Our daily lives are full of noise, but when we immerse ourselves in reading, it seems to disappear. But what if the shapes of the words we read also contain perceptible noise? Does it disrupt the reading process, or do we learn to filter it out?

Supernova is a new family that combines the spontaneity of a script typeface with the versatility of multiple weights and cuts.

Documentation and research that lead to design of Arabic newspaper typeface

Hans Eduard Meier’s typographic work is the fruit of his passion for letter design which has lasted over 60 years, against a background of profound technological mutations. The research he conducted in the 1950s is still relevant today, notably in his book The Development of Script and Type and his Syntax typeface, a key humanistic sans serif. He is still designing typefaces today, such as Schulschrift. His output in this domain can be seen as a type of “sustainable typography”.

La obra tipográfica de Hans Eduard Meier refleja más de sesenta años de pasión por la letra y atraviesa profundas mutaciones técnicas. Si, por un lado, la investigaciones que realizó en la década de 1950 no han perdido vigencia –tanto su libro La evolución de la letra como el Syntax, esencial dentro del repertorio de tipos humanísticos sin remates–, por otro lado, su trabajo continua en la actualidad con nuevas creaciones como el Schulschrift. Por ello es tentador calificar su producción como «tipografía sostenible».

Harir is an arabic typeface created to explore elegance and high contrast in the script and it's the first typeface of it's kind to feature optical sizes.

When I was studying at the Atelier national de création typographique (ANCT) in Paris in the mid 1990s, our hero was Hans Eduard Meier, the creator of Syntax.

Martina Flor was born in Buenos Aires. She graduated in Graphic Design at University of Buenos Aires, studied Communication Design at Escola Elisava i...