in a denser, more compact appearance that echoes the condensed display types of the late ’60s phototype era.
While the Regular preserves the timeless grace and proportions of its historical sources, the newly introduced Bold channels a sharper, more expressive tone. Together, they form a genre-blending system: classic yet vivid, crafted for editorial, titles, logotypes, and any context where typography leads the narrative.
A design shaped by the past, sharpened for the century ahead.
[Käch’s original models were first published in 1949 in the trilingual book Schriften, Lettering, Écritures.]
TYPE INFORMATION
Designer: EDITO (Alan Madić), 2024–2025
Release Year: 2025
Styles: 3 styles
Formats: OTF, TTF, WOFF, WOFF2
Production: Solenn Bordeau
Spacing and Kerning: Igino Marini
OPENTYPE FEATURES
Access All Alternates
Case-Sensitive Forms
Discretionary Ligatures
Localized Forms
Oldstyle Figures
SUPPORTED LANGUAGES
Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic, Asturian, Aymara, Bashkir, Basque, Bikol, Bislama, Bosnian, Breton, Cape Verdean, Catalan, Cebuano, Chamorro, Chavacano, Chickasaw, Cimbrian, Cofan, Corsican, Creek, Crimean Tatar, Croatian, Czech, Danish, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz, Galician, Genoese, German, Gooniyandi, Greenlandic, Guadeloupean, Gwichin, Haitian Creole, Han, Hawaiian, Hiligaynon, Hopi, Hotcak, Hungarian, Icelandic, Ido, 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, Makhuwa, Malay, Maltese, Manx, Maori, Marquesan, Meglenoromanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinhpatha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Oshiwambo, Ossetian, Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Qeqchi, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami Lule, 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, Ukrainian, Uzbek, Venetian, Vepsian, Volapuk, Voro, Wallisian, Walloon, Waraywaray, Warlpiri, Wayuu, Welsh, Wikmungkan, Wiradjuri, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni.
Sirca distills Walter Käch’s serif display experiments into a contemporary display system. Rooted in a critical re-reading of his mid-century letterforms, what began as a single study evolved into a concise family of three essential weights, each balancing typographic clarity with subtle warmth.
Käch’s models stood at the intersection of geometric construction and humanist gesture, a dialogue that Sirca reopens through a contemporary lens. All cuts share the same serif structure, an uncommon choice that defines the family’s collective tone. The Bold is drawn with weight added inward, resulting in a denser, more compact appearance that echoes the condensed display types of the late ’60s phototype era.
While the Regular preserves the timeless grace and proportions of its historical sources, the newly introduced Bold channels a sharper, more expressive tone. Together, they form a genre-blending system: classic yet vivid, crafted for editorial, titles, logotypes, and any context where typography leads the narrative.
A design shaped by the past, sharpened for the century ahead.
[Käch’s original models were first published in 1949 in the trilingual book Schriften, Lettering, Écritures.]
