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CMM Radio is a solid, opinionated sans serif. It is rooted in geometry but equipped with a huge toolbox full of options to adapt. It might suit a clear message requiring contemporary character, a long-form text requiring type optimized for reading, a children’s book requiring friendliness and accessibility, or bold headlines requiring a unique look.
Read more over on 📡 commatype.com/cmm-radio
Get free trials here 📡 commatype.com/trials
#commatype #cmmradio #typeface #typedesign #typefacedesign #typography #typefoundry #365typefaces #contemporarytype @women.type.club #grafikfeed
CMM Radio is a solid, opinionated sans serif. It is rooted in geometry but equipped with a huge toolbox full of options to adapt. It might suit a clear message requiring contemporary character, a long-form text requiring type optimized for reading, a children’s book requiring friendliness and accessibility, or bold headlines requiring a unique look.
Read more over on 📡 commatype.com/cmm-radio
Get free trials here 📡 commatype.com/trials
#commatype #cmmradio #typeface #typedesign #typefacedesign #typography #typefoundry #365typefaces #contemporarytype @women.type.club #grafikfeed
CMM Radio is a solid, opinionated sans serif. It is rooted in geometry but equipped with a huge toolbox full of options to adapt. It might suit a clear message requiring contemporary character, a long-form text requiring type optimized for reading, a children’s book requiring friendliness and accessibility, or bold headlines requiring a unique look.
Read more over on 📡 commatype.com/cmm-radio
Get free trials here 📡 commatype.com/trials
#commatype #cmmradio #typeface #typedesign #typefacedesign #typography #typefoundry #365typefaces #contemporarytype @women.type.club #grafikfeed
CMM Radio is a solid, opinionated sans serif. It is rooted in geometry but equipped with a huge toolbox full of options to adapt. It might suit a clear message requiring contemporary character, a long-form text requiring type optimized for reading, a children’s book requiring friendliness and accessibility, or bold headlines requiring a unique look.
Read more over on 📡 commatype.com/cmm-radio
Get free trials here 📡 commatype.com/trials
#commatype #cmmradio #typeface #typedesign #typefacedesign #typography #typefoundry #365typefaces #contemporarytype @women.type.club #grafikfeed
OUT NOW: CMM Radio 📡 A geometric sans serif font reimagining the classic Futura typeface with legibility and inclusivity in mind.
This one has been waiting for its moment for 6 years and I am SO happy to finally release it today!
While it is one of many modern typefaces that takes its inspiration from the iconic first Futura sketches by Paul Renner from around 1924 – radical for its time – the goal was not to make a revival. It was to be even more consistent in the geometry of its letterforms while improving Futura’s readability shortfalls. Letter constructions were reimagined, x-height raised, sharp corners slightly cut, lines made as monolinear as possible.
The result is a workhorse typeface in its own right that can carry the clean look of modernism while being a versatile tool customizable to varying design needs and adaptable to different accessibility requirements.
You can choose between the default right-angled n’s, m’s and r’s – a telltale feature of the historic sketch – or Arched Letterforms, which give the typeface a completely different, more “conventional” flavour without breaking the design.
The Stylized Letterforms emphasize the circle as a symbol of sound waves and broadcasting, also echoing stylistic elements from technical construction and circuit drawings of old radio sets.
The Inclusive Letterforms avoid any mirrored shapes and help make a clear distinction between every single letter. This is a feature that in some ways contradicts the strictly geometric underpinnings of the typeface, and for this reason is usually not really seen in this category of fonts, expanding the geometric sans design space meaningfully.
The font is available as Regular and Regular Italic cuts or as a Variable Font for seamless animations. It supports 96 languages. An update with multiple weights and will follow later in 2026.
#commatype #cmmradio #typeface #typedesign #365typefaces @women.type.club
OUT NOW: CMM Radio 📡 A geometric sans serif font reimagining the classic Futura typeface with legibility and inclusivity in mind.
This one has been waiting for its moment for 6 years and I am SO happy to finally release it today!
While it is one of many modern typefaces that takes its inspiration from the iconic first Futura sketches by Paul Renner from around 1924 – radical for its time – the goal was not to make a revival. It was to be even more consistent in the geometry of its letterforms while improving Futura’s readability shortfalls. Letter constructions were reimagined, x-height raised, sharp corners slightly cut, lines made as monolinear as possible.
The result is a workhorse typeface in its own right that can carry the clean look of modernism while being a versatile tool customizable to varying design needs and adaptable to different accessibility requirements.
You can choose between the default right-angled n’s, m’s and r’s – a telltale feature of the historic sketch – or Arched Letterforms, which give the typeface a completely different, more “conventional” flavour without breaking the design.
The Stylized Letterforms emphasize the circle as a symbol of sound waves and broadcasting, also echoing stylistic elements from technical construction and circuit drawings of old radio sets.
The Inclusive Letterforms avoid any mirrored shapes and help make a clear distinction between every single letter. This is a feature that in some ways contradicts the strictly geometric underpinnings of the typeface, and for this reason is usually not really seen in this category of fonts, expanding the geometric sans design space meaningfully.
The font is available as Regular and Regular Italic cuts or as a Variable Font for seamless animations. It supports 96 languages. An update with multiple weights and will follow later in 2026.
#commatype #cmmradio #typeface #typedesign #365typefaces @women.type.club
OUT NOW: CMM Radio 📡 A geometric sans serif font reimagining the classic Futura typeface with legibility and inclusivity in mind.
This one has been waiting for its moment for 6 years and I am SO happy to finally release it today!
While it is one of many modern typefaces that takes its inspiration from the iconic first Futura sketches by Paul Renner from around 1924 – radical for its time – the goal was not to make a revival. It was to be even more consistent in the geometry of its letterforms while improving Futura’s readability shortfalls. Letter constructions were reimagined, x-height raised, sharp corners slightly cut, lines made as monolinear as possible.
The result is a workhorse typeface in its own right that can carry the clean look of modernism while being a versatile tool customizable to varying design needs and adaptable to different accessibility requirements.
You can choose between the default right-angled n’s, m’s and r’s – a telltale feature of the historic sketch – or Arched Letterforms, which give the typeface a completely different, more “conventional” flavour without breaking the design.
The Stylized Letterforms emphasize the circle as a symbol of sound waves and broadcasting, also echoing stylistic elements from technical construction and circuit drawings of old radio sets.
The Inclusive Letterforms avoid any mirrored shapes and help make a clear distinction between every single letter. This is a feature that in some ways contradicts the strictly geometric underpinnings of the typeface, and for this reason is usually not really seen in this category of fonts, expanding the geometric sans design space meaningfully.
The font is available as Regular and Regular Italic cuts or as a Variable Font for seamless animations. It supports 96 languages. An update with multiple weights and will follow later in 2026.
#commatype #cmmradio #typeface #typedesign #365typefaces @women.type.club
OUT NOW: CMM Radio 📡 A geometric sans serif font reimagining the classic Futura typeface with legibility and inclusivity in mind.
This one has been waiting for its moment for 6 years and I am SO happy to finally release it today!
While it is one of many modern typefaces that takes its inspiration from the iconic first Futura sketches by Paul Renner from around 1924 – radical for its time – the goal was not to make a revival. It was to be even more consistent in the geometry of its letterforms while improving Futura’s readability shortfalls. Letter constructions were reimagined, x-height raised, sharp corners slightly cut, lines made as monolinear as possible.
The result is a workhorse typeface in its own right that can carry the clean look of modernism while being a versatile tool customizable to varying design needs and adaptable to different accessibility requirements.
You can choose between the default right-angled n’s, m’s and r’s – a telltale feature of the historic sketch – or Arched Letterforms, which give the typeface a completely different, more “conventional” flavour without breaking the design.
The Stylized Letterforms emphasize the circle as a symbol of sound waves and broadcasting, also echoing stylistic elements from technical construction and circuit drawings of old radio sets.
The Inclusive Letterforms avoid any mirrored shapes and help make a clear distinction between every single letter. This is a feature that in some ways contradicts the strictly geometric underpinnings of the typeface, and for this reason is usually not really seen in this category of fonts, expanding the geometric sans design space meaningfully.
The font is available as Regular and Regular Italic cuts or as a Variable Font for seamless animations. It supports 96 languages. An update with multiple weights and will follow later in 2026.
#commatype #cmmradio #typeface #typedesign #365typefaces @women.type.club
OUT NOW: CMM Radio 📡 A geometric sans serif font reimagining the classic Futura typeface with legibility and inclusivity in mind.
This one has been waiting for its moment for 6 years and I am SO happy to finally release it today!
While it is one of many modern typefaces that takes its inspiration from the iconic first Futura sketches by Paul Renner from around 1924 – radical for its time – the goal was not to make a revival. It was to be even more consistent in the geometry of its letterforms while improving Futura’s readability shortfalls. Letter constructions were reimagined, x-height raised, sharp corners slightly cut, lines made as monolinear as possible.
The result is a workhorse typeface in its own right that can carry the clean look of modernism while being a versatile tool customizable to varying design needs and adaptable to different accessibility requirements.
You can choose between the default right-angled n’s, m’s and r’s – a telltale feature of the historic sketch – or Arched Letterforms, which give the typeface a completely different, more “conventional” flavour without breaking the design.
The Stylized Letterforms emphasize the circle as a symbol of sound waves and broadcasting, also echoing stylistic elements from technical construction and circuit drawings of old radio sets.
The Inclusive Letterforms avoid any mirrored shapes and help make a clear distinction between every single letter. This is a feature that in some ways contradicts the strictly geometric underpinnings of the typeface, and for this reason is usually not really seen in this category of fonts, expanding the geometric sans design space meaningfully.
The font is available as Regular and Regular Italic cuts or as a Variable Font for seamless animations. It supports 96 languages. An update with multiple weights and will follow later in 2026.
#commatype #cmmradio #typeface #typedesign #365typefaces @women.type.club
OUT NOW: CMM Radio 📡 A geometric sans serif font reimagining the classic Futura typeface with legibility and inclusivity in mind.
This one has been waiting for its moment for 6 years and I am SO happy to finally release it today!
While it is one of many modern typefaces that takes its inspiration from the iconic first Futura sketches by Paul Renner from around 1924 – radical for its time – the goal was not to make a revival. It was to be even more consistent in the geometry of its letterforms while improving Futura’s readability shortfalls. Letter constructions were reimagined, x-height raised, sharp corners slightly cut, lines made as monolinear as possible.
The result is a workhorse typeface in its own right that can carry the clean look of modernism while being a versatile tool customizable to varying design needs and adaptable to different accessibility requirements.
You can choose between the default right-angled n’s, m’s and r’s – a telltale feature of the historic sketch – or Arched Letterforms, which give the typeface a completely different, more “conventional” flavour without breaking the design.
The Stylized Letterforms emphasize the circle as a symbol of sound waves and broadcasting, also echoing stylistic elements from technical construction and circuit drawings of old radio sets.
The Inclusive Letterforms avoid any mirrored shapes and help make a clear distinction between every single letter. This is a feature that in some ways contradicts the strictly geometric underpinnings of the typeface, and for this reason is usually not really seen in this category of fonts, expanding the geometric sans design space meaningfully.
The font is available as Regular and Regular Italic cuts or as a Variable Font for seamless animations. It supports 96 languages. An update with multiple weights and will follow later in 2026.
