Tenorite by Erin McLaughlin and Wei Huang. 'After years of Calibri — known for soft corners and narrow proportions — we were craving something very round, wide and crisp, and the geometric genre felt like the right direction,' say the duo. Courtesy Microsoft
Bierstadt by Steve Matteson. 'In today’s world, I believe a grotesque typeface’s voice needs a bit of a human touch to feel more approachable and less institutional. Bierstadt’s systematic design contains organic touches to help humanise digital environments and soften the regimented order of grid typography,' says Matteson. Courtesy Microsoft
Seaford by Tobias Frere-Jones, Nina Stossinger, and Fred Shallcrass. 'At the start there was just a broad description of a personality — comfortable, warm, inviting, animated — so we began by studying the overall movement of old-style serifed faces. We hoped to create the same, familiar kind of warmth, but without the serifs,' says Frere-Jones. Courtesy Microsoft
Grandview by Aaron Bell. 'Grandview, preserves the voice of the original and works exceptionally well for long-form text settings. I’m excited to see how the community engages with it, particularly because the mechanical style of the (German Industrial Standard) DIN is popular across a wide range of design implementations, from data visibility and gaming to document settings. I can’t wait,' says Bell. Courtesy Microsoft
Skeena by John Hudson and Paul Hanslow. 'I’m proud that Skeena respectfully nods towards type-forms of the 20th century while adding a touch of unfamiliarity. It’s a contemporary typeface that gently subverts expectations without polarising the wonderful humanist san serifs that came before it,'' says Hanslow. Courtesy Microsoft
Tenorite by Erin McLaughlin and Wei Huang. 'After years of Calibri — known for soft corners and narrow proportions — we were craving something very round, wide and crisp, and the geometric genre felt like the right direction,' say the duo. Courtesy Microsoft
Bierstadt by Steve Matteson. 'In today’s world, I believe a grotesque typeface’s voice needs a bit of a human touch to feel more approachable and less institutional. Bierstadt’s systematic design contains organic touches to help humanise digital environments and soften the regimented order of grid typography,' says Matteson. Courtesy Microsoft
Seaford by Tobias Frere-Jones, Nina Stossinger, and Fred Shallcrass. 'At the start there was just a broad description of a personality — comfortable, warm, inviting, animated — so we began by studying the overall movement of old-style serifed faces. We hoped to create the same, familiar kind of warmth, but without the serifs,' says Frere-Jones. Courtesy Microsoft
Grandview by Aaron Bell. 'Grandview, preserves the voice of the original and works exceptionally well for long-form text settings. I’m excited to see how the community engages with it, particularly because the mechanical style of the (German Industrial Standard) DIN is popular across a wide range of design implementations, from data visibility and gaming to document settings. I can’t wait,' says Bell. Courtesy Microsoft
Skeena by John Hudson and Paul Hanslow. 'I’m proud that Skeena respectfully nods towards type-forms of the 20th century while adding a touch of unfamiliarity. It’s a contemporary typeface that gently subverts expectations without polarising the wonderful humanist san serifs that came before it,'' says Hanslow. Courtesy Microsoft
Tenorite by Erin McLaughlin and Wei Huang. 'After years of Calibri — known for soft corners and narrow proportions — we were craving something very round, wide and crisp, and the geometric genre felt like the right direction,' say the duo. Courtesy Microsoft
Goodbye, Calibri: Microsoft to choose new default font from five options
After almost 15 years as the default font for all-things Microsoft, Calibri will be retired as the go-to typeface after taking over from Times New Roman in 2007