Basic Character Set
Sometimes when we try to explain something important to us, we find that our words get in the way. Similarly, the
shapes of words can also get in the way. Typeface design is a strange beast in this regard. Just as we need
typefaces that catch the eye, we also need typefaces that the eye ignores. In the latter instance, we succeed
when the reader stops seeing the letters we’ve drawn and simply absorbs the information the letters are
delivering. Becoming oblivious to the fact that we are reading letters and words constitutes reading in its purest
Open Type Features
The family’s range of weights begins with Hair styles, drawn with fine lines for
use in headlines or large illustrations.
Ingra includes a dozen different kinds of figures, including numbers inside of
circles and half circles.
Each font’s character set includes 236 helpful pictograms editorial designers
should always have at their fingertips.
Ingra’s letterforms use simplicity masterfully. That is immediately noticeable in
the default “G,” which needs no crossbar.
Ingra’s “M” is designed in the “Florentine” style, meaning that the diagonal
strokes in the middle don’t come down to the baseline. That also keeps the letter from getting too wide.
The lowercase “a” has a short tail for an out-stroke, rooting it to the letter’s
The default lowercase “l” has an out-stroke to
differentiate it from the capital “I.”
Dita can also be used successfully for small text on-screen; to prove this, we
selected Dita for the primary typeface on our website.
All the typeface’s strokes are low-contrast and they end in rounded terminals, too.
In Dita’s italics, the lowercase “a” becomes single-storey and “f” gains a
In-strokes at the tops of italic letters like “m,” “n,”
and “r” are slightly angled, reminiscent of their handwritten origins.
This family combines two visual languages: thin styles have counters that break
letters up into separate elements. Thicker styles pair a more even rhythm with formal repetition. That
is built at 0°, 45°, and 90° angles.
The Light and Regular weights have no breaks between strokes, but the 45° angles on
the exterior sides of joints still bind all the parts of a letter together.
The fonts’ also have arrows, printers’ fists and oversized punctuation marks.
The italics are oblique in style and feel at home in the
construction system established by the upright fonts.
Mae’s humanistic features are dressed in
sensible, rational clothes for a timeless
appearance. Curved strokes taper where the
shoulders connect to the stems for a clear,
crisp appearance. In the italics, the tops of the
stems are perfectly flat, making their cursive
quality more dynamic.
Diagonals are truncated to avoid spacing issues when setting the
heaviest weights tight. The cut-o corners allow you to move the
letters closer to each other without them touching.
Stylistic sets allow you to switch to alternate letterforms that improve
legibility by increasing the distinction between letters that can get
confused: a capital I with slab serifs and a semi-serif lowercase I and l
Mae’s expansive character set covers more than a thousand characters.
It serves all languages written in the Latin alphabet (except Vietnamese)
and includes many extras.
Mae is engineered for editorial design. Its character set includes an
extensive suite of numerals in circles and cartridges, currency symbols,
dierent types of arrows, pointing hands, playing card suits, boxes and
check marks, and computer symbols.
Wherever applicable, the weight of these icons matches the font type
style’s weight and even the italic slant for a harmonious appearance.
If you think about it, all typefaces are made for text – even single words on posters count as text, after all. Yet when we talk of text typefaces today, we mean fonts you can use for whole paragraphs. Ingra is a graceful and sturdy sans serif family built for text.
Formally, the Ingra design looks like a technical take on the humanist sans genre. Like other sans serifs meant for text, this typeface features large and open counters. Its lowercase letters have a tall x-height, and most glyphs show visible contrast. Strokes are not monolinear but have both thick and thin parts. They always end in either horizontal or vertical terminals. These are attributes that help make Ingra readable.
