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type.today
12 styles,
2015

Cera

Light Italic

TypeMates, Jakob Runge, improvement of Cyrillics Ilya Ruderman and Yury Ostromentsky

  • Desktop
    $50
  • Web
    $50
  • App
    $200
72px
Cera
Light Italic
The Cera Collection is driven by pure geometryThe Cera Collection is driven by pure geometry
48px
Cera
Light Italic
The Latin alphabet was used in the earliest Asturian texts. Although the Academia de la Llingua Asturiana published orthographic rules in 1981, different spelling rules are used in Terra de Miranda.The Latin alphabet was used in the earliest Asturian texts. Although the Academia de la Llingua Asturiana published orthographic rules in 1981, different spelling rules are used in Terra de Miranda.
24px
Cera
Light Italic
The starting point for the collection, Cera Pro is distilled from elementary shapes and brings simplicity, elegance and a certain warmth wherever a contemporary geometric typeface is neededThe starting point for the collection, Cera Pro is distilled from elementary shapes and brings simplicity, elegance and a certain warmth wherever a contemporary geometric typeface is needed
15px
Cera
Light Italic
With six weights, a clean italic – carefully slanted 10 degrees – useful dingbats and arrows, Cera is a steadfast companion for when you need to set clean text and headlines in print, on screen and in multiple languages. For best on-screen performance, the TrueType files for web and desktop fonts have been manually hinted. Cera cares about localised letterforms and has the OpenType features to matchWith six weights, a clean italic – carefully slanted 10 degrees – useful dingbats and arrows, Cera is a steadfast companion for when you need to set clean text and headlines in print, on screen and in multiple languages. For best on-screen performance, the TrueType files for web and desktop fonts have been manually hinted. Cera cares about localised letterforms and has the OpenType features to match
About

The starting point for the collection, Cera Pro is distilled from elementary shapes and brings simplicity, elegance and a certain warmth wherever a contemporary geometric typeface is needed.

Cera Pro’s six weights, thin to black, give it a full range of expression for interfaces and corporate design; in print, on screen and in multiple languages. Matching italics, carefully sloped a lively 10º, are invigorated with a dash of rotalic flavour: keeping the o a perfect circle and giving Cera Pro’s italics striking effect when used for display typography.

A steadfast companion for text, Cera Pro has a large x-height and compact capitals. For best on-screen performance the TrueType files for the web and desktop fonts have been improved with manual hinting. Naturally, it also has all the useful dingbats and arrows you might need.

The extended Cera Pro supports around 150 languages in the Latin and Cyrillic scripts. With over 980 glyphs per style, Cera cares about localised letterforms and has the OpenType features to match.

2015

design: Jakob Runge

2018

Improvement of Cyrillics: Ilya Ruderman and Yury Ostromentsky

With help of Lisa Fischbach

Improving the screen performance: Anke Bonk, Alphabet Type

Specimen (PDF, 1 MB)
Features

Five stylistic sets, slashed zero, case sensitive forms, standard ligatures, proportional lining figures, proportional oldstyle figures, tabular lining figures, tabular oldstyle figures, ordinals, fractions, denominator, numerator, subscript / inferiors, superscript / superiors

Languages

Afrikaans, Azeri (lat), Bashkir, Belarusian, Bulgarian, Catalan, Chechen, Chuvash, Czech, Danish, Dutch, English, Esperanto, Estonian, Finnish, French, Gaelic (Irish), Galician, German, Greek, Hungarian, Icelandic, Ingush, Italian, Kazakh, Kurdish (lat), Kyrghiz, Latvian, Lithuanian, Moldavian (cyr), Mongolian (cyr), Mongolian (lat), Norwegian, Polish, Portuguese, Romanian, Russian, Serbian, Slovene, Spanish, Swedish, Tadzhik, Tatar, Turkish, Turkmen, Ukrainian, Uzbek (lat), and others

Authors

TypeMates

TypeMates: a straightforward font foundry.

For years, we — Jakob, Lisa and Nils — have been passionate about type and in 2015 we started working together, from our offices in Munich and Hamburg, as a type foundry.

We don’t believe that typefaces are neutral or purely functional systems for reading, rather that they are a visual language with emotional values. Our aim is to be straightforward in the complex field of type design. We do not want to hype or praise type too much, we want to work together with our clients and partners to deliver good results.

Our practice covers everything, from the tiniest nuance in a logo or piece of lettering to the design of extensive type systems. And whether it’s a beautiful idea, a complex client project with intense technical demands, or we’re just following our investigative TypeMate’s nose — we’re passionate about well-made letterforms delivered to the highest technical standard.

Whether it’s Die Zeit online, Fast Company, Red Bull TV or Lufthansa Magazine, typefaces we designed are used by magazines, newspapers and corporations who set the bar for design.

Jakob Runge

From 2009 Jakob Runge has been fired by letters and type systems. After studying communication design at the University of applied sciences in Würzburg (BA) and then at Muthesius Academy of Fine Arts and Design in Kiel (MA), his master’s project was published as FF Franziska in 2014, and became a successful textface at FontFont.

A new dad, he works in Munich as an independent type and brand designer who specialises in developing typefaces and custom lettering for corporate and editorial design.

Alongside working in the design industry, Jakob is active in typographic education. Along with running numerous workshops at universities in Germany, Switzerland and Austria, he has been a lecturer for typography and type design at FH Münster from 2011. For him, type design is more than the foundation of precise and coherent communication: it’s a passion. twitter, website

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