Basati

OverviewStylesCharacter setFeaturesIn useBuying options

Basati -wild in Basque language- is a display typeface designed for headlines and hard-hitting messages. Its appearance is sharp, heavy and hard as an axe. But don’t be fooled by its rough and erratic look or the impression of having been carved with a machete. Each character is precise and sharp as a scalpel, and in that perfectly cut informality lies her deliberately wild temperament.

Perhaps because its design was conceived during a severe bout of lumbago, its strokes are heavy and provocative, as if trying to defy logic and gravity alike, placing the heaviest strokes in inconvenient/unconventional places, and doing so with the rage that sometimes overwhelms the wickedly ill.

The creation process has also been quite unorthodox because, as you can imagine, it begins with the design of the black version, in which all possible resources are deployed to give it that powerful and provocative character. The regular version is designed later in an exploratory exercise where the replication of the most characteristic features of the design is challenged by the scarcity of the material to shape them.

First released on 16th March 2023

Basati: styles

Basati: character set

Basati comes with 847 glyphs and supports 220+ languages.
If you do not find the character or glyph you need, please contact me and I will be happy to add it to the fonts.

Basati supports more than 200 languages:

Abenaki, Afaan, Oromo, Afar, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Azerbaijani, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bislama, Bosnian, Breton, Cape, Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Corsican, Creek, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Guadeloupean, Creole, Gwich’in, Haitian Creole, Hän, Hawaiian, Hiligaynon, Hopi, Hotcąk (Latin), Hungarian, Ido, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Jamaican, Javanese (Latin), Jèrriais, Kala Lagaw Ya, Kapampangan (Latin), Kaqchikel, Karakalpak (Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Kurdish (Latin), Ladin, Latin, Latino sine Flexione, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, Māori, Marquesan, Megleno-Romanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese, Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Oshiwambo, Ossetian (Latin), Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami (Inari Sami), Sami (Lule Sami), Sami (Northern Sami), Sami (Southern Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish, Gaelic, Serbian (Latin), Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio (Latin), Somali, Sorbian (Lower Sorbian), Sorbian (Upper Sorbian), Sotho (Northern), Sotho (Southern), Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tahitian, Tamazight, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Tzotzil, Uzbek (Latin), Venetian, Vepsian, Volapük, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni.

Basati: features

Basati presents a wide range of Opentype features conceived mainly to build compact space-saving headlines

Basati is a display typeface with a strong personality, inspired -once again- by the traditional Basque lettering style. On this occasion, some of its more eccentric and idiosyncratic features are strengthened, and special emphasis is placed on its blatant informality and forcefulness. In this sense, there is a clear contrast with previous projects –Harri Display and Harri Text– in which standardization and refinement were the main goals. This fresh and unconstrained approach also seeks inspiration in some of the audacious interlacing and space-saving tricks used in inscriptions found in the Basque Country from the 17th century onwards. The result is a typeface with numerous variants, contextual alternates, ligatures, and interlocking groups of characters that confer great variability to the compositions.