Grato and Gratimo
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.
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.
Where Grato revels in pure geometry, Gratimo has a practical focus. It is a powerful workhorse that combines elementary shapes and precise construction. An utilitarian family purpose-built for everyday use. With a robust x-height, open apertures and generous spacing, its more restrained forms were the result of Grato being redrawn for reading. The result is a family of two typefaces with one that draws on the humanist geometric types of Johnston and Gill to make something new and another reflecting on American Gothics from the early 20th century.
For serious typography, Gratimo comes equipped with six weights, from Thin to sturdy Black. For greater distinction, its matching italics have some cursive character shapes, but give an oblique impression overall. A range of stylistic alternates can give a different accent to text: a more distinctive «g» that evokes Johnston and others that bring out Gratimo’s geometry. Gratimo has what you need to organise data into information. Subscripts, fractions plus old-style and lining figures, each in proportional and tabular widths; a complete range of figure sets.