Symphonie Grotesque is an excellent selection for use in branding or in other kinds of corporate identity design. The fonts’ ascenders rise quite a bit above the tops of the capital letters, but the capitals and the numerals both share the same height. The middle-two diagonal-strokes of the ‘M’ remain visibly above the baseline in all of the family’s styles. Symphonie Grotesque’s numerals are tabular lining figures the ‘1’ always has a nice, wide base-stroke at its bottom. But in the italics, the ‘a’ becomes single-storey, and the ‘f’and ‘ß’ get descending tails, too. For example, in Symphonie Grotesque’s upright fonts, the ‘a’ is double-storey, while the ‘g’ is single-storey (just what one would expect for a typeface of this genre). Instead of just offering slanted, or oblique versions of the upright fonts’ letters, Symphonie Grotesque’s italic fonts include several unique, more cursive-style letterforms. Symphonie Grotesque’s italics are what really set it apart from other neo-Grotesque families. Each weight has an upright and an italic font on offer.

There are five different weights available, ranging from Regular through Heavy. Malden Sans includes a Normal and Condensed range, with 7 weights in the normal and 6 in the Condensed, both including italics.Symphonie Grotesque is a family of neo-Grotesque-style sans serif fonts. It would be equally at home on posters, packaging, and even in digital environments where designers are looking for something more expressive than another geometric sans serif. This is a design that’s desperate to be used in editorial environments, and has been created to stand up to lower quality paper. “In film magazines you can still see a bit of roughness, and I like that.” “There is a very naive way of using typography in the 30s and 40s, something not as clean as how it’s used in the late 50s and 60s when everything passed through a rationalisation of the typographic palette,” he explains. Designer Michele Patanè looked back to an earlier era of typography to create the typeface, embracing unusual details, rather than ironing them out.

It was originally designed as part of a type system for cinema magazines, and embodies the devil-may care attitude of the silver screen. It was created by Michele Patanè with regular and condensed widths, as a utilitarian typeface family for print and digital environments. Malden Sans is a mischievous grotesque sans serif with charming details that gives designers a solid typographic voice.

Symphonie grotesque font free download