Beth

Beth takes its roots from early-twentieth-century English shopfront and storefront lettering — a tradition of lettering designed to stop people in their tracks. Its uppercase draws from Neoclassical type with humanist terminals and convex strokes pulled from hand-painted signage, giving each capital a brightness and precision that feels both historic and immediate. The lowercase follows the calligraphic model of Edward Johnston's Foundational Hand: the single-story 'a' has no traditional terminal, the curves modulate close to 45°, and the 's' is, in Ale Navarro's own words, a poem.

The drawing carries the weight of engraving — particularly the work of Gustave Doré and William Blake. Their influence lives in Beth's thin strokes and the richness of its contrast: a typeface that holds light and shadow the way a copper plate does. That duality is central to its character. Beth is at once luminous and dark, delicate in its finer weights and forceful in its heavier ones — a formal tension that makes it equally suited to a luxury fragrance label and a concert poster.

With 7 weights from Light to Black — each available in a standard and alternate character set — plus 594 glyphs and discretionary ligatures, Beth offers expressive range without losing the singular identity that defines it. A pop gothic serif for brands and projects that want to be remembered.