#commatype #cmmradio #typeface #typedesign #365typefaces @women.type.club
OUT NOW: CMM Radio 📡 A geometric sans serif font reimagining the classic Futura typeface with legibility and inclusivity in mind.
This one has been waiting for its moment for 6 years and I am SO happy to finally release it today!
While it is one of many modern typefaces that takes its inspiration from the iconic first Futura sketches by Paul Renner from around 1924 – radical for its time – the goal was not to make a revival. It was to be even more consistent in the geometry of its letterforms while improving Futura’s readability shortfalls. Letter constructions were reimagined, x-height raised, sharp corners slightly cut, lines made as monolinear as possible.
The result is a workhorse typeface in its own right that can carry the clean look of modernism while being a versatile tool customizable to varying design needs and adaptable to different accessibility requirements.
You can choose between the default right-angled n’s, m’s and r’s – a telltale feature of the historic sketch – or Arched Letterforms, which give the typeface a completely different, more “conventional” flavour without breaking the design.
The Stylized Letterforms emphasize the circle as a symbol of sound waves and broadcasting, also echoing stylistic elements from technical construction and circuit drawings of old radio sets.
The Inclusive Letterforms avoid any mirrored shapes and help make a clear distinction between every single letter. This is a feature that in some ways contradicts the strictly geometric underpinnings of the typeface, and for this reason is usually not really seen in this category of fonts, expanding the geometric sans design space meaningfully.
The font is available as Regular and Regular Italic cuts or as a Variable Font for seamless animations. It supports 96 languages. An update with multiple weights and will follow later in 2026.
#commatype #cmmradio #typeface #typedesign #365typefaces @women.type.club
OUT NOW: CMM Radio 📡 A geometric sans serif font reimagining the classic Futura typeface with legibility and inclusivity in mind.
This one has been waiting for its moment for 6 years and I am SO happy to finally release it today!
While it is one of many modern typefaces that takes its inspiration from the iconic first Futura sketches by Paul Renner from around 1924 – radical for its time – the goal was not to make a revival. It was to be even more consistent in the geometry of its letterforms while improving Futura’s readability shortfalls. Letter constructions were reimagined, x-height raised, sharp corners slightly cut, lines made as monolinear as possible.
The result is a workhorse typeface in its own right that can carry the clean look of modernism while being a versatile tool customizable to varying design needs and adaptable to different accessibility requirements.
You can choose between the default right-angled n’s, m’s and r’s – a telltale feature of the historic sketch – or Arched Letterforms, which give the typeface a completely different, more “conventional” flavour without breaking the design.
The Stylized Letterforms emphasize the circle as a symbol of sound waves and broadcasting, also echoing stylistic elements from technical construction and circuit drawings of old radio sets.
The Inclusive Letterforms avoid any mirrored shapes and help make a clear distinction between every single letter. This is a feature that in some ways contradicts the strictly geometric underpinnings of the typeface, and for this reason is usually not really seen in this category of fonts, expanding the geometric sans design space meaningfully.
The font is available as Regular and Regular Italic cuts or as a Variable Font for seamless animations. It supports 96 languages. An update with multiple weights and will follow later in 2026.
#commatype #cmmradio #typeface #typedesign #365typefaces @women.type.club
OUT NOW: CMM Radio 📡 A geometric sans serif font reimagining the classic Futura typeface with legibility and inclusivity in mind.
This one has been waiting for its moment for 6 years and I am SO happy to finally release it today!
While it is one of many modern typefaces that takes its inspiration from the iconic first Futura sketches by Paul Renner from around 1924 – radical for its time – the goal was not to make a revival. It was to be even more consistent in the geometry of its letterforms while improving Futura’s readability shortfalls. Letter constructions were reimagined, x-height raised, sharp corners slightly cut, lines made as monolinear as possible.
The result is a workhorse typeface in its own right that can carry the clean look of modernism while being a versatile tool customizable to varying design needs and adaptable to different accessibility requirements.
You can choose between the default right-angled n’s, m’s and r’s – a telltale feature of the historic sketch – or Arched Letterforms, which give the typeface a completely different, more “conventional” flavour without breaking the design.
The Stylized Letterforms emphasize the circle as a symbol of sound waves and broadcasting, also echoing stylistic elements from technical construction and circuit drawings of old radio sets.
The Inclusive Letterforms avoid any mirrored shapes and help make a clear distinction between every single letter. This is a feature that in some ways contradicts the strictly geometric underpinnings of the typeface, and for this reason is usually not really seen in this category of fonts, expanding the geometric sans design space meaningfully.
The font is available as Regular and Regular Italic cuts or as a Variable Font for seamless animations. It supports 96 languages. An update with multiple weights and will follow later in 2026.
#commatype #cmmradio #typeface #typedesign #365typefaces @women.type.club
OUT NOW: CMM Radio 📡 A geometric sans serif font reimagining the classic Futura typeface with legibility and inclusivity in mind.
This one has been waiting for its moment for 6 years and I am SO happy to finally release it today!
While it is one of many modern typefaces that takes its inspiration from the iconic first Futura sketches by Paul Renner from around 1924 – radical for its time – the goal was not to make a revival. It was to be even more consistent in the geometry of its letterforms while improving Futura’s readability shortfalls. Letter constructions were reimagined, x-height raised, sharp corners slightly cut, lines made as monolinear as possible.
The result is a workhorse typeface in its own right that can carry the clean look of modernism while being a versatile tool customizable to varying design needs and adaptable to different accessibility requirements.
You can choose between the default right-angled n’s, m’s and r’s – a telltale feature of the historic sketch – or Arched Letterforms, which give the typeface a completely different, more “conventional” flavour without breaking the design.
The Stylized Letterforms emphasize the circle as a symbol of sound waves and broadcasting, also echoing stylistic elements from technical construction and circuit drawings of old radio sets.
The Inclusive Letterforms avoid any mirrored shapes and help make a clear distinction between every single letter. This is a feature that in some ways contradicts the strictly geometric underpinnings of the typeface, and for this reason is usually not really seen in this category of fonts, expanding the geometric sans design space meaningfully.
The font is available as Regular and Regular Italic cuts or as a Variable Font for seamless animations. It supports 96 languages. An update with multiple weights and will follow later in 2026.
#commatype #cmmradio #typeface #typedesign #365typefaces @women.type.club
OUT NOW: CMM Radio 📡 A geometric sans serif font reimagining the classic Futura typeface with legibility and inclusivity in mind.
This one has been waiting for its moment for 6 years and I am SO happy to finally release it today!
While it is one of many modern typefaces that takes its inspiration from the iconic first Futura sketches by Paul Renner from around 1924 – radical for its time – the goal was not to make a revival. It was to be even more consistent in the geometry of its letterforms while improving Futura’s readability shortfalls. Letter constructions were reimagined, x-height raised, sharp corners slightly cut, lines made as monolinear as possible.
The result is a workhorse typeface in its own right that can carry the clean look of modernism while being a versatile tool customizable to varying design needs and adaptable to different accessibility requirements.
You can choose between the default right-angled n’s, m’s and r’s – a telltale feature of the historic sketch – or Arched Letterforms, which give the typeface a completely different, more “conventional” flavour without breaking the design.
The Stylized Letterforms emphasize the circle as a symbol of sound waves and broadcasting, also echoing stylistic elements from technical construction and circuit drawings of old radio sets.
The Inclusive Letterforms avoid any mirrored shapes and help make a clear distinction between every single letter. This is a feature that in some ways contradicts the strictly geometric underpinnings of the typeface, and for this reason is usually not really seen in this category of fonts, expanding the geometric sans design space meaningfully.
The font is available as Regular and Regular Italic cuts or as a Variable Font for seamless animations. It supports 96 languages. An update with multiple weights and will follow later in 2026.
#commatype #cmmradio #typeface #typedesign #365typefaces @women.type.club
OUT NOW: CMM Radio 📡 A geometric sans serif font reimagining the classic Futura typeface with legibility and inclusivity in mind.
This one has been waiting for its moment for 6 years and I am SO happy to finally release it today!
While it is one of many modern typefaces that takes its inspiration from the iconic first Futura sketches by Paul Renner from around 1924 – radical for its time – the goal was not to make a revival. It was to be even more consistent in the geometry of its letterforms while improving Futura’s readability shortfalls. Letter constructions were reimagined, x-height raised, sharp corners slightly cut, lines made as monolinear as possible.
The result is a workhorse typeface in its own right that can carry the clean look of modernism while being a versatile tool customizable to varying design needs and adaptable to different accessibility requirements.
You can choose between the default right-angled n’s, m’s and r’s – a telltale feature of the historic sketch – or Arched Letterforms, which give the typeface a completely different, more “conventional” flavour without breaking the design.
The Stylized Letterforms emphasize the circle as a symbol of sound waves and broadcasting, also echoing stylistic elements from technical construction and circuit drawings of old radio sets.
The Inclusive Letterforms avoid any mirrored shapes and help make a clear distinction between every single letter. This is a feature that in some ways contradicts the strictly geometric underpinnings of the typeface, and for this reason is usually not really seen in this category of fonts, expanding the geometric sans design space meaningfully.
The font is available as Regular and Regular Italic cuts or as a Variable Font for seamless animations. It supports 96 languages. An update with multiple weights and will follow later in 2026.
#commatype #cmmradio #typeface #typedesign #365typefaces @women.type.club
OUT NOW: CMM Radio 📡 A geometric sans serif font reimagining the classic Futura typeface with legibility and inclusivity in mind.
This one has been waiting for its moment for 6 years and I am SO happy to finally release it today!
While it is one of many modern typefaces that takes its inspiration from the iconic first Futura sketches by Paul Renner from around 1924 – radical for its time – the goal was not to make a revival. It was to be even more consistent in the geometry of its letterforms while improving Futura’s readability shortfalls. Letter constructions were reimagined, x-height raised, sharp corners slightly cut, lines made as monolinear as possible.
The result is a workhorse typeface in its own right that can carry the clean look of modernism while being a versatile tool customizable to varying design needs and adaptable to different accessibility requirements.
You can choose between the default right-angled n’s, m’s and r’s – a telltale feature of the historic sketch – or Arched Letterforms, which give the typeface a completely different, more “conventional” flavour without breaking the design.
The Stylized Letterforms emphasize the circle as a symbol of sound waves and broadcasting, also echoing stylistic elements from technical construction and circuit drawings of old radio sets.
The Inclusive Letterforms avoid any mirrored shapes and help make a clear distinction between every single letter. This is a feature that in some ways contradicts the strictly geometric underpinnings of the typeface, and for this reason is usually not really seen in this category of fonts, expanding the geometric sans design space meaningfully.
The font is available as Regular and Regular Italic cuts or as a Variable Font for seamless animations. It supports 96 languages. An update with multiple weights and will follow later in 2026.
#commatype #cmmradio #typeface #typedesign #365typefaces @women.type.club
OUT NOW: CMM Radio 📡 A geometric sans serif font reimagining the classic Futura typeface with legibility and inclusivity in mind.
This one has been waiting for its moment for 6 years and I am SO happy to finally release it today!
While it is one of many modern typefaces that takes its inspiration from the iconic first Futura sketches by Paul Renner from around 1924 – radical for its time – the goal was not to make a revival. It was to be even more consistent in the geometry of its letterforms while improving Futura’s readability shortfalls. Letter constructions were reimagined, x-height raised, sharp corners slightly cut, lines made as monolinear as possible.