The family’s range of weights starts with the lightest Hair styles, drawn with very fine lines for use in headlines or larger-sized illustrations. The range ramps up through several heavier stroke thicknesses, ending in an Extra Bold. Each of Ingra’s ten weights is available in three different widths – condensed, regular, and expanded – bringing the family’s total size up to 30 styles. In addition to having sophisticated letterforms, Ingra’s fonts are typographically advanced, too, including small caps and about a dozen different kinds of figures. In addition to tabular and proportional lining, oldstyle, and small-cap figures, the fonts also have superior figures, inferiors, and figures for fractions, Ingra also includes figure variants inside circles and half circles. Each font’s character set offers pictograms helpful for editorial designers to have at their fingertips.
A soft, rounded sans serif, Dita combines the freshness of display type with the discipline of a text face. It ambitiously redefines what contemporaneousness can mean in a typeface. Even though its stroke-endings are round, the lighter weights are still a good choice for use in body text, thanks to details that make Dita readable at small sizes, like the letters’ generous x-height and spacious counters. Dita can also be successfully used for small text on-screen, where reading conditions are sometimes more challenging. To prove this, we made Dita is the main UI typeface on the Lettermin website.
In terms of its construction, Dita has traits in common with many sans serif typefaces. Its characters have low-contrast strokes. The family’s details show a mature approach and a dedication to craft, too. Dita has a total of 30 fonts. This includes five different weights ranging from Light to Extra Bold. Every weight has a complementary italic. Users can access these five upright and italic pairs in three different widths: condensed, normal or wide. There is a simple explanation for the relatively small number of weights. When strokes become too light or too heavy, rounded terminals at their ends can no longer be drawn optimally. This was one of the main challenges in designing Dita.
To keep the stroke-rounding consistent through all styles, the typeface’s weight range was reigned in a bit. Designers can combine the various styles – as well as the small caps in every font – to help them build hierarchies and complex information systems. The level of contrast that the Dita family offers comes in handy when you are dealing with complex text situations, like in editorial design. Dita’s character set supports almost all European languages written with the Latin script. The fonts’ typographic sophistication is rich and even extends to its numerals. Each number has five variants: lining and oldstyle figures in both proportional and tabular spacing, plus small-cap figures.
The formal constraints defining this design system allow for intriguing possibilities. Edge Sans
explores the potential that minimalism and reduction offer when combined with futuristic aesthetics. Its
fonts give designers a glimpse of what grids can offer letterforms.
A typographic toolbox for complex design and publishing tasks
Work on the sans serif started in the early 2010s as an investigation into the
possibility of making a design look both technical and human. The idea was
to appeal to a no-nonsense, even tech-savvy crowd while keeping sight of the
connection type needs to make with readers on a personal level. After lying
dormant for roughly a decade, the design was resuscitated. The typeface
was redrawn while taking great care to preserve its signature hybrid human/
technical structure, and its character set was expanded.
Enra is a child of the nineties. It follows the playbook of many popular, long-
lasting typefaces from that decade that have ultimately become an enduring
presence in our visual landscape. At its core, the design has a dependable,
timeless look that defies the fleeting nature of fashion and trends. Utilitarian
and versatile, each of the three Enra siblings is a design in its own right.
Together, they form a power trio. Because they share a common skeleton
and their weights are harmonized, Enra Sans, Enra Slab, and Enra Semi work
The design is resolutely tooled toward optimal legibility. A large x-height,
generous counters, and open apertures guarantee that the typeface retains
its excellent readability even at the smallest sizes. With narrow proportions
and relatively short ascenders and descenders, Enra makes the most of the
available space. It does so without feeling cramped in the least. And it’s not
just for print; its squarish structure sits comfortably on the screen pixels of
computer monitors and mobile devices. Each of the three variants has its own
identity. Enra Sans is the core expression of the design and the type system’s
foundation. Enra Slab’s sturdy serifs provide the letterforms with additional
stability. And Enra Semi is the maverick of the three. The presence of only the
top serifs gives the typeface a dynamic feel, making it seem like the letters
glide swiftly along the lines.
To avoid confusion between certain letters and to increase their legibility,
the capitals I and J and lowercase i, j, and l sport a top serif in Enra Sans.
