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type.today
15 styles,
2022
  • Desktop
    $280
  • Web
    $280
  • App
    $420
  • Desktop
    $50
  • Web
    $50
  • App
    $75
  • Desktop
    $50
  • Web
    $50
  • App
    $75
  • Desktop
    $50
  • Web
    $50
  • App
    $75
48px
Elma Mono LightElma Mono Light
  • Desktop
    $50
  • Web
    $50
  • App
    $75
  • Desktop
    $50
  • Web
    $50
  • App
    $75
  • Desktop
    $50
  • Web
    $50
  • App
    $75
  • Desktop
    $50
  • Web
    $50
  • App
    $75
48px
Elma Mono ItalicElma Mono Italic
  • Desktop
    $50
  • Web
    $50
  • App
    $75
  • Desktop
    $50
  • Web
    $50
  • App
    $75
48px
Elma Mono BoldElma Mono Bold
  • Desktop
    $50
  • Web
    $50
  • App
    $75
  • Desktop
    $50
  • Web
    $50
  • App
    $75
  • Desktop
    $50
  • Web
    $50
  • App
    $75
  • Desktop
    $50
  • Web
    $50
  • App
    $75
  • Desktop
    $50
  • Web
    $50
  • App
    $75
  • Desktop
    $50
  • Web
    $50
  • App
    $75
About

Elma is a system of two fixed-width typeface families — Elma Mono and Elma Trio. While the Mono family takes the classical monospace approach with one fixed width, the Trio works with three fixed widths to make a mockery of ‘legitimate’ proportional designs.

Elma’s construction is based on a compact Neo Grotesque accented with generous spacing and a broken-curves design. Both families feel equally at home on packaging, in long reads, small captions, big headlines, elaborate bank statements or as the new default font of your favourite text editor. With its wide range of weights, from Extralight to Extrabold, and not just one but two — an Italic and a Slanted — Elma can set the mood, whatever it may be.

With more than 820 glyphs per style, native-approved Cyrillic and a broad Latin character set, Elma speaks more than 270 languages. On top of all that, Elma is packed with a handful of useful alternates, a neat selection of advantageous arrows, more sets of figures than a sane mind should come up with, case-sensitive punctuation and practical contextual alternates to make it an instrumental tool for all typographic needs.

Features

Case sensitive forms, standard ligatures, contextual ligatures, proportional lining figures, proportional oldstyle figures, tabular lining figures, tabular oldstyle figures, fractions, denominator, numerator, subscript / inferiors, superscript / superiors, slashed zero, ten stylistic sets

Languages

Afrikaans, Azeri (cyr), Azeri (lat), Belarusian, Bulgarian, Catalan, Chechen, 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.

Philipp Neumeyer

Philipp Neumeyer was born and raised in the high mountains of Northern Germany. He graduated from the Muthesius Kunsthochschule (Academy of Fine Arts and Design) in Kiel before completing the postgraduate Type and Media course at the Koninklijke Academie van Beeldende Kunsten in The Hague. After some back and forth between Berlin and Copenhagen and working for LucasFonts and Playtype, Philipp settled in Berlin where he creates custom and retail typefaces as an independent type designer. Author of Theodor, Arnold, Rainer, and Norbert.

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