The result is a workhorse typeface in its own right that can carry the clean look of modernism while being a versatile tool customizable to varying design needs and adaptable to different accessibility requirements.
You can choose between the default right-angled n’s, m’s and r’s – a telltale feature of the historic sketch – or Arched Letterforms, which give the typeface a completely different, more “conventional” flavour without breaking the design.
The Stylized Letterforms emphasize the circle as a symbol of sound waves and broadcasting, also echoing stylistic elements from technical construction and circuit drawings of old radio sets.
The Inclusive Letterforms avoid any mirrored shapes and help make a clear distinction between every single letter. This is a feature that in some ways contradicts the strictly geometric underpinnings of the typeface, and for this reason is usually not really seen in this category of fonts, expanding the geometric sans design space meaningfully.
The font is available as Regular and Regular Italic cuts or as a Variable Font for seamless animations. It supports 96 languages. An update with multiple weights and will follow later in 2026.
#commatype #cmmradio #typeface #typedesign #365typefaces @women.type.club
OUT NOW: CMM Radio 📡 A geometric sans serif font reimagining the classic Futura typeface with legibility and inclusivity in mind.
This one has been waiting for its moment for 6 years and I am SO happy to finally release it today!
While it is one of many modern typefaces that takes its inspiration from the iconic first Futura sketches by Paul Renner from around 1924 – radical for its time – the goal was not to make a revival. It was to be even more consistent in the geometry of its letterforms while improving Futura’s readability shortfalls. Letter constructions were reimagined, x-height raised, sharp corners slightly cut, lines made as monolinear as possible.
The result is a workhorse typeface in its own right that can carry the clean look of modernism while being a versatile tool customizable to varying design needs and adaptable to different accessibility requirements.
You can choose between the default right-angled n’s, m’s and r’s – a telltale feature of the historic sketch – or Arched Letterforms, which give the typeface a completely different, more “conventional” flavour without breaking the design.
The Stylized Letterforms emphasize the circle as a symbol of sound waves and broadcasting, also echoing stylistic elements from technical construction and circuit drawings of old radio sets.
The Inclusive Letterforms avoid any mirrored shapes and help make a clear distinction between every single letter. This is a feature that in some ways contradicts the strictly geometric underpinnings of the typeface, and for this reason is usually not really seen in this category of fonts, expanding the geometric sans design space meaningfully.
The font is available as Regular and Regular Italic cuts or as a Variable Font for seamless animations. It supports 96 languages. An update with multiple weights and will follow later in 2026.
#commatype #cmmradio #typeface #typedesign #365typefaces @women.type.club
OUT NOW: CMM Radio 📡 A geometric sans serif font reimagining the classic Futura typeface with legibility and inclusivity in mind.
This one has been waiting for its moment for 6 years and I am SO happy to finally release it today!
While it is one of many modern typefaces that takes its inspiration from the iconic first Futura sketches by Paul Renner from around 1924 – radical for its time – the goal was not to make a revival. It was to be even more consistent in the geometry of its letterforms while improving Futura’s readability shortfalls. Letter constructions were reimagined, x-height raised, sharp corners slightly cut, lines made as monolinear as possible.
The result is a workhorse typeface in its own right that can carry the clean look of modernism while being a versatile tool customizable to varying design needs and adaptable to different accessibility requirements.
You can choose between the default right-angled n’s, m’s and r’s – a telltale feature of the historic sketch – or Arched Letterforms, which give the typeface a completely different, more “conventional” flavour without breaking the design.
The Stylized Letterforms emphasize the circle as a symbol of sound waves and broadcasting, also echoing stylistic elements from technical construction and circuit drawings of old radio sets.
The Inclusive Letterforms avoid any mirrored shapes and help make a clear distinction between every single letter. This is a feature that in some ways contradicts the strictly geometric underpinnings of the typeface, and for this reason is usually not really seen in this category of fonts, expanding the geometric sans design space meaningfully.
The font is available as Regular and Regular Italic cuts or as a Variable Font for seamless animations. It supports 96 languages. An update with multiple weights and will follow later in 2026.
#commatype #cmmradio #typeface #typedesign #365typefaces @women.type.club
🩷💚Coda In Use💙🤍
CODA — 2nd Young Architecture Biennal of Catalonia
[biennalcoda.com](http://biennalcoda.com/)
@biennalajac
Graphic identity, website design and printed materials designed for CODA, the 2nd Young Architecture Biennal of Catalonia, which took place at [@coacatalunya](https://www.instagram.com/coacatalunya/) during October 2025.
“Referencing the musical figure of the coda – an independent ending that rewrites itself, that reiterates, that deforms under its own rules – we claim an ending not as closure, but as a threshold. A gesture that is articulated from inherited frameworks and transforms them into possibility.”
Following the manifesto’s call to “recognize failed, unfinished, or obsolete architectures as active parts of the landscape”, the graphic identity was built by gathering textures using frottage. This analogue technique, which consists of rubbing paper with a pencil directly against material surfaces, became the starting point for creating visual impressions of the surrounding environment: non-linear traces of architecture, marks of what is worn, unfinished, or already turning obsolete.
From these traces, a visual system of overlapping textures, lines, patterns, and typography was developed, echoing the manifesto’s idea of a “persistent, dense atmosphere”. In this landscape, ruins are not endings but material to work with, and the biennial’s identity embraces the end (Coda) as a place of possibility, where what remains can be reactivated, layered, and transformed into something new.
Curated by @naiaralbizua @carrrmi @0bjet.a
Organised by @agrupacio.ajac
Directors @danimonss @guillem_h
Graphic design by @laracoro
Website code by @claralayti
All photographs by @nataliavaquero_ except slide 5, 17, 18 @laura.markert_ & slide 15 @simoneemarcolin
Typeface CMM Coda by @commatype
Risograph printing by @dotheprint
🩷💚Coda In Use💙🤍
CODA — 2nd Young Architecture Biennal of Catalonia
[biennalcoda.com](http://biennalcoda.com/)
@biennalajac
Graphic identity, website design and printed materials designed for CODA, the 2nd Young Architecture Biennal of Catalonia, which took place at [@coacatalunya](https://www.instagram.com/coacatalunya/) during October 2025.
“Referencing the musical figure of the coda – an independent ending that rewrites itself, that reiterates, that deforms under its own rules – we claim an ending not as closure, but as a threshold. A gesture that is articulated from inherited frameworks and transforms them into possibility.”
Following the manifesto’s call to “recognize failed, unfinished, or obsolete architectures as active parts of the landscape”, the graphic identity was built by gathering textures using frottage. This analogue technique, which consists of rubbing paper with a pencil directly against material surfaces, became the starting point for creating visual impressions of the surrounding environment: non-linear traces of architecture, marks of what is worn, unfinished, or already turning obsolete.
From these traces, a visual system of overlapping textures, lines, patterns, and typography was developed, echoing the manifesto’s idea of a “persistent, dense atmosphere”. In this landscape, ruins are not endings but material to work with, and the biennial’s identity embraces the end (Coda) as a place of possibility, where what remains can be reactivated, layered, and transformed into something new.
Curated by @naiaralbizua @carrrmi @0bjet.a
Organised by @agrupacio.ajac
Directors @danimonss @guillem_h
Graphic design by @laracoro
Website code by @claralayti
All photographs by @nataliavaquero_ except slide 5, 17, 18 @laura.markert_ & slide 15 @simoneemarcolin
Typeface CMM Coda by @commatype
Risograph printing by @dotheprint
🩷💚Coda In Use💙🤍
CODA — 2nd Young Architecture Biennal of Catalonia
[biennalcoda.com](http://biennalcoda.com/)
@biennalajac
Graphic identity, website design and printed materials designed for CODA, the 2nd Young Architecture Biennal of Catalonia, which took place at [@coacatalunya](https://www.instagram.com/coacatalunya/) during October 2025.
“Referencing the musical figure of the coda – an independent ending that rewrites itself, that reiterates, that deforms under its own rules – we claim an ending not as closure, but as a threshold. A gesture that is articulated from inherited frameworks and transforms them into possibility.”
Following the manifesto’s call to “recognize failed, unfinished, or obsolete architectures as active parts of the landscape”, the graphic identity was built by gathering textures using frottage. This analogue technique, which consists of rubbing paper with a pencil directly against material surfaces, became the starting point for creating visual impressions of the surrounding environment: non-linear traces of architecture, marks of what is worn, unfinished, or already turning obsolete.
From these traces, a visual system of overlapping textures, lines, patterns, and typography was developed, echoing the manifesto’s idea of a “persistent, dense atmosphere”. In this landscape, ruins are not endings but material to work with, and the biennial’s identity embraces the end (Coda) as a place of possibility, where what remains can be reactivated, layered, and transformed into something new.
Curated by @naiaralbizua @carrrmi @0bjet.a
Organised by @agrupacio.ajac
Directors @danimonss @guillem_h
Graphic design by @laracoro
Website code by @claralayti
All photographs by @nataliavaquero_ except slide 5, 17, 18 @laura.markert_ & slide 15 @simoneemarcolin
Typeface CMM Coda by @commatype
Risograph printing by @dotheprint
🩷💚Coda In Use💙🤍
CODA — 2nd Young Architecture Biennal of Catalonia
[biennalcoda.com](http://biennalcoda.com/)
@biennalajac
Graphic identity, website design and printed materials designed for CODA, the 2nd Young Architecture Biennal of Catalonia, which took place at [@coacatalunya](https://www.instagram.com/coacatalunya/) during October 2025.
“Referencing the musical figure of the coda – an independent ending that rewrites itself, that reiterates, that deforms under its own rules – we claim an ending not as closure, but as a threshold. A gesture that is articulated from inherited frameworks and transforms them into possibility.”
Following the manifesto’s call to “recognize failed, unfinished, or obsolete architectures as active parts of the landscape”, the graphic identity was built by gathering textures using frottage. This analogue technique, which consists of rubbing paper with a pencil directly against material surfaces, became the starting point for creating visual impressions of the surrounding environment: non-linear traces of architecture, marks of what is worn, unfinished, or already turning obsolete.
From these traces, a visual system of overlapping textures, lines, patterns, and typography was developed, echoing the manifesto’s idea of a “persistent, dense atmosphere”. In this landscape, ruins are not endings but material to work with, and the biennial’s identity embraces the end (Coda) as a place of possibility, where what remains can be reactivated, layered, and transformed into something new.
Curated by @naiaralbizua @carrrmi @0bjet.a
Organised by @agrupacio.ajac
Directors @danimonss @guillem_h
Graphic design by @laracoro
Website code by @claralayti
All photographs by @nataliavaquero_ except slide 5, 17, 18 @laura.markert_ & slide 15 @simoneemarcolin
Typeface CMM Coda by @commatype
Risograph printing by @dotheprint
🩷💚Coda In Use💙🤍
CODA — 2nd Young Architecture Biennal of Catalonia
[biennalcoda.com](http://biennalcoda.com/)
@biennalajac
Graphic identity, website design and printed materials designed for CODA, the 2nd Young Architecture Biennal of Catalonia, which took place at [@coacatalunya](https://www.instagram.com/coacatalunya/) during October 2025.
“Referencing the musical figure of the coda – an independent ending that rewrites itself, that reiterates, that deforms under its own rules – we claim an ending not as closure, but as a threshold. A gesture that is articulated from inherited frameworks and transforms them into possibility.”
