The Atett is a modern, experimental, geometric typeface that focuses on the usage and the design is a typeface that is carefully crafted to meet the needs of users while also pushing the boundaries of traditional typography design. It’s a unicase, monospace, display font whose character set does not contain descenders or ascenders. It highlights an avant-garde, subcultural, underground design.

This typeface is designed with a surly and constructive mold a minimalist and futuristic aesthetic, incorporating geometric shapes and patterns in its composition. The font is not easy to read, even so making it ideal for various applications such as branding, interface design, and print materials.
The font supports all the European Latin languages with Vietnamese and basic Cyrillic. It is available on every platform in Opentype and Web Font.

The design of the typeface is driven by a user-centered approach, ensuring that the font is optimized for user experience and usability. The font is created with a focus on clarity, consistency, and precision, ensuring that it can be used in a variety of contexts while maintaining its integrity and visual appeal.

The experimentation aspect of the font design allows for the incorporation of unique elements that set it apart from traditional typefaces. This experimentation can manifest in the use of abstract shapes or an unusual layout, giving the font a distinct and memorable character.

In conclusion, a modern, experimental, geometric typeface that focuses on usage and design is an innovative and user-friendly font that pushes the boundaries of traditional typography design.

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The A Tett was a Hungarian literary, artistic, and societal magazine published between 1915–1916, every two weeks. Its publisher and editor were Lajos Kassák. He dedicated the magazine to being the forerunner of the Hungarian Avant-garde and was inspired by a German activist magazine; Die Aktion. Many Hungarian and European representatives of activism supported the ‘A Tett’. The authors did not follow any political ideology, they were anti-war cosmopolitans. The magazine’s second publication was banned due to incitement against a community and its last one due to its anti-war remarks. Among the authors were László Moholy-Nagy, Guillaume Apollinaire, and Vaszilij Kandinszkij.

After the government banned the magazine, Lajos Kassák, and his partners did not stop publishing their works and continued under the guise of a highbrow typographical magazine called the Ma.