Fractions • Tabular Figures
Old Style Figures
Tabular Old Style Figures
Alternate Single Storey a
Alternate % + ‰
Discretionary Ligatures
Slashed Zero • Stylistic Sets
Superscripts • Subscripts
Alternate ß & more.

Afrikaans • Albanian • Asu
Azerbaijani • Basque • Belarusian
Bemba • Bena • Bosnian • Breton
Bulgarian • Catalan • Cebuano
Chechen • Chiga • Colognian • Cornish
Corsican • Croatian • Czech • Danish
Dutch • Embu • English • Erzya
Esperanto • Estonian • Faroese
Filipino • Finnish • French • Friulian
Galician • German • Greek • Guarani
Gusii • Hungarian • Icelandic • Ido
Indonesian • Ingush • Interlingua
Interlingue • Irish • Italian • Javanese
Jju • Kabuverdianu • Kaingang
Kalaallisut • Kalenjin • Kamba • Kazakh
Kikuyu • Kinyarwanda • Kurdish
Kyrgyz • Latvian • Ligurian • Lithuanian
Lojban • Lombard • Low German
Lower Sorbian • Luo • Luxembourgish
Luyia • Macedonian • Machame
Makhuwa • Makhuwa-Meetto • Makonde
Malagasy • Malay • Maltese • Manx
Māori • Meru • Mohawk • Mongolian
Morisyen • Mvskoke • Nheengatu
North Ndebele • Northern Sotho
Norwegian Bokmål • Norwegian Nynorsk
Nyanja • Nyankole • Occitan • Oromo
Polish • Portuguese • Quechua • Rejang
Romanian • Romansh • Rombo • Rundi
Russian • Rwa • Samburu • Sango
Sangu • Sardinian • Scottish Gaelic
Sena • Serbian • Shambala • Shona
Slovak • Slovenian • Soga • Somali
South Ndebele • Southern Sotho
Spanish • Sundanese • Swahili • Swati
Swedish • Swiss German • Taita
Tajik • Taroko • Tatar • Teso
Toki Pona • Tsonga • Tswana
Turkish • Turkmen • Ukrainian
Upper Sorbian • Venetian • Vunjo
Walloon • Walser • Welsh • Western Frisian
Wolastoqey • Xhosa • Zhuang • Zulu

Appalachia was inspired by several type families designed during the Weimar Republic, a period of social and intellectual prosperity immediately preceding the rise of fascism in Prewar Germany.

Looking at the fonts that served as inspiration, I noticed a great deal of them had features that would more or less disqualify them from practical use in a modern setting.

Attributes like low x-heights, inconsistently cut terminals, and odd ratios are all present. Yet all these fonts had a certain zhuzh that fascinated me to the extent of attempting to replicate them in a more practical manner.

In a more technical sense, Appalachia is a low-contrast, geometric, sans-serif typeface. And when we say low-contrast, we meant it... we tried for months to get it to a 1:1 contrast ratio but are pretty sure that's an impossible feat.