Swedish Gothic is hard to explain. Because Sweden doesn’t really have a typographic history of its own to lean on, we can mine any tradition, embrace any style, and make it our own. Swedish Gothic is the epitome of this investigative attitude: finding something new in the old. Or something old in the new. Its design was sparked by a persistent crush for Otl Aicher’s seminal typefaces. During its development, Swedish Gothic picked up cues from various other iconic European sans serifs and from American Gothics too, but it ultimately found its own voice. Stylistic Sets allow the user to toggle between the two flavours and have Swedish Gothic cross the Atlantic with a simple click. With its narrow letterforms, open apertures and large x-height, it is a space-saving sans that can handle adverse conditions.

Ivar began with the idea of creating a serif companion for Siri. During its development, it became apparent that typographic siblings don’t necessarily need to have a uniform design. After three years of drawing and perfecting the letterforms, the only shared characteristics that remain are the shapes of the terminals.

The road to making a typeface is often forked, where two clear paths lead to two different results. Mikro is that diverging path. Where Trim is cut from a grotesque, Mikro takes on the geometric sans. Where Trim places letters squarely in a pixel-grid, Mikro steps out of bounds when seen fit.