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Ceraph
Piercy began Ceraph in 2018 as an experiment, a sketched word featuring whiplash forms and flared serifs. "It slowly evolved into a more ambitious and refined project. I wanted the typeface to embody grace and strength, and this aim was the north star throughout its development. This is my first serious undertaking of typeface design, and it took a year on-and-off to settle on the concept." "Ceraph’s flared stroke endings give them an engraved quality. The uppercase proportions and construction reference Roman capitals, while the lowercase has more of a calligraphic approach. This is a flared serif typeface, but it doesn’t follow any particular historical model." Even so, Piercy is forthcoming about her influences: "The work of Hermann Zapf, Giovan Francesco Cresci, and Jakob Erbar were significant. Typeface-wise, Canela was a specific reference point, too. Over time, my influences also became more humanistic, so my interest and practice in calligraphy further moulded this project.
Designer: Emma Piercy | Engineer: Calvin Kwok | Kerning: Igino Marini
Version History
Version 1.000▼
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Roman
55
MYSTICISM is popularly known as becoming one with GOD or the ABSOLUTE, but may refer to any kind of ecstasy or altered state of consciousness which is given a religious or spiritual meaning. It may also refer to the attainment of insight in ultimate or hidden truths, and to human transformation supported by various practices and experiences.
Roman
THINGS OF QUALITY
HAVE NO FEAR OF TIME
Ceraph in use for Ghostly International
Ceraph in use for Ghostly International
Roman
WHAT IS DARK WITHIN ME
ILLUMINATE - John Milton
Ceraph in use for Magneto Magazine
Ceraph in use for Magneto Magazine
Roman
55
The name has attracted a great deal of mythology. The best-known version is that this was to be Square's final game, and Sakaguchi's final game, before he left the industry — an ending dressed up as a title. Sakaguchi has since given a more prosaic account more than once: he wanted a title that abbreviated to two Fs, his first choice was unavailable, and "Final" fit the mood of a company that might not survive the year.
Ceraph Featured on the cover of Eye Magazine.
Roman
30
Final Fantasy shipped for the Famicom on 18 December 1987. It sold around 400,000 copies in Japan, which was enough to save the company outright and to guarantee a sequel. Sakaguchi directed and wrote the scenario, Nasir Gebelli — an Iranian-American programmer Square had recruited out of the American Apple II scene — did the programming, Yoshitaka Amano provided the illustrations and the logo, and a young musician named Nobuo Uematsu wrote the score. That combination of people, assembled by accident for a rescue project, defined the next fifteen years of Japanese role-playing games.
Early sketches of Ceraph by Emma Piercy
Roman
20
High-definition development turned out to be brutally expensive. Square Enix had no engine ready for it, built one — Crystal Tools — while simultaneously building the game on top of it, and spent years producing assets for a project whose shape kept moving. The result was a game that stripped away almost everything the series had accumulated: no towns, no exploration, no party control beyond the leader, and roughly twenty hours of linear corridor before the world opens. The Paradigm system underneath is genuinely good — fast, aggressive, built around staggering enemies and hot-swapping party roles — but it is buried under an opening that refuses to explain itself and a story told largely in an in-game glossary. The seventh game was initially in development for the Nintendo 64. Square abandoned it. The N64 used cartridges, which were expensive and small; Sony's PlayStation used CDs, which were cheap and held hundreds of megabytes of pre-rendered backgrounds and full-motion video. Square's defection in 1996 was the single most damaging blow the N64 took, and it poisoned the Square–Nintendo relationship for most of a decade. Final Fantasy games did not return to Nintendo home hardware in any meaningful way until much later. Final Fantasy
Italic
20
The seventh game was initially in development for the Nintendo 64. Square abandoned it. The N64 used cartridges, which were expensive and small; Sony's PlayStation used CDs, which were cheap and held hundreds of megabytes of pre-rendered backgrounds and full-motion video. Square's defection in 1996 was the single most damaging blow the N64 took, and it poisoned the Square–Nintendo relationship for most of a decade. Final Fantasy games did not return to Nintendo home hardware in any meaningful way until much later. Final Fantasy VII shipped in Japan on 31 January 1997 and in North America that September. It was the first mainline entry designed for 3D, using polygonal characters over pre-rendered 2D backdrops, with cinematic cutscenes cut in — a compromise that looked extraordinary at the time and dates badly now, and which is why the Remake project exists. The seventh game was initially in development for the Nintendo 64. Square abandoned it. The N64 used cartridges, which were expensive and small; Sony's PlayStation used CDs, which were cheap and held hundreds of megabytes of pre-rendered backgrounds and full-motion video. Square's defection in 1996 was the single most damaging blow the N64 took, and it poisoned the Square–Nintendo relationship for most of a decade. Final Fantasy games did not return to Nintendo home hardware in any meaningful way until much later. Final Fantasy
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calt
Contextual Alternates
case
Case-Sensitive Forms
dlig
Discretionary Ligatures
liga
Standard Ligatures
lnum
Lining Figures
locl
Localized Forms
onum
Oldstyle Figures
ss01
Alternate A
ss02
Alternate I
ss03
Alternate O
ss04
Alternate g
ss05
Alternate j
ss06
Uncial h n m t u
ss07
Alternate paragraphe
ss08
Alternate N swash
swsh
Swash
titl
Titling
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