РУEN
type.today
9 styles,
2021

Grato Grotesk

Medium

TypeMates, Jakob Runge, Mona Franz

  • Desktop
    $50
  • Web
    $50
  • App
    $200
72px
Grato Grotesk
Medium
А это я в трусах и в майке под одеялом с головой бегу по солнечной лужайке, и мой сурок со мнойА это я в трусах и в майке под одеялом с головой бегу по солнечной лужайке, и мой сурок со мной
48px
Grato Grotesk
Medium
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
Grato Grotesk
Medium
А потом как-то неожиданно присмирел, затих, даже плакать перестал. Но смотреть на него никто не решался. А к ночи куда-то исчез. Искали да так и не нашли…А потом как-то неожиданно присмирел, затих, даже плакать перестал. Но смотреть на него никто не решался. А к ночи куда-то исчез. Искали да так и не нашли…
15px
Grato Grotesk
Medium
Prince John held his high festival in the Castle of Ashby. This was not the same building of which the stately ruins still interest the traveller, and which was erected at a later period by the Lord Hastings, High Chamberlain of England, one of the first victims of the tyranny of Richard the Third, and yet better known as one of Shakspeare’s characters than by his historical fame. The castle and town of Ashby, at this time, belonged to Roger de Quincy.Prince John held his high festival in the Castle of Ashby. This was not the same building of which the stately ruins still interest the traveller, and which was erected at a later period by the Lord Hastings, High Chamberlain of England, one of the first victims of the tyranny of Richard the Third, and yet better known as one of Shakspeare’s characters than by his historical fame. The castle and town of Ashby, at this time, belonged to Roger de Quincy.
About

Grato and Gratimo are a system of typefaces joined by geometry but differing in genre and function. Grato’s geometric core is shared by two designs with different terminals and different uppercase proportions to make a Grotesk and a Classic.

And, for greater function and economy, both were redrawn for text and interface: Gratimo Grotesk and Gratimo Classic.

Carefully engineered, the system is a long-lasting companion for those who value diverse language support and strong screen performance. Grato and Gratimo support more than 260 languages across the Cyrillic and Latin alphabets and their glyphs have been carefully reviewed by skilled consultants. For best on-screen performance, all TrueType files for web and desktop have been improved with manual hinting.

Both Grato and Gratimo are available in two optical sizes. For larger sizes and purer geometry, they are tuned for branding and identity design.

Design by Jakob Runge, сontributions by Mona Franz. Consulting on Cyrillic by Ilya Ruderman & Yury Ostromentsky. Hinting by Christoph Koeberlin. Spacing/Kerning by Igino Marini.

Grato is a family of two typefaces, modernist Grotesk and the humanist voice of the Geometric Suite Classic. A timeless typeface, it combines a pure, present voice with idiosyncrasy and luxury.

Ignoring most calligraphic conventions, Grato is shaped by pure forms, low stroke modulation and square dots that contrast with almost perfect circles. Grato Classic pursues the classical proportions of early British geometric typefaces, while Grotesk inherits the industrial logic of early German ones. The result is a family of quirks and clarity, a substantial family for identity and editorial work.

Grato includes a spectrum of nine weights, from fine Hairlines to super heavy Blacks.

OpenType features ensure that Grato is adaptable. First stylistic set activates more legible letter variants (Gratimo Classic’s default), while the second stylistic set embraces a fundamentalist approach to geometry. Grato is equipped with subscripts, fractions plus old-revstyle and lining figures, each in proportional and tabular widths; a complete range of figure sets.

Specimen (PDF, 2 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, seven stylistic sets

Languages

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

Mona Franz

Mona is a freelance designer specialized in type and corporate design. She teaches type and typography at Hochschule München. In 2018, Mona graduated from the Royal Academy of Arts in The Hague with a TypeMedia master’s degree. In her final project, she developed Bridge Head and Text, typefaces now published by TypeMates. Her professional experience includes working with corporate agencies like MetaDesign Berlin, Martin et Karczinski and Blackspace, and the fabulous foundry Bold Monday. Due to her special interest, jobs that made use of her vector skills kept landing on her desk: the refresh of the Lufthansa crane logo, and the research and briefing for the new Lufthansa typeface. Mona loves to connect people and build bridges between different design disciplines.

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