Following the manifesto’s call to “recognize failed, unfinished, or obsolete architectures as active parts of the landscape”, the graphic identity was built by gathering textures using frottage. This analogue technique, which consists of rubbing paper with a pencil directly against material surfaces, became the starting point for creating visual impressions of the surrounding environment: non-linear traces of architecture, marks of what is worn, unfinished, or already turning obsolete.
From these traces, a visual system of overlapping textures, lines, patterns, and typography was developed, echoing the manifesto’s idea of a “persistent, dense atmosphere”. In this landscape, ruins are not endings but material to work with, and the biennial’s identity embraces the end (Coda) as a place of possibility, where what remains can be reactivated, layered, and transformed into something new.
Curated by @naiaralbizua @carrrmi @0bjet.a
Organised by @agrupacio.ajac
Directors @danimonss @guillem_h
Graphic design by @laracoro
Website code by @claralayti
All photographs by @nataliavaquero_ except slide 5, 17, 18 @laura.markert_ & slide 15 @simoneemarcolin
Typeface CMM Coda by @commatype
Risograph printing by @dotheprint
🩷💚Coda In Use💙🤍
CODA — 2nd Young Architecture Biennal of Catalonia
[biennalcoda.com](http://biennalcoda.com/)
@biennalajac
Graphic identity, website design and printed materials designed for CODA, the 2nd Young Architecture Biennal of Catalonia, which took place at [@coacatalunya](https://www.instagram.com/coacatalunya/) during October 2025.
“Referencing the musical figure of the coda – an independent ending that rewrites itself, that reiterates, that deforms under its own rules – we claim an ending not as closure, but as a threshold. A gesture that is articulated from inherited frameworks and transforms them into possibility.”
Following the manifesto’s call to “recognize failed, unfinished, or obsolete architectures as active parts of the landscape”, the graphic identity was built by gathering textures using frottage. This analogue technique, which consists of rubbing paper with a pencil directly against material surfaces, became the starting point for creating visual impressions of the surrounding environment: non-linear traces of architecture, marks of what is worn, unfinished, or already turning obsolete.
From these traces, a visual system of overlapping textures, lines, patterns, and typography was developed, echoing the manifesto’s idea of a “persistent, dense atmosphere”. In this landscape, ruins are not endings but material to work with, and the biennial’s identity embraces the end (Coda) as a place of possibility, where what remains can be reactivated, layered, and transformed into something new.
Curated by @naiaralbizua @carrrmi @0bjet.a
Organised by @agrupacio.ajac
Directors @danimonss @guillem_h
Graphic design by @laracoro
Website code by @claralayti
All photographs by @nataliavaquero_ except slide 5, 17, 18 @laura.markert_ & slide 15 @simoneemarcolin
Typeface CMM Coda by @commatype
Risograph printing by @dotheprint
🩷💚Coda In Use💙🤍
CODA — 2nd Young Architecture Biennal of Catalonia
[biennalcoda.com](http://biennalcoda.com/)
@biennalajac
Graphic identity, website design and printed materials designed for CODA, the 2nd Young Architecture Biennal of Catalonia, which took place at [@coacatalunya](https://www.instagram.com/coacatalunya/) during October 2025.
“Referencing the musical figure of the coda – an independent ending that rewrites itself, that reiterates, that deforms under its own rules – we claim an ending not as closure, but as a threshold. A gesture that is articulated from inherited frameworks and transforms them into possibility.”
Following the manifesto’s call to “recognize failed, unfinished, or obsolete architectures as active parts of the landscape”, the graphic identity was built by gathering textures using frottage. This analogue technique, which consists of rubbing paper with a pencil directly against material surfaces, became the starting point for creating visual impressions of the surrounding environment: non-linear traces of architecture, marks of what is worn, unfinished, or already turning obsolete.
From these traces, a visual system of overlapping textures, lines, patterns, and typography was developed, echoing the manifesto’s idea of a “persistent, dense atmosphere”. In this landscape, ruins are not endings but material to work with, and the biennial’s identity embraces the end (Coda) as a place of possibility, where what remains can be reactivated, layered, and transformed into something new.
Curated by @naiaralbizua @carrrmi @0bjet.a
Organised by @agrupacio.ajac
Directors @danimonss @guillem_h
Graphic design by @laracoro
Website code by @claralayti
All photographs by @nataliavaquero_ except slide 5, 17, 18 @laura.markert_ & slide 15 @simoneemarcolin
Typeface CMM Coda by @commatype
Risograph printing by @dotheprint
🩷💚Coda In Use💙🤍
CODA — 2nd Young Architecture Biennal of Catalonia
[biennalcoda.com](http://biennalcoda.com/)
@biennalajac
Graphic identity, website design and printed materials designed for CODA, the 2nd Young Architecture Biennal of Catalonia, which took place at [@coacatalunya](https://www.instagram.com/coacatalunya/) during October 2025.
“Referencing the musical figure of the coda – an independent ending that rewrites itself, that reiterates, that deforms under its own rules – we claim an ending not as closure, but as a threshold. A gesture that is articulated from inherited frameworks and transforms them into possibility.”
Following the manifesto’s call to “recognize failed, unfinished, or obsolete architectures as active parts of the landscape”, the graphic identity was built by gathering textures using frottage. This analogue technique, which consists of rubbing paper with a pencil directly against material surfaces, became the starting point for creating visual impressions of the surrounding environment: non-linear traces of architecture, marks of what is worn, unfinished, or already turning obsolete.
From these traces, a visual system of overlapping textures, lines, patterns, and typography was developed, echoing the manifesto’s idea of a “persistent, dense atmosphere”. In this landscape, ruins are not endings but material to work with, and the biennial’s identity embraces the end (Coda) as a place of possibility, where what remains can be reactivated, layered, and transformed into something new.
Curated by @naiaralbizua @carrrmi @0bjet.a
Organised by @agrupacio.ajac
Directors @danimonss @guillem_h
Graphic design by @laracoro
Website code by @claralayti
All photographs by @nataliavaquero_ except slide 5, 17, 18 @laura.markert_ & slide 15 @simoneemarcolin
Typeface CMM Coda by @commatype
Risograph printing by @dotheprint
🩷💚Coda In Use💙🤍
CODA — 2nd Young Architecture Biennal of Catalonia
[biennalcoda.com](http://biennalcoda.com/)
@biennalajac
Graphic identity, website design and printed materials designed for CODA, the 2nd Young Architecture Biennal of Catalonia, which took place at [@coacatalunya](https://www.instagram.com/coacatalunya/) during October 2025.
“Referencing the musical figure of the coda – an independent ending that rewrites itself, that reiterates, that deforms under its own rules – we claim an ending not as closure, but as a threshold. A gesture that is articulated from inherited frameworks and transforms them into possibility.”
Following the manifesto’s call to “recognize failed, unfinished, or obsolete architectures as active parts of the landscape”, the graphic identity was built by gathering textures using frottage. This analogue technique, which consists of rubbing paper with a pencil directly against material surfaces, became the starting point for creating visual impressions of the surrounding environment: non-linear traces of architecture, marks of what is worn, unfinished, or already turning obsolete.
From these traces, a visual system of overlapping textures, lines, patterns, and typography was developed, echoing the manifesto’s idea of a “persistent, dense atmosphere”. In this landscape, ruins are not endings but material to work with, and the biennial’s identity embraces the end (Coda) as a place of possibility, where what remains can be reactivated, layered, and transformed into something new.
Curated by @naiaralbizua @carrrmi @0bjet.a
Organised by @agrupacio.ajac
Directors @danimonss @guillem_h
Graphic design by @laracoro
Website code by @claralayti
All photographs by @nataliavaquero_ except slide 5, 17, 18 @laura.markert_ & slide 15 @simoneemarcolin
Typeface CMM Coda by @commatype
Risograph printing by @dotheprint
🩷💚Coda In Use💙🤍
CODA — 2nd Young Architecture Biennal of Catalonia
[biennalcoda.com](http://biennalcoda.com/)
@biennalajac
Graphic identity, website design and printed materials designed for CODA, the 2nd Young Architecture Biennal of Catalonia, which took place at [@coacatalunya](https://www.instagram.com/coacatalunya/) during October 2025.
“Referencing the musical figure of the coda – an independent ending that rewrites itself, that reiterates, that deforms under its own rules – we claim an ending not as closure, but as a threshold. A gesture that is articulated from inherited frameworks and transforms them into possibility.”
Following the manifesto’s call to “recognize failed, unfinished, or obsolete architectures as active parts of the landscape”, the graphic identity was built by gathering textures using frottage. This analogue technique, which consists of rubbing paper with a pencil directly against material surfaces, became the starting point for creating visual impressions of the surrounding environment: non-linear traces of architecture, marks of what is worn, unfinished, or already turning obsolete.
From these traces, a visual system of overlapping textures, lines, patterns, and typography was developed, echoing the manifesto’s idea of a “persistent, dense atmosphere”. In this landscape, ruins are not endings but material to work with, and the biennial’s identity embraces the end (Coda) as a place of possibility, where what remains can be reactivated, layered, and transformed into something new.
Curated by @naiaralbizua @carrrmi @0bjet.a
Organised by @agrupacio.ajac
Directors @danimonss @guillem_h
Graphic design by @laracoro
Website code by @claralayti
All photographs by @nataliavaquero_ except slide 5, 17, 18 @laura.markert_ & slide 15 @simoneemarcolin
Typeface CMM Coda by @commatype
Risograph printing by @dotheprint
🩷💚Coda In Use💙🤍
CODA — 2nd Young Architecture Biennal of Catalonia
[biennalcoda.com](http://biennalcoda.com/)
@biennalajac
Graphic identity, website design and printed materials designed for CODA, the 2nd Young Architecture Biennal of Catalonia, which took place at [@coacatalunya](https://www.instagram.com/coacatalunya/) during October 2025.
“Referencing the musical figure of the coda – an independent ending that rewrites itself, that reiterates, that deforms under its own rules – we claim an ending not as closure, but as a threshold. A gesture that is articulated from inherited frameworks and transforms them into possibility.”
Following the manifesto’s call to “recognize failed, unfinished, or obsolete architectures as active parts of the landscape”, the graphic identity was built by gathering textures using frottage. This analogue technique, which consists of rubbing paper with a pencil directly against material surfaces, became the starting point for creating visual impressions of the surrounding environment: non-linear traces of architecture, marks of what is worn, unfinished, or already turning obsolete.
From these traces, a visual system of overlapping textures, lines, patterns, and typography was developed, echoing the manifesto’s idea of a “persistent, dense atmosphere”. In this landscape, ruins are not endings but material to work with, and the biennial’s identity embraces the end (Coda) as a place of possibility, where what remains can be reactivated, layered, and transformed into something new.
Curated by @naiaralbizua @carrrmi @0bjet.a
Organised by @agrupacio.ajac
Directors @danimonss @guillem_h
Graphic design by @laracoro
Website code by @claralayti
All photographs by @nataliavaquero_ except slide 5, 17, 18 @laura.markert_ & slide 15 @simoneemarcolin
Typeface CMM Coda by @commatype
Risograph printing by @dotheprint
🩷💚Coda In Use💙🤍
CODA — 2nd Young Architecture Biennal of Catalonia
[biennalcoda.com](http://biennalcoda.com/)
@biennalajac
Graphic identity, website design and printed materials designed for CODA, the 2nd Young Architecture Biennal of Catalonia, which took place at [@coacatalunya](https://www.instagram.com/coacatalunya/) during October 2025.
