Cera Compact Regular Italic

72px

Cera Compact

Regular Italic

Narrow but not obviously condensed, Cera Compact is made for efficiency in body textNarrow but not obviously condensed, Cera Compact is made for efficiency in body text

48px

Cera Compact

Regular 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 Compact

Regular Italic

Narrow but not obviously condensed, Cera Compact is made for efficiency in body text. With regularly proportioned spacing it has the flexibility for text and headlines, taking up less space without making text less readableNarrow but not obviously condensed, Cera Compact is made for efficiency in body text. With regularly proportioned spacing it has the flexibility for text and headlines, taking up less space without making text less readable

15px

Cera Compact

Regular 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

Developed for the narrow reading environments of mobile devices, user interfaces and text columns, Cera Condensed and Compact take the clarity and geometry of Cera Family to new places.

Super tight Cera Condensed is for when you need a geometric sans that can work in a narrow space, large or small; compact information leaflet or compressed headline.

Condensed or Compact, a broad spectrum of six weights, thin to black, each with matching italics makes these fonts ready for any typographical requirement and reliable typographic tools for interfaces and corporate design. And it gets even better: for best on-screen performance the TrueType files for the web and desktop fonts are improved with manual hinting.

The extended Cera Condensed and Compact support around 150 languages in the Latin and Cyrillic scripts, and its non-Latin components were developed with native consultants. With over 980 glyphs per style, Cera Condensed and Compact care about localised letterforms and have 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

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, slashed zero, five stylistic sets

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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Font in use