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    Similar to Akzidenzgrotesk condensed®

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    Bistecca AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvXxYyZz1234567890 AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvXxYyZz1234567890 
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    Bistecca is a condensed serif font.
    Highly readeable, it was created for headlines, captions and stylish text blocks.
    Bistecca • 1 styles
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    Mira AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvXxYyZz1234567890 AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvXxYyZz1234567890 
    Mira Confundo is a typeface inspired by one of the most extraordinary artifacts of Renaissance calligraphy: the Mira Calligraphiae Monumenta, a 16 century calligraphic model book created by Georg Bocksay, secretary to the Holy Roman Emperor Ferdinand I. While the manuscript is now known equally for the lavish illuminations added decades later by Joris Hoefnagel, its original purpose was entirely calligraphic, a tour de force of penmanship [...]

    Mira Confundo is a typeface inspired by one of the most extraordinary artifacts of Renaissance calligraphy: the Mira Calligraphiae Monumenta, a 16 century calligraphic model book created by Georg Bocksay, secretary to the Holy Roman Emperor Ferdinand I. While the manuscript is now known equally for the lavish illuminations added decades later by Joris Hoefnagel, its original purpose was entirely calligraphic, a tour de force of penmanship designed to demonstrate the breadth of Bocskay's virtuosity and stylistic range.

    Cosimo Lorenzo Pancini was inspired by the design of the letters appearing in folio 96, whose vertical strokes are fractured by a subtle diagonal cut, producing a saw-tooth rhythm that breaks the traditional Gothic flow and replaces it with a visual pulse: a zig-zag heartbeat that animates the text. This vibrant internal tension was captured into a typeface: Mira Confundo.

    Inheriting Bocksay's eclectic influences, Mira Confundo fuses three typographic logics into a cohesive digital system. The uppercase letters follow Roman capital proportions, yet incorporate diagonal incisions, fractures, or gestural terminals that echo calligraphic dynamics while the lowercase combine textura-based modularity with chancery fluency. Though at first glance the letterforms may appear obscure or even cryptic, Mira Confundo is not designed for ease, but to invite the reader not to linger in its inner rhythms and hidden geometries. 

    Mira Confundo is suited for display contexts where typographic expressivity is key: editorial headlines, book covers, visual poetry, historical reinterpretation, or typographic experiments that require a voice that is simultaneously ancient and unfamiliar. The name Confundo evokes not confusion, but mixture, complexity, interweaving. Like Bocskay himself, Mira Confundo does not choose one tradition over another: it inhabits the tension between classical and calligraphic, Roman and Gothic, printed and written.
    Mira • 1 styles
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    Aragorn AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvXxYyZz1234567890 AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvXxYyZz1234567890 
    [...]
    Aragorn • 13 styles + variable
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    Codec Pro AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvXxYyZz1234567890 AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvXxYyZz1234567890 
    Codec Pro ME is an extended version of the Codec Pro typeface, offering full support for Arabic and Hebrew scripts. Based on the original 2017 design, it retains the wide weight range and rich OpenType features of the original. The Middle Eastern extension was developed with Oded Ezer (Hebrew) and Omaima Dajani (Arabic), aiming to bridge cultures through a unified, inclusive typographic design. [...]

    Codec Pro ME is an extended version of the Codec Pro typeface, offering full support for Arabic and Hebrew scripts. Based on the original 2017 design, it retains the wide weight range and rich OpenType features of the original. The Middle Eastern extension was developed with Oded Ezer (Hebrew) and Omaima Dajani (Arabic), aiming to bridge cultures through a unified, inclusive typographic design.

     
    Codec Pro • 10 styles + variable
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    These typefaces are defined by condensed and ultra-condensed grotesque sans-serifs, designed primarily for headlines, posters, and advertising where maximum impact had to be achieved within narrow column widths. Their aesthetic emphasizes compressed proportions, heavy vertical emphasis, closed apertures, and minimal contrast, creating a dense, urgent rhythm that embodies the mid-20th century idea of “economical typography.” The genealogy begins with Commercial-Grotesk (Haas, 1940), a stripped-down grotesque derived from earlier German models. In 1954, Walter Haettenschweiler reinterpreted this model as Schmalfette Grotesk, a compact poster face published in Lettera 1. This design, with its powerful bold strokes and absence of lowercase, became a prototype for condensed display grotesques. Adaptations soon followed in phototype catalogs, notably by Photoscript and Photo-Lettering. The 1960s–70s marked the international spread of this style: Folio Condensed (1956–64), Helvetica Condensed/Inserat (1960s), and Akzidenz-Grotesk Condensed provided Swiss and German standards, while British and American designers offered Compacta (Letraset, 1963), Impact (Geoffrey Lee, 1965), and Permanent Headline (1964). These fonts answered the needs of editorial design, tabloid newspapers, and commercial advertising, giving headlines a sense of urgency and authority. During the same period, poster designers like Emil Ruder and Ernst Keller promoted ultra-condensed sans serifs in teaching at the Basel school, leading to Ruder-Schrift and Plakatschrift Didot—educational yet influential designs for modernist layouts. Aldo Novarese’s Metropol (1966) offered an Italian equivalent, later revived as Press Gothic. The digital era both canonized and expanded the style. Microsoft bundled Haettenschweiler with Windows in the 1990s, while Impact became ubiquitous through its inclusion in Office. Contemporary revivals such as Druk Condensed (Commercial Type, 2014), Tusker Grotesk (2018), and Sharp Grotesk (2016) systematized the genre with multi-width, multi-weight superfamilies. Variable technologies allowed extremes from ultra-condensed to expanded, reviving the condensed grotesque as a living system rather than a static headline font. Today, these typefaces remain emblematic of Swiss modernism, tabloid visual culture, and corporate efficiency, bridging historical poster wood types, postwar commercial grotesques, and contemporary editorial branding.

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