Fontstand

The future is squarish. Georg Trump knew it in 1930 when he designed City. Hermann Zapf knew it in 1952 when he designed Melior. Aldo Novarese knew it in 1962 when he designed Eurostile. Sinter isn’t about to argue. Based on a rounded rectangle, its geometry has been subtly refined for smoother reading. Its branches are angled in homage to OCR-A. A combination of open counters, unequivocal curves, and ruler-straight vertical and horizontal strokes suit it admirably for onscreen display. Its nine weights range from the taut, elegant Thin to the massive Ultra, each with a matching italic. Tabular figures duplex across all weights, and case-sensitive forms keep punctuation in line.