These can be removed by activating the respective Stylistic Sets for a more
traditional look. Because of the nature of their design, Enra Slab and Enra
Semi have slightly different Stylistic Sets. Enra Slab offers a finial lowercase l
with an outgoing curl instead of the bottom serifs. Enra Semi has an alternate
capital I with full serifs to distinguish it from the lowercase l. The top serifs on
the lowercase i and j can be removed too, and an outgoing curl can be added to
the bottom of the lowercase l. All three variants also have a Stylistic Set that
provides a simplified (single-storey) lowercase g. Nice extras are two Stylistic
Sets allowing you to type numbers in outlined or black circles or cartridges
simply by wrapping them with regular or square brackets, respectively.
All Enra variants have the same extensive character set covering all languages
written with the Latin alphabet, including Vietnamese. Furthermore, the fonts
include small caps, different sets of numerals, true fractions, full complements
of superscript and subscript lowercase letters, and icons and symbols like
arrows, pointing hands, basic shapes, playing card suits, and checkboxes.
Published: May 2023 by Lettermin Type Foundry
Designed by: Ermin Međedović
Font engineering: Sérgio Martins, Rainer Erich Scheichelbauer
Available formats: OTF, TTF, WOFF, WOFF2 Variable: TTF, WOFF, WOFF2
A Timeless Sans for Contemporary Communication
Sometimes when we try to explain something important to us, we find that our words get in the way.
Similarly, the shapes of words can also get in the way. Typeface design is a strange beast in this regard. Just as
we need typefaces that catch the eye, we also need typefaces that the eye ignores. In the latter instance, we
succeed when the reader stops seeing the letters we’ve drawn and simply absorbs the information the letters
are delivering. Becoming oblivious to the fact that we are reading letters and words constitutes reading in its
Mae was designed to be practically invisible. It doesn’t create any friction as the reader assimilates the
message it conveys. By making sure the typeface is seen rather than noticed, we built Mae to be the ultimate
all-purpose tool for delivering content.
The family’s characters are modest to the point of becoming self-eacing without ever becoming boring. Mae
has simple, sound letterforms distinguished by a generous x-height, large counters, and open apertures.
The curved strokes taper where the shoulders connect to the stems. Its humanistic features are dressed in
sensible, rational clothes for a timeless appearance.
These characteristics guarantee that Mae is supremely readable in all conditions, from the tiniest text printed
on poor-quality paper to big, no-nonsense titles and headlines. They also make Mae a prime candidate
for screen-based applications like user interfaces and ebooks. Stylistic sets allow you to switch to alternate
letterforms that improve legibility by increasing the distinction between letters that easily get confused:
a capital I with slab serifs and a semi-serif lowercase I and l. Another stylistic set activates a round lowercase y
that matches the lowercase g.
Mae comes in nine weights, from a delicate Thin to a cordial Black. Diagonals are truncated to avoid spacing
issues when setting the heaviest weights tight. The wide range allows you to choose the exact weight for the
job at hand. It also makes it possible to compensate for backlit or knocked-out text by shifting one weight.
Each weight comes with a matching italic for a total of eighteen styles. Because they are true italics instead of
oblique versions of the upright styles, emphasized words stand out just right in running text.
The typeface’s expansive character set covers more than a thousand characters. It serves all languages written
in the Latin alphabet (except Vietnamese) and includes many extras. Besides the aforementioned alternate
letterforms, Mae oers numerals in circles and cartridges, a full set of superior and inferior lowercase letters
and numerals, an extensive suite of currency symbols, pointing hands, dierent types of arrows, playing-card
suits, boxes and check marks, and computer symbols.
Mae is the perfect all-in-one typographic solution for tackling even the most complex contemporary design
challenges. It manages to do so without ever drawing attention to itself. Mae asks no questions, has no
demands, and is primed to work hard for you.
Published: May 2023 by Lettermin Type Foundry
Designed by: Ermin Međedović
Assistance on italic and font engineering: Sebastian Carewe
Spacing and kerning: Igino Marini
No of styles: 18
Glyph count per style: 1.125
Available formats: OTF, TTF, WOFF, WOFF2 Variable: TTF, WOFF, WOFF2