“Referencing the musical figure of the coda – an independent ending that rewrites itself, that reiterates, that deforms under its own rules – we claim an ending not as closure, but as a threshold. A gesture that is articulated from inherited frameworks and transforms them into possibility.”
Following the manifesto’s call to “recognize failed, unfinished, or obsolete architectures as active parts of the landscape”, the graphic identity was built by gathering textures using frottage. This analogue technique, which consists of rubbing paper with a pencil directly against material surfaces, became the starting point for creating visual impressions of the surrounding environment: non-linear traces of architecture, marks of what is worn, unfinished, or already turning obsolete.
From these traces, a visual system of overlapping textures, lines, patterns, and typography was developed, echoing the manifesto’s idea of a “persistent, dense atmosphere”. In this landscape, ruins are not endings but material to work with, and the biennial’s identity embraces the end (Coda) as a place of possibility, where what remains can be reactivated, layered, and transformed into something new.
Curated by @naiaralbizua @carrrmi @0bjet.a
Organised by @agrupacio.ajac
Directors @danimonss @guillem_h
Graphic design by @laracoro
Website code by @claralayti
All photographs by @nataliavaquero_ except slide 5, 17, 18 @laura.markert_ & slide 15 @simoneemarcolin
Typeface CMM Coda by @commatype
Risograph printing by @dotheprint
🩷💚Coda In Use💙🤍
CODA — 2nd Young Architecture Biennal of Catalonia
[biennalcoda.com](http://biennalcoda.com/)
@biennalajac
Graphic identity, website design and printed materials designed for CODA, the 2nd Young Architecture Biennal of Catalonia, which took place at [@coacatalunya](https://www.instagram.com/coacatalunya/) during October 2025.
“Referencing the musical figure of the coda – an independent ending that rewrites itself, that reiterates, that deforms under its own rules – we claim an ending not as closure, but as a threshold. A gesture that is articulated from inherited frameworks and transforms them into possibility.”
Following the manifesto’s call to “recognize failed, unfinished, or obsolete architectures as active parts of the landscape”, the graphic identity was built by gathering textures using frottage. This analogue technique, which consists of rubbing paper with a pencil directly against material surfaces, became the starting point for creating visual impressions of the surrounding environment: non-linear traces of architecture, marks of what is worn, unfinished, or already turning obsolete.
From these traces, a visual system of overlapping textures, lines, patterns, and typography was developed, echoing the manifesto’s idea of a “persistent, dense atmosphere”. In this landscape, ruins are not endings but material to work with, and the biennial’s identity embraces the end (Coda) as a place of possibility, where what remains can be reactivated, layered, and transformed into something new.
Curated by @naiaralbizua @carrrmi @0bjet.a
Organised by @agrupacio.ajac
Directors @danimonss @guillem_h
Graphic design by @laracoro
Website code by @claralayti
All photographs by @nataliavaquero_ except slide 5, 17, 18 @laura.markert_ & slide 15 @simoneemarcolin
Typeface CMM Coda by @commatype
Risograph printing by @dotheprint
🩷💚Coda In Use💙🤍
CODA — 2nd Young Architecture Biennal of Catalonia
[biennalcoda.com](http://biennalcoda.com/)
@biennalajac
Graphic identity, website design and printed materials designed for CODA, the 2nd Young Architecture Biennal of Catalonia, which took place at [@coacatalunya](https://www.instagram.com/coacatalunya/) during October 2025.
“Referencing the musical figure of the coda – an independent ending that rewrites itself, that reiterates, that deforms under its own rules – we claim an ending not as closure, but as a threshold. A gesture that is articulated from inherited frameworks and transforms them into possibility.”
Following the manifesto’s call to “recognize failed, unfinished, or obsolete architectures as active parts of the landscape”, the graphic identity was built by gathering textures using frottage. This analogue technique, which consists of rubbing paper with a pencil directly against material surfaces, became the starting point for creating visual impressions of the surrounding environment: non-linear traces of architecture, marks of what is worn, unfinished, or already turning obsolete.
From these traces, a visual system of overlapping textures, lines, patterns, and typography was developed, echoing the manifesto’s idea of a “persistent, dense atmosphere”. In this landscape, ruins are not endings but material to work with, and the biennial’s identity embraces the end (Coda) as a place of possibility, where what remains can be reactivated, layered, and transformed into something new.
Curated by @naiaralbizua @carrrmi @0bjet.a
Organised by @agrupacio.ajac
Directors @danimonss @guillem_h
Graphic design by @laracoro
Website code by @claralayti
All photographs by @nataliavaquero_ except slide 5, 17, 18 @laura.markert_ & slide 15 @simoneemarcolin
Typeface CMM Coda by @commatype
Risograph printing by @dotheprint
🩷💚Coda In Use💙🤍
CODA — 2nd Young Architecture Biennal of Catalonia
[biennalcoda.com](http://biennalcoda.com/)
@biennalajac
Graphic identity, website design and printed materials designed for CODA, the 2nd Young Architecture Biennal of Catalonia, which took place at [@coacatalunya](https://www.instagram.com/coacatalunya/) during October 2025.
“Referencing the musical figure of the coda – an independent ending that rewrites itself, that reiterates, that deforms under its own rules – we claim an ending not as closure, but as a threshold. A gesture that is articulated from inherited frameworks and transforms them into possibility.”
Following the manifesto’s call to “recognize failed, unfinished, or obsolete architectures as active parts of the landscape”, the graphic identity was built by gathering textures using frottage. This analogue technique, which consists of rubbing paper with a pencil directly against material surfaces, became the starting point for creating visual impressions of the surrounding environment: non-linear traces of architecture, marks of what is worn, unfinished, or already turning obsolete.
From these traces, a visual system of overlapping textures, lines, patterns, and typography was developed, echoing the manifesto’s idea of a “persistent, dense atmosphere”. In this landscape, ruins are not endings but material to work with, and the biennial’s identity embraces the end (Coda) as a place of possibility, where what remains can be reactivated, layered, and transformed into something new.
Curated by @naiaralbizua @carrrmi @0bjet.a
Organised by @agrupacio.ajac
Directors @danimonss @guillem_h
Graphic design by @laracoro
Website code by @claralayti
All photographs by @nataliavaquero_ except slide 5, 17, 18 @laura.markert_ & slide 15 @simoneemarcolin
Typeface CMM Coda by @commatype
Risograph printing by @dotheprint
🩷💚Coda In Use💙🤍
CODA — 2nd Young Architecture Biennal of Catalonia
[biennalcoda.com](http://biennalcoda.com/)
@biennalajac
Graphic identity, website design and printed materials designed for CODA, the 2nd Young Architecture Biennal of Catalonia, which took place at [@coacatalunya](https://www.instagram.com/coacatalunya/) during October 2025.
“Referencing the musical figure of the coda – an independent ending that rewrites itself, that reiterates, that deforms under its own rules – we claim an ending not as closure, but as a threshold. A gesture that is articulated from inherited frameworks and transforms them into possibility.”
Following the manifesto’s call to “recognize failed, unfinished, or obsolete architectures as active parts of the landscape”, the graphic identity was built by gathering textures using frottage. This analogue technique, which consists of rubbing paper with a pencil directly against material surfaces, became the starting point for creating visual impressions of the surrounding environment: non-linear traces of architecture, marks of what is worn, unfinished, or already turning obsolete.
From these traces, a visual system of overlapping textures, lines, patterns, and typography was developed, echoing the manifesto’s idea of a “persistent, dense atmosphere”. In this landscape, ruins are not endings but material to work with, and the biennial’s identity embraces the end (Coda) as a place of possibility, where what remains can be reactivated, layered, and transformed into something new.
Curated by @naiaralbizua @carrrmi @0bjet.a
Organised by @agrupacio.ajac
Directors @danimonss @guillem_h
Graphic design by @laracoro
Website code by @claralayti
All photographs by @nataliavaquero_ except slide 5, 17, 18 @laura.markert_ & slide 15 @simoneemarcolin
Typeface CMM Coda by @commatype
Risograph printing by @dotheprint
🩷💚Coda In Use💙🤍
CODA — 2nd Young Architecture Biennal of Catalonia
[biennalcoda.com](http://biennalcoda.com/)
@biennalajac
Graphic identity, website design and printed materials designed for CODA, the 2nd Young Architecture Biennal of Catalonia, which took place at [@coacatalunya](https://www.instagram.com/coacatalunya/) during October 2025.
“Referencing the musical figure of the coda – an independent ending that rewrites itself, that reiterates, that deforms under its own rules – we claim an ending not as closure, but as a threshold. A gesture that is articulated from inherited frameworks and transforms them into possibility.”
Following the manifesto’s call to “recognize failed, unfinished, or obsolete architectures as active parts of the landscape”, the graphic identity was built by gathering textures using frottage. This analogue technique, which consists of rubbing paper with a pencil directly against material surfaces, became the starting point for creating visual impressions of the surrounding environment: non-linear traces of architecture, marks of what is worn, unfinished, or already turning obsolete.
From these traces, a visual system of overlapping textures, lines, patterns, and typography was developed, echoing the manifesto’s idea of a “persistent, dense atmosphere”. In this landscape, ruins are not endings but material to work with, and the biennial’s identity embraces the end (Coda) as a place of possibility, where what remains can be reactivated, layered, and transformed into something new.
Curated by @naiaralbizua @carrrmi @0bjet.a
Organised by @agrupacio.ajac
Directors @danimonss @guillem_h
Graphic design by @laracoro
Website code by @claralayti
All photographs by @nataliavaquero_ except slide 5, 17, 18 @laura.markert_ & slide 15 @simoneemarcolin
Typeface CMM Coda by @commatype
Risograph printing by @dotheprint
🩷💚Coda In Use💙🤍
CODA — 2nd Young Architecture Biennal of Catalonia
[biennalcoda.com](http://biennalcoda.com/)
@biennalajac
Graphic identity, website design and printed materials designed for CODA, the 2nd Young Architecture Biennal of Catalonia, which took place at [@coacatalunya](https://www.instagram.com/coacatalunya/) during October 2025.
“Referencing the musical figure of the coda – an independent ending that rewrites itself, that reiterates, that deforms under its own rules – we claim an ending not as closure, but as a threshold. A gesture that is articulated from inherited frameworks and transforms them into possibility.”
Following the manifesto’s call to “recognize failed, unfinished, or obsolete architectures as active parts of the landscape”, the graphic identity was built by gathering textures using frottage. This analogue technique, which consists of rubbing paper with a pencil directly against material surfaces, became the starting point for creating visual impressions of the surrounding environment: non-linear traces of architecture, marks of what is worn, unfinished, or already turning obsolete.
From these traces, a visual system of overlapping textures, lines, patterns, and typography was developed, echoing the manifesto’s idea of a “persistent, dense atmosphere”. In this landscape, ruins are not endings but material to work with, and the biennial’s identity embraces the end (Coda) as a place of possibility, where what remains can be reactivated, layered, and transformed into something new.
