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type.today
12 styles,
2016

Cera Round

Light Italic

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

  • Desktop
    $50
  • Web
    $50
  • App
    $200
72px
Cera Round
Light Italic
Cera Round combines warmth with elegance Cera Round combines warmth with elegance
48px
Cera Round
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 Round
Light Italic
Drawing on a tradition of machine-milled lettering and combining it with the technical geometry of Cera, Cera Round features circular stroke endings and softly rounded corners to create cheerful feeling text. Amongst its smooth, yet precise letterforms, the circular o takes on a new, striking qualityDrawing on a tradition of machine-milled lettering and combining it with the technical geometry of Cera, Cera Round features circular stroke endings and softly rounded corners to create cheerful feeling text. Amongst its smooth, yet precise letterforms, the circular o takes on a new, striking quality
15px
Cera Round
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

As powerful as any other member of the collection, Cera Round combines warmth with elegance and its support for Cyrillic makes it a reliable and engaging companion for international communication.

Drawing on a tradition of machine-milled lettering and combining it with the technical geometry of Cera, Cera Round features circular stroke endings and softly rounded corners to create cheerful feeling text. Amongst its smooth, yet precise letterforms, the circular o takes on a new, striking quality.

While the regular has been carefully proofed for long editorial texts, Cera Round’s six weights, thin to black, allow for a whole range of expression in display typography. Where the light weights have all the cleanliness and precision of technical drawings, its heavy weights are playful and soft:perfect for strong headlines and packaging projects.

With this broad spectrum of expression, from technical to friendly — and always sincere — Cera Round is an excellent choice for branding and editorial design. Its large x-height also means that it is recommended for interface design.

And while Cera Round may be a counterpart to Cera, it’s not just Cera with rounded corners. We’ve carefully reworked and adjusted many of the glyphs to adapt them to Cera’s new attitude. When rounded edges and smooth shapes created new optical problems, we found new solutions: making Cera Rounded an individual member of the Cera Collection.

Beyond Latin, Cera Round supports Cyrillic with localised alternatives and, as always, it is equipped with several typographic extras: tabular figures, arbitrary fractions, useful symbols and dingbats.

2016

design: Lisa Fischbach and Jakob Runge improving the screen performance: Christoph Koeberlin

2018

Improvement of Cyrillics: Ilya Ruderman and Yury Ostromentsky

Specimen (PDF, 1 MB)
Features

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, case sensitive forms

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

Lisa Fischbach

Lisa studied at the Muthesius Academy of Fine Arts and Design in Kiel, where she specialised in graphic design with a clear focus towards typography. During those studies, she grew fascinated by letterforms and experimented with type and shapes. These studies were paired with an excursion into the fine arts during a semester at the University of Seville. She finished her bachelor’s with a latin typeface, Lobelia, that was nominated for the Muthesius Award.

After working in the graphic design studio Format Design Visual Identities, in Hamburg, she went to England to develop her skills in type design. During the master’s programme at the University of Reading, she was was introduced to the design of foreign script systems. Her master’s project, Kaius, speaks several languages, including Gujarati, Greek, Cyrillic, Latin and phonetic signs. It was honoured by being selected by the jury of the Pangramme International Student Type Design Exhibition. From 2015, Lisa has worked as an independent designer in the fields of type and design.

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