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5 families,
2015, 2016, 2018

Cera Collection

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

  • Desktop
    $1,120
  • Web
    $1,120
  • App
    $4,505
72px
Cera
Regular
The Cera Collection is driven by pure geometryThe Cera Collection is driven by pure geometry
24px
Cera
Regular 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
72px
Cera Round
Bold
Cera Round combines warmth with elegance Cera Round combines warmth with elegance
24px
Cera Round
Medium
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
72px
Cera Stencil
Bold
Asymmetric stencilling creates a dynamic tension that emphasises the handwritten origin of the supported scriptsAsymmetric stencilling creates a dynamic tension that emphasises the handwritten origin of the supported scripts
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Cera Stencil
Light
Cera Stencil, with six weights, useful dingbats and arrows, is a steadfast companion for setting clean text and headlines for print, on screen and in multiple languages. Its asymmetric stencilling creates a dynamic tension that emphasises the handwritten origin of the supported scripts.Cera Stencil, with six weights, useful dingbats and arrows, is a steadfast companion for setting clean text and headlines for print, on screen and in multiple languages. Its asymmetric stencilling creates a dynamic tension that emphasises the handwritten origin of the supported scripts.
72px
Cera Compact
Medium
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
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
72px
Cera Condensed
Regular
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 headlineSuper 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
24px
Cera Condensed
Light Italic
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 hintingCondensed 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
About

The Cera Collection is driven by pure geometry and contains the bestselling Cera, its narrowed versions Cera Condensed & Compact, its stenciled counterpart Cera Stencil and soft Cera Round.

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 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

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, Hungarian, Icelandic, Ingush, Italian, Kazakh, Kurdish (lat), Kyrghiz, Latvian, Lithuanian, Moldavian (cyr), Mongolian (cyr), Mongolian (lat), Norwegian, Polish, Portuguese, Romanian, Russian, Serbian, Slovene, Spain, Swedish, Tadzhik, Tatar, Turkish, Turkmen, Ukrainian, Uzbek (lat)

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.