Curated by @naiaralbizua @carrrmi @0bjet.a
Organised by @agrupacio.ajac
Directors @danimonss @guillem_h
Graphic design by @laracoro
Website code by @claralayti
All photographs by @nataliavaquero_ except slide 5, 17, 18 @laura.markert_ & slide 15 @simoneemarcolin
Typeface CMM Coda by @commatype
Risograph printing by @dotheprint
🩷💚Coda In Use💙🤍
CODA — 2nd Young Architecture Biennal of Catalonia
[biennalcoda.com](http://biennalcoda.com/)
@biennalajac
Graphic identity, website design and printed materials designed for CODA, the 2nd Young Architecture Biennal of Catalonia, which took place at [@coacatalunya](https://www.instagram.com/coacatalunya/) during October 2025.
“Referencing the musical figure of the coda – an independent ending that rewrites itself, that reiterates, that deforms under its own rules – we claim an ending not as closure, but as a threshold. A gesture that is articulated from inherited frameworks and transforms them into possibility.”
Following the manifesto’s call to “recognize failed, unfinished, or obsolete architectures as active parts of the landscape”, the graphic identity was built by gathering textures using frottage. This analogue technique, which consists of rubbing paper with a pencil directly against material surfaces, became the starting point for creating visual impressions of the surrounding environment: non-linear traces of architecture, marks of what is worn, unfinished, or already turning obsolete.
From these traces, a visual system of overlapping textures, lines, patterns, and typography was developed, echoing the manifesto’s idea of a “persistent, dense atmosphere”. In this landscape, ruins are not endings but material to work with, and the biennial’s identity embraces the end (Coda) as a place of possibility, where what remains can be reactivated, layered, and transformed into something new.
Curated by @naiaralbizua @carrrmi @0bjet.a
Organised by @agrupacio.ajac
Directors @danimonss @guillem_h
Graphic design by @laracoro
Website code by @claralayti
All photographs by @nataliavaquero_ except slide 5, 17, 18 @laura.markert_ & slide 15 @simoneemarcolin
Typeface CMM Coda by @commatype
Risograph printing by @dotheprint
Grateful for 2025 🙏🩷
With amazing work by @aeni.kaiser @buerobumbum @_cooliojulio_ @distaff.studio @emi_the_brock @florianlittke_design @hacarba Hugo Gameiro @justinscharer @kollektivmoebel @laracoro @laura.markert_ @magma_____design_studio Maurane Zaugg @operative.space @panatoms @parat.cc @rundesache_ Studio Neumann @studio_superkolor @turbo_type @yvonne.mimosa @zweifel_
💛 CMM Coda + Modul In Use 💙
Zweifel @zweifel_ have released their 2026 calendar which, this year, comes with rounded corners, linen texture, neat saddle stitch binding, and an optional twin notebook. Each detail is carefully considered and the pages intentionally minimalist in their design in order to provide ample space and focus for writing.
You can order them either individually or as a cute set over on the Zweifel website. If you want to get yours before the new year begins, orders will be packed until the 23rd!
👉 zweifel.jetzt/es-ist-zeit-2026
So happy to see CMM Coda and Modul combined for the first time, and as always, super beautifully showcased by @zweifel_’s design 😍
#commatype #cmmcoda #cmmmodul #type #typeface #typedesign #typefacedesign #typography #typefoundry
💛 CMM Coda + Modul In Use 💙
Zweifel @zweifel_ have released their 2026 calendar which, this year, comes with rounded corners, linen texture, neat saddle stitch binding, and an optional twin notebook. Each detail is carefully considered and the pages intentionally minimalist in their design in order to provide ample space and focus for writing.
You can order them either individually or as a cute set over on the Zweifel website. If you want to get yours before the new year begins, orders will be packed until the 23rd!
👉 zweifel.jetzt/es-ist-zeit-2026
So happy to see CMM Coda and Modul combined for the first time, and as always, super beautifully showcased by @zweifel_’s design 😍
#commatype #cmmcoda #cmmmodul #type #typeface #typedesign #typefacedesign #typography #typefoundry
💛 CMM Coda + Modul In Use 💙
Zweifel @zweifel_ have released their 2026 calendar which, this year, comes with rounded corners, linen texture, neat saddle stitch binding, and an optional twin notebook. Each detail is carefully considered and the pages intentionally minimalist in their design in order to provide ample space and focus for writing.
You can order them either individually or as a cute set over on the Zweifel website. If you want to get yours before the new year begins, orders will be packed until the 23rd!
👉 zweifel.jetzt/es-ist-zeit-2026
So happy to see CMM Coda and Modul combined for the first time, and as always, super beautifully showcased by @zweifel_’s design 😍
#commatype #cmmcoda #cmmmodul #type #typeface #typedesign #typefacedesign #typography #typefoundry
💛 CMM Coda + Modul In Use 💙
Zweifel @zweifel_ have released their 2026 calendar which, this year, comes with rounded corners, linen texture, neat saddle stitch binding, and an optional twin notebook. Each detail is carefully considered and the pages intentionally minimalist in their design in order to provide ample space and focus for writing.
You can order them either individually or as a cute set over on the Zweifel website. If you want to get yours before the new year begins, orders will be packed until the 23rd!
👉 zweifel.jetzt/es-ist-zeit-2026
So happy to see CMM Coda and Modul combined for the first time, and as always, super beautifully showcased by @zweifel_’s design 😍
#commatype #cmmcoda #cmmmodul #type #typeface #typedesign #typefacedesign #typography #typefoundry
💛 CMM Coda + Modul In Use 💙
Zweifel @zweifel_ have released their 2026 calendar which, this year, comes with rounded corners, linen texture, neat saddle stitch binding, and an optional twin notebook. Each detail is carefully considered and the pages intentionally minimalist in their design in order to provide ample space and focus for writing.
You can order them either individually or as a cute set over on the Zweifel website. If you want to get yours before the new year begins, orders will be packed until the 23rd!
👉 zweifel.jetzt/es-ist-zeit-2026
So happy to see CMM Coda and Modul combined for the first time, and as always, super beautifully showcased by @zweifel_’s design 😍
#commatype #cmmcoda #cmmmodul #type #typeface #typedesign #typefacedesign #typography #typefoundry
💛 CMM Coda + Modul In Use 💙
Zweifel @zweifel_ have released their 2026 calendar which, this year, comes with rounded corners, linen texture, neat saddle stitch binding, and an optional twin notebook. Each detail is carefully considered and the pages intentionally minimalist in their design in order to provide ample space and focus for writing.
You can order them either individually or as a cute set over on the Zweifel website. If you want to get yours before the new year begins, orders will be packed until the 23rd!
👉 zweifel.jetzt/es-ist-zeit-2026
So happy to see CMM Coda and Modul combined for the first time, and as always, super beautifully showcased by @zweifel_’s design 😍
#commatype #cmmcoda #cmmmodul #type #typeface #typedesign #typefacedesign #typography #typefoundry
💛 CMM Coda + Modul In Use 💙
Zweifel @zweifel_ have released their 2026 calendar which, this year, comes with rounded corners, linen texture, neat saddle stitch binding, and an optional twin notebook. Each detail is carefully considered and the pages intentionally minimalist in their design in order to provide ample space and focus for writing.
You can order them either individually or as a cute set over on the Zweifel website. If you want to get yours before the new year begins, orders will be packed until the 23rd!
👉 zweifel.jetzt/es-ist-zeit-2026
So happy to see CMM Coda and Modul combined for the first time, and as always, super beautifully showcased by @zweifel_’s design 😍
#commatype #cmmcoda #cmmmodul #type #typeface #typedesign #typefacedesign #typography #typefoundry
💛 CMM Coda + Modul In Use 💙
Zweifel @zweifel_ have released their 2026 calendar which, this year, comes with rounded corners, linen texture, neat saddle stitch binding, and an optional twin notebook. Each detail is carefully considered and the pages intentionally minimalist in their design in order to provide ample space and focus for writing.
You can order them either individually or as a cute set over on the Zweifel website. If you want to get yours before the new year begins, orders will be packed until the 23rd!
👉 zweifel.jetzt/es-ist-zeit-2026
So happy to see CMM Coda and Modul combined for the first time, and as always, super beautifully showcased by @zweifel_’s design 😍
#commatype #cmmcoda #cmmmodul #type #typeface #typedesign #typefacedesign #typography #typefoundry
💛 CMM Coda + Modul In Use 💙
Zweifel @zweifel_ have released their 2026 calendar which, this year, comes with rounded corners, linen texture, neat saddle stitch binding, and an optional twin notebook. Each detail is carefully considered and the pages intentionally minimalist in their design in order to provide ample space and focus for writing.
You can order them either individually or as a cute set over on the Zweifel website. If you want to get yours before the new year begins, orders will be packed until the 23rd!
👉 zweifel.jetzt/es-ist-zeit-2026
So happy to see CMM Coda and Modul combined for the first time, and as always, super beautifully showcased by @zweifel_’s design 😍
#commatype #cmmcoda #cmmmodul #type #typeface #typedesign #typefacedesign #typography #typefoundry
💛 CMM Coda + Modul In Use 💙
Zweifel @zweifel_ have released their 2026 calendar which, this year, comes with rounded corners, linen texture, neat saddle stitch binding, and an optional twin notebook. Each detail is carefully considered and the pages intentionally minimalist in their design in order to provide ample space and focus for writing.
You can order them either individually or as a cute set over on the Zweifel website. If you want to get yours before the new year begins, orders will be packed until the 23rd!
👉 zweifel.jetzt/es-ist-zeit-2026
So happy to see CMM Coda and Modul combined for the first time, and as always, super beautifully showcased by @zweifel_’s design 😍
#commatype #cmmcoda #cmmmodul #type #typeface #typedesign #typefacedesign #typography #typefoundry
This summer, designers Laura Markert @laura.markert_ and Simon Wahlers @zweifel_ – whom I both admire for their thoughtful, critical, activist design practices – invited me into their conversation about love letters and a love for letters.
It was prompted by Lauras project “Love Letters, But As A Feminist Act” which, in a double meaning, speaks of both. She designed postcards set in her typeface, Friedländer. It is a re-interpretation of a design by type designer Elisabeth Friedländer who practised under difficult circumstances in the early 20th century. I was happy to advise a little on the typeface’s design and help with some letter refinement (still a work in progress). Lauras postcards prompt us to write to a person we deeply appreciate to “tell them what [we] love about them.”
Simon’s work is similarly inspired by analogue communication. Next to his design practice he publishesboth beautiful and opinionated, thought-provoking material, such as zines, posters, calendars and his “Rundbrief” series – printed newsletters on varying topics which you can sign up for (or order once they’re published).
We began to share thoughts on what it means to “love letters”: the practice of letter writing, publishing, a feminist stance on choosing typefaces, female type designers we admire… The final result is a long written exchange designed as a beautiful poster publication which was just released last week as the newest “Rundbrief” installment!
You can now order a copy over on the Zweifel website for only 7€ (available only in German for now).
👉 zweifel.jetzt/love-letters (link in bio)
💌 You can also sign up for future Rundbriefe at zweifel.jetzt/rundbrief
❤️ Any donations are welcome and help keep the project alive
I feel super fortunate to have been part of an exchange conducted with such an amount of care for the topic and for each other. I feel it was truly a collaboration on all levels. Thank you so much, Laura and Simon!
