Storm Sans™ font family
Designed by Nina Lee Storm in 1999
Scandinavian font designs
Fonts from Northern Europe: A profile of four contemporary designs from Scandinavian designers
A clear contrast in the stroke width and partly slanted line ends make for a friendly and lively character in the somewhat geometric Storm Sans from the Danish designer Nina Lee Storm. The solid letters are very legible in the smaller font sizes thanks to a large x-height. A true italic with modified letter forms for “a”, “e”, and “k” expands the Regular and Bold styles. A Bold Condensed completes the range. Use the neutral and restrained Storm Sans for distinctive headlines or easily legible texts.
Generously designed letters in the style of the Renaissance Antiqua lend Berndal an open and light character. The font was designed by Swedish typographer Bo Berndal. The rounded serifs connected to the stems are designed so as to appear slightly asymmetric. This not only makes for a special flair, but also adds a great deal of recognition value. Thanks to optimized letters and a large x-height, Berndal is perfectly legible in all font sizes. Five styles with regular, italic, small caps, and a bold with matching italic offer sufficient typographic freedom for most projects.
Berling Nova Sans
As part of the Berling Nova superfamily, the sans version is also based on the original typeface Berling from Swedish designer Karl-Erik Forsberg in the 1950s. Fredrik Andersson takes the humanistic forms of the Antiqua, adds a dash of geometry, and from that derives the sans serif Berling Nova Sans. Slightly slanted ends support the dynamic character and make the noble-looking font appear less severe. Like the Antiqua, the sans also has a true italic with more rounded letters and modified shapes, for example in the “a”, “f”, “g”, and “h”. Whether in a headline or text, Berling Nova Sans can add a very special personality to your project.
Drafted by Akke Ragnar Kumlien in the Sweden of the 1940s and further developed digitally by Patrick Griffin and Kevin Allan King, Kumlien exhibits the fine European decorative aesthetics of that era. The contrast and terminals of the letters recall fine pen writing, but still remain friendly and personal. In the italics, the calligraphic elements have been further expanded and lend the font a very special, almost postmodern character, with its rounded but sharp forms. Kumlien is designed as a book font. However, the carefully drawn font also has a special flair and strong character in the larger sizes.
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