While Eastman Compressed and Eastman Condensed behave as space-saving condensed families, Eastman Grotesque adapts the family design style to humanist proportions. The original wide weight range has been complemented with three more additional widths, to give you maximum control over the appearance of text in your page. Symphonie Grotesque is the work of Frode Helland, a type designer from Norway.ĭesigned in 2020 for Zetafonts by Francesco Canovaro and Andrea Tartarelli with help from Solenn Bordeau and Cosimo Lorenzo Pancini, the original Eastman typeface family was conceived as a geometric sans workhorse family developed for maximum versatility both in display and text use. It will surely also come into good use in design for galleries and publications about contemporary art. 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. Symphonie Grotesque is a family of neo-Grotesque-style sans serif fonts.
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