Concept & design: @zweifel_ @laura.markert_
Typefaces: Friedländer @laura.markert_ , CMM Coda @commatype
This summer, designers Laura Markert @laura.markert_ and Simon Wahlers @zweifel_ – whom I both admire for their thoughtful, critical, activist design practices – invited me into their conversation about love letters and a love for letters.
It was prompted by Lauras project “Love Letters, But As A Feminist Act” which, in a double meaning, speaks of both. She designed postcards set in her typeface, Friedländer. It is a re-interpretation of a design by type designer Elisabeth Friedländer who practised under difficult circumstances in the early 20th century. I was happy to advise a little on the typeface’s design and help with some letter refinement (still a work in progress). Lauras postcards prompt us to write to a person we deeply appreciate to “tell them what [we] love about them.”
Simon’s work is similarly inspired by analogue communication. Next to his design practice he publishesboth beautiful and opinionated, thought-provoking material, such as zines, posters, calendars and his “Rundbrief” series – printed newsletters on varying topics which you can sign up for (or order once they’re published).
We began to share thoughts on what it means to “love letters”: the practice of letter writing, publishing, a feminist stance on choosing typefaces, female type designers we admire… The final result is a long written exchange designed as a beautiful poster publication which was just released last week as the newest “Rundbrief” installment!
You can now order a copy over on the Zweifel website for only 7€ (available only in German for now).
👉 zweifel.jetzt/love-letters (link in bio)
💌 You can also sign up for future Rundbriefe at zweifel.jetzt/rundbrief
❤️ Any donations are welcome and help keep the project alive
I feel super fortunate to have been part of an exchange conducted with such an amount of care for the topic and for each other. I feel it was truly a collaboration on all levels. Thank you so much, Laura and Simon!
Concept & design: @zweifel_ @laura.markert_
Typefaces: Friedländer @laura.markert_ , CMM Coda @commatype
This summer, designers Laura Markert @laura.markert_ and Simon Wahlers @zweifel_ – whom I both admire for their thoughtful, critical, activist design practices – invited me into their conversation about love letters and a love for letters.
It was prompted by Lauras project “Love Letters, But As A Feminist Act” which, in a double meaning, speaks of both. She designed postcards set in her typeface, Friedländer. It is a re-interpretation of a design by type designer Elisabeth Friedländer who practised under difficult circumstances in the early 20th century. I was happy to advise a little on the typeface’s design and help with some letter refinement (still a work in progress). Lauras postcards prompt us to write to a person we deeply appreciate to “tell them what [we] love about them.”
Simon’s work is similarly inspired by analogue communication. Next to his design practice he publishesboth beautiful and opinionated, thought-provoking material, such as zines, posters, calendars and his “Rundbrief” series – printed newsletters on varying topics which you can sign up for (or order once they’re published).
We began to share thoughts on what it means to “love letters”: the practice of letter writing, publishing, a feminist stance on choosing typefaces, female type designers we admire… The final result is a long written exchange designed as a beautiful poster publication which was just released last week as the newest “Rundbrief” installment!
You can now order a copy over on the Zweifel website for only 7€ (available only in German for now).
👉 zweifel.jetzt/love-letters (link in bio)
💌 You can also sign up for future Rundbriefe at zweifel.jetzt/rundbrief
❤️ Any donations are welcome and help keep the project alive
I feel super fortunate to have been part of an exchange conducted with such an amount of care for the topic and for each other. I feel it was truly a collaboration on all levels. Thank you so much, Laura and Simon!
Concept & design: @zweifel_ @laura.markert_
Typefaces: Friedländer @laura.markert_ , CMM Coda @commatype
This summer, designers Laura Markert @laura.markert_ and Simon Wahlers @zweifel_ – whom I both admire for their thoughtful, critical, activist design practices – invited me into their conversation about love letters and a love for letters.
It was prompted by Lauras project “Love Letters, But As A Feminist Act” which, in a double meaning, speaks of both. She designed postcards set in her typeface, Friedländer. It is a re-interpretation of a design by type designer Elisabeth Friedländer who practised under difficult circumstances in the early 20th century. I was happy to advise a little on the typeface’s design and help with some letter refinement (still a work in progress). Lauras postcards prompt us to write to a person we deeply appreciate to “tell them what [we] love about them.”
Simon’s work is similarly inspired by analogue communication. Next to his design practice he publishesboth beautiful and opinionated, thought-provoking material, such as zines, posters, calendars and his “Rundbrief” series – printed newsletters on varying topics which you can sign up for (or order once they’re published).
We began to share thoughts on what it means to “love letters”: the practice of letter writing, publishing, a feminist stance on choosing typefaces, female type designers we admire… The final result is a long written exchange designed as a beautiful poster publication which was just released last week as the newest “Rundbrief” installment!
You can now order a copy over on the Zweifel website for only 7€ (available only in German for now).
👉 zweifel.jetzt/love-letters (link in bio)
💌 You can also sign up for future Rundbriefe at zweifel.jetzt/rundbrief
❤️ Any donations are welcome and help keep the project alive
I feel super fortunate to have been part of an exchange conducted with such an amount of care for the topic and for each other. I feel it was truly a collaboration on all levels. Thank you so much, Laura and Simon!
Concept & design: @zweifel_ @laura.markert_
Typefaces: Friedländer @laura.markert_ , CMM Coda @commatype
This summer, designers Laura Markert @laura.markert_ and Simon Wahlers @zweifel_ – whom I both admire for their thoughtful, critical, activist design practices – invited me into their conversation about love letters and a love for letters.
It was prompted by Lauras project “Love Letters, But As A Feminist Act” which, in a double meaning, speaks of both. She designed postcards set in her typeface, Friedländer. It is a re-interpretation of a design by type designer Elisabeth Friedländer who practised under difficult circumstances in the early 20th century. I was happy to advise a little on the typeface’s design and help with some letter refinement (still a work in progress). Lauras postcards prompt us to write to a person we deeply appreciate to “tell them what [we] love about them.”
Simon’s work is similarly inspired by analogue communication. Next to his design practice he publishesboth beautiful and opinionated, thought-provoking material, such as zines, posters, calendars and his “Rundbrief” series – printed newsletters on varying topics which you can sign up for (or order once they’re published).
We began to share thoughts on what it means to “love letters”: the practice of letter writing, publishing, a feminist stance on choosing typefaces, female type designers we admire… The final result is a long written exchange designed as a beautiful poster publication which was just released last week as the newest “Rundbrief” installment!
You can now order a copy over on the Zweifel website for only 7€ (available only in German for now).
👉 zweifel.jetzt/love-letters (link in bio)
💌 You can also sign up for future Rundbriefe at zweifel.jetzt/rundbrief
❤️ Any donations are welcome and help keep the project alive
I feel super fortunate to have been part of an exchange conducted with such an amount of care for the topic and for each other. I feel it was truly a collaboration on all levels. Thank you so much, Laura and Simon!
Concept & design: @zweifel_ @laura.markert_
Typefaces: Friedländer @laura.markert_ , CMM Coda @commatype
Launching: FLINTA* Type Database!
🔗 flintadatabase.commatype.com
👉 Link in bio
This website collects resources and professionals relevant to FLINTA* type design in order to create visibility and facilitate research. I invite you to explore! Any additions, submissions and corrections are very welcome.
Why start this? More than once I’ve scoured the web for female and FLINTA* type design. Looking for a typeface, for representation, an expanded canon, professional help, new talent, lesser-known history, or just out of curiosity… And there are absolute gems to find of projects, publications, research, and names of ever more FLINTA* type designers and foundries! But I found the information fragmented and struggled with the fact that any curated feature (even with the best intentions of fostering inclusivity) would still end up being just a selection. Questions would always remain: What are the criteria? Who is chosen? And who gets left out, yet again?
During a recent conversation with @laura.markert_ and @zweifel_ about our love for letters and female type design (more on that soon!) we discussed how to share some of our research. I owe them the realization that I don’t believe we need yet another imperfect list. Maybe what we need is a database! A go-to reference that gathers all the information (rather than opinion) designed as a tool that structures and presents it accessibly.
Hopefully the database gives attention to projects and people that may not have been on your radar before. It might also make gaps and blind spots even more apparent – indicating where more potential for action lies.
This list is always in progress and I welcome any community participation. If you have ideas on how to improve, let me know!
FLINTA* is a German abbreviation that stands for "Frauen, Lesben, intergeschlechtliche, nichtbinäre, trans und agender Personen", meaning women, lesbians, intersex, non-binary, trans and agender people. The asterisk represents non-binary gender identities.
#commatype #type #typedesign #typefoundry #feministresearch @women.type.club @itsnicethat @creativeboom @type01_ @alt__tf @alphabettes_org @unseen.women.design
Launching: FLINTA* Type Database!
🔗 flintadatabase.commatype.com
👉 Link in bio
This website collects resources and professionals relevant to FLINTA* type design in order to create visibility and facilitate research. I invite you to explore! Any additions, submissions and corrections are very welcome.
Why start this? More than once I’ve scoured the web for female and FLINTA* type design. Looking for a typeface, for representation, an expanded canon, professional help, new talent, lesser-known history, or just out of curiosity… And there are absolute gems to find of projects, publications, research, and names of ever more FLINTA* type designers and foundries! But I found the information fragmented and struggled with the fact that any curated feature (even with the best intentions of fostering inclusivity) would still end up being just a selection. Questions would always remain: What are the criteria? Who is chosen? And who gets left out, yet again?
During a recent conversation with @laura.markert_ and @zweifel_ about our love for letters and female type design (more on that soon!) we discussed how to share some of our research. I owe them the realization that I don’t believe we need yet another imperfect list. Maybe what we need is a database! A go-to reference that gathers all the information (rather than opinion) designed as a tool that structures and presents it accessibly.
Hopefully the database gives attention to projects and people that may not have been on your radar before. It might also make gaps and blind spots even more apparent – indicating where more potential for action lies.
This list is always in progress and I welcome any community participation. If you have ideas on how to improve, let me know!
FLINTA* is a German abbreviation that stands for "Frauen, Lesben, intergeschlechtliche, nichtbinäre, trans und agender Personen", meaning women, lesbians, intersex, non-binary, trans and agender people. The asterisk represents non-binary gender identities.
#commatype #type #typedesign #typefoundry #feministresearch @women.type.club @itsnicethat @creativeboom @type01_ @alt__tf @alphabettes_org @unseen.women.design
Launching: FLINTA* Type Database!
🔗 flintadatabase.commatype.com
👉 Link in bio
This website collects resources and professionals relevant to FLINTA* type design in order to create visibility and facilitate research. I invite you to explore! Any additions, submissions and corrections are very welcome.
Why start this? More than once I’ve scoured the web for female and FLINTA* type design. Looking for a typeface, for representation, an expanded canon, professional help, new talent, lesser-known history, or just out of curiosity… And there are absolute gems to find of projects, publications, research, and names of ever more FLINTA* type designers and foundries! But I found the information fragmented and struggled with the fact that any curated feature (even with the best intentions of fostering inclusivity) would still end up being just a selection. Questions would always remain: What are the criteria? Who is chosen? And who gets left out, yet again?
During a recent conversation with @laura.markert_ and @zweifel_ about our love for letters and female type design (more on that soon!) we discussed how to share some of our research. I owe them the realization that I don’t believe we need yet another imperfect list. Maybe what we need is a database! A go-to reference that gathers all the information (rather than opinion) designed as a tool that structures and presents it accessibly.
Hopefully the database gives attention to projects and people that may not have been on your radar before. It might also make gaps and blind spots even more apparent – indicating where more potential for action lies.
This list is always in progress and I welcome any community participation. If you have ideas on how to improve, let me know!
FLINTA* is a German abbreviation that stands for "Frauen, Lesben, intergeschlechtliche, nichtbinäre, trans und agender Personen", meaning women, lesbians, intersex, non-binary, trans and agender people. The asterisk represents non-binary gender identities.
#commatype #type #typedesign #typefoundry #feministresearch @women.type.club @itsnicethat @creativeboom @type01_ @alt__tf @alphabettes_org @unseen.women.design
Launching: FLINTA* Type Database!
🔗 flintadatabase.commatype.com
👉 Link in bio
This website collects resources and professionals relevant to FLINTA* type design in order to create visibility and facilitate research. I invite you to explore! Any additions, submissions and corrections are very welcome.
Why start this? More than once I’ve scoured the web for female and FLINTA* type design. Looking for a typeface, for representation, an expanded canon, professional help, new talent, lesser-known history, or just out of curiosity… And there are absolute gems to find of projects, publications, research, and names of ever more FLINTA* type designers and foundries! But I found the information fragmented and struggled with the fact that any curated feature (even with the best intentions of fostering inclusivity) would still end up being just a selection. Questions would always remain: What are the criteria? Who is chosen? And who gets left out, yet again?
During a recent conversation with @laura.markert_ and @zweifel_ about our love for letters and female type design (more on that soon!) we discussed how to share some of our research. I owe them the realization that I don’t believe we need yet another imperfect list. Maybe what we need is a database! A go-to reference that gathers all the information (rather than opinion) designed as a tool that structures and presents it accessibly.
Hopefully the database gives attention to projects and people that may not have been on your radar before. It might also make gaps and blind spots even more apparent – indicating where more potential for action lies.
This list is always in progress and I welcome any community participation. If you have ideas on how to improve, let me know!
FLINTA* is a German abbreviation that stands for "Frauen, Lesben, intergeschlechtliche, nichtbinäre, trans und agender Personen", meaning women, lesbians, intersex, non-binary, trans and agender people. The asterisk represents non-binary gender identities.
#commatype #type #typedesign #typefoundry #feministresearch @women.type.club @itsnicethat @creativeboom @type01_ @alt__tf @alphabettes_org @unseen.women.design
Launching: FLINTA* Type Database!
🔗 flintadatabase.commatype.com
👉 Link in bio
This website collects resources and professionals relevant to FLINTA* type design in order to create visibility and facilitate research. I invite you to explore! Any additions, submissions and corrections are very welcome.
Why start this? More than once I’ve scoured the web for female and FLINTA* type design. Looking for a typeface, for representation, an expanded canon, professional help, new talent, lesser-known history, or just out of curiosity… And there are absolute gems to find of projects, publications, research, and names of ever more FLINTA* type designers and foundries! But I found the information fragmented and struggled with the fact that any curated feature (even with the best intentions of fostering inclusivity) would still end up being just a selection. Questions would always remain: What are the criteria? Who is chosen? And who gets left out, yet again?
During a recent conversation with @laura.markert_ and @zweifel_ about our love for letters and female type design (more on that soon!) we discussed how to share some of our research. I owe them the realization that I don’t believe we need yet another imperfect list. Maybe what we need is a database! A go-to reference that gathers all the information (rather than opinion) designed as a tool that structures and presents it accessibly.
Hopefully the database gives attention to projects and people that may not have been on your radar before. It might also make gaps and blind spots even more apparent – indicating where more potential for action lies.
This list is always in progress and I welcome any community participation. If you have ideas on how to improve, let me know!
FLINTA* is a German abbreviation that stands for "Frauen, Lesben, intergeschlechtliche, nichtbinäre, trans und agender Personen", meaning women, lesbians, intersex, non-binary, trans and agender people. The asterisk represents non-binary gender identities.
#commatype #type #typedesign #typefoundry #feministresearch @women.type.club @itsnicethat @creativeboom @type01_ @alt__tf @alphabettes_org @unseen.women.design
🪱CMM Modul In Use🐍
Visual identity for the 2025 graduation show and film program at the Kunsthochschule für Medien Köln (Academy of Media Arts Cologne) @kunsthochschulefuermedien, also celebrating the 35 year anniversary of the academy
Graphic design: @operative.space @tessa_darimont
🪱CMM Modul In Use🐍
Visual identity for the 2025 graduation show and film program at the Kunsthochschule für Medien Köln (Academy of Media Arts Cologne) @kunsthochschulefuermedien, also celebrating the 35 year anniversary of the academy
Graphic design: @operative.space @tessa_darimont
🪱CMM Modul In Use🐍
Visual identity for the 2025 graduation show and film program at the Kunsthochschule für Medien Köln (Academy of Media Arts Cologne) @kunsthochschulefuermedien, also celebrating the 35 year anniversary of the academy
Graphic design: @operative.space @tessa_darimont
🪱CMM Modul In Use🐍
Visual identity for the 2025 graduation show and film program at the Kunsthochschule für Medien Köln (Academy of Media Arts Cologne) @kunsthochschulefuermedien, also celebrating the 35 year anniversary of the academy
Graphic design: @operative.space @tessa_darimont
🪱CMM Modul In Use🐍
Visual identity for the 2025 graduation show and film program at the Kunsthochschule für Medien Köln (Academy of Media Arts Cologne) @kunsthochschulefuermedien, also celebrating the 35 year anniversary of the academy
Graphic design: @operative.space @tessa_darimont
🪱CMM Modul In Use🐍
Visual identity for the 2025 graduation show and film program at the Kunsthochschule für Medien Köln (Academy of Media Arts Cologne) @kunsthochschulefuermedien, also celebrating the 35 year anniversary of the academy
Graphic design: @operative.space @tessa_darimont
🪱CMM Modul In Use🐍
Visual identity for the 2025 graduation show and film program at the Kunsthochschule für Medien Köln (Academy of Media Arts Cologne) @kunsthochschulefuermedien, also celebrating the 35 year anniversary of the academy
Graphic design: @operative.space @tessa_darimont
🪱CMM Modul In Use🐍
Visual identity for the 2025 graduation show and film program at the Kunsthochschule für Medien Köln (Academy of Media Arts Cologne) @kunsthochschulefuermedien, also celebrating the 35 year anniversary of the academy
Graphic design: @operative.space @tessa_darimont
🪱CMM Modul In Use🐍
Visual identity for the 2025 graduation show and film program at the Kunsthochschule für Medien Köln (Academy of Media Arts Cologne) @kunsthochschulefuermedien, also celebrating the 35 year anniversary of the academy
Graphic design: @operative.space @tessa_darimont
🪱CMM Modul In Use🐍
Visual identity for the 2025 graduation show and film program at the Kunsthochschule für Medien Köln (Academy of Media Arts Cologne) @kunsthochschulefuermedien, also celebrating the 35 year anniversary of the academy
Graphic design: @operative.space @tessa_darimont
CMM Radio will be Comma Type’s first fully fledged family, weights and all! Currently in progress, soon available as a first version ▶️ Pipeline Stage A ⏩️ See commatype.com/licensing for more details
#commatype #cmmradio #type #typeface #typedesign #typefacedesign #typography #typefoundry
🟣CMM Coda In Use🔵
Corporate design and flyers for the Frankfurter Arbeitskreis Queere Stadtgeschichte (Frankfurt Working Group on Queer Urban History) @queerestadtgeschichteffm
Graphic design by @turbo_type @masha_makes_____
Typeset in CMM Coda Normalized
🟣CMM Coda In Use🔵
Corporate design and flyers for the Frankfurter Arbeitskreis Queere Stadtgeschichte (Frankfurt Working Group on Queer Urban History) @queerestadtgeschichteffm
Graphic design by @turbo_type @masha_makes_____
Typeset in CMM Coda Normalized
🟣CMM Coda In Use🔵
Corporate design and flyers for the Frankfurter Arbeitskreis Queere Stadtgeschichte (Frankfurt Working Group on Queer Urban History) @queerestadtgeschichteffm
Graphic design by @turbo_type @masha_makes_____
Typeset in CMM Coda Normalized
🟣CMM Coda In Use🔵
Corporate design and flyers for the Frankfurter Arbeitskreis Queere Stadtgeschichte (Frankfurt Working Group on Queer Urban History) @queerestadtgeschichteffm
Graphic design by @turbo_type @masha_makes_____
Typeset in CMM Coda Normalized
🟣CMM Coda In Use🔵
Corporate design and flyers for the Frankfurter Arbeitskreis Queere Stadtgeschichte (Frankfurt Working Group on Queer Urban History) @queerestadtgeschichteffm
Graphic design by @turbo_type @masha_makes_____
Typeset in CMM Coda Normalized
🟣CMM Coda In Use🔵
Corporate design and flyers for the Frankfurter Arbeitskreis Queere Stadtgeschichte (Frankfurt Working Group on Queer Urban History) @queerestadtgeschichteffm
Graphic design by @turbo_type @masha_makes_____
Typeset in CMM Coda Normalized
🟣CMM Coda In Use🔵
Corporate design and flyers for the Frankfurter Arbeitskreis Queere Stadtgeschichte (Frankfurt Working Group on Queer Urban History) @queerestadtgeschichteffm
Graphic design by @turbo_type @masha_makes_____
Typeset in CMM Coda Normalized
🟣CMM Coda In Use🔵
Corporate design and flyers for the Frankfurter Arbeitskreis Queere Stadtgeschichte (Frankfurt Working Group on Queer Urban History) @queerestadtgeschichteffm
Graphic design by @turbo_type @masha_makes_____
Typeset in CMM Coda Normalized
Just here to express a great big 🤍thank you🤍 to everyone who has supported Comma Type in its first year! Whether by using my fonts and designing amazing projects (it’s why I do this), sharing encouragement (it’s how I’m able to do this), connecting and collaborating (it’s why I’ll keep doing this), or teaching me the ropes (it’s how this’ll keep getting better).
I will be reflecting some more and report on the past half year in my next newsletter, going out sometime in November. Would love to have you there!
Link in Bio 💌 commatype.com/newsletter
#commatype #typefoundry #type #typefaces #typedesign
⚡️ CMM Coda in use ⚡️
Monthly programme for Corsica Studios @corsica.studios, an independent arts organisation and club based in South London.
Design by Anja Kaiser @aeni.kaiser
Typefaces: TWK Burns @type.weltkern, CMM Coda @commatype
#commatype #cmmcoda #type #typeface #typedesign #typefacedesign #typography #typefoundry
⚡️ CMM Coda in use ⚡️
Monthly programme for Corsica Studios @corsica.studios, an independent arts organisation and club based in South London.
Design by Anja Kaiser @aeni.kaiser
Typefaces: TWK Burns @type.weltkern, CMM Coda @commatype
#commatype #cmmcoda #type #typeface #typedesign #typefacedesign #typography #typefoundry
⚡️ CMM Coda in use ⚡️
Monthly programme for Corsica Studios @corsica.studios, an independent arts organisation and club based in South London.
Design by Anja Kaiser @aeni.kaiser
Typefaces: TWK Burns @type.weltkern, CMM Coda @commatype
#commatype #cmmcoda #type #typeface #typedesign #typefacedesign #typography #typefoundry
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