GT Era

Jump to

Family overviewEditable samplesTypeface information
Family overview
  • Display
  • Thin Oblique
  • Light Oblique
  • Regular Oblique
  • Medium Oblique
  • Bold Oblique
  • Heavy Oblique
  • Black Oblique
  • Text
  • Thin Oblique
  • Light Oblique
  • Regular Oblique
  • Medium Oblique
  • Bold Oblique
  • Heavy Oblique
  • Black Oblique
Subfamilies
  • Display Thin
    XVI. Der ästhetische Wert eines Kunstwerks ist abhängig vom Grade der Bestimmtheit der ästhetischen Akzente.
  • Display Thin Oblique
    We should accept nothing as predetermined, as constituted for eternity. Every firmly established, familiar thing can be shifted about and brought under a new and, primarily, unfamiliar order.
  • Display Light
    The stronger the aesthetic experience the more completely will the objective, natural appearance of the object of the experience be annihilated.
  • Display Light Oblique
    They tested materials for qualities such as color, texture, structure, resistance to wear, flexibility, light refraction and sound absorption.
  • Display Regular
    Moholy-Nagy was the first interwar artist to suggest the use of scientific equipment such as the telescope, microscope, and radiography in the making of art.
  • Display Regular Oblique
    Not the single piece of work, nor the highest individual attainment must be emphasized, but instead the creation of the commonly usable type, development toward “standards”.
  • Display Medium
    In 1920, Albers joined the Weimar Bauhaus as a student and became a faculty member in 1922, teaching the principles of handicrafts.
  • Display Medium Oblique
    One should not imagine that these relationships are to be taken literally, and, above all, should not believe that they can determine the compositional idea.
  • Display Bold
    They tested materials for qualities such as color, texture, structure, resistance to wear, flexibility, light refraction and sound absorption.
  • Display Bold Oblique
    XVI. Der ästhetische Wert eines Kunstwerks ist abhängig vom Grade der Bestimmtheit der ästhetischen Akzente.
  • Display Heavy
    One should not imagine that these relationships are to be taken literally, and, above all, should not believe that they can determine the compositional idea.
  • Display Heavy Oblique
    Not the single piece of work, nor the highest individual attainment must be emphasized, but instead the creation of the commonly usable type, development toward “standards”.
  • Display Black
    Even I was gripped by a kind of timidity bordering on fear when it came to leaving “the world of will and idea”, in which I had lived and worked and in the reality of which I had believed.
  • Display Black Oblique
    ERNST MAY, Mitarbeiter KAUFMANN, Frankfurt am Main, Siedlung Praunheim bei Frankfurt am Main (1926)
  • Settings
    Size
Typeface information

GT Era reimagines the warmth and idiosyncrasies of early grotesk typefaces for our own era. These pre-modernist tools were being pushed to their extremes in the radical designs of the modernist movements—like Bauhaus and De Stijl—of the period. The typeface shuns neutrality and embraces friction, championing recognition over uniformity and flavor over conformity.

Download Specimen PDF

Latin-alphabet languages: Afaan, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Asturian, Atayal, Aymara, Azerbaijani, Basque, Belarusian, Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Cornish, Corsican, Creek, Croatian, Czech, Danish, Dawan, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut), Guadeloupean Creole, Gwich’in, Haitian Creole, Hawaiian, Hiligaynon, Hopi, Hungarian, Icelandic, Ido, Igbo, Ilocano, Indonesian, Irish, Istro-Romanian, Italian, Jamaican, Javanese, Jèrriais, Kaingang, Kala Lagaw Ya, Kapampangan, Kaqchikel, Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Kurdish, Ladin, Latin, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, Māori, Marquesan, Megleno-Romanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese Creole, Nahuatl, Ndebele, Neapolitan, Niuean, Noongar, Norwegian, Occitan, Old Icelandic, Old Norse, Oshiwambo, Palauan, Papiamento, Piedmontese, Polish, Portuguese, Q’eqchi’, Quechua, Rarotongan, Romanian,Romansh, Rotokas, Inari Sami, Lule Sami, Northern Sami, Southern Sami, Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Upper and Lower Sorbian, Northern and Southern Sotho, Spanish, Sranan, Sundanese, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Tuvaluan, Tzotzil, Venetian, Vepsian, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zarma, Zazaki, Zulu, Zuni

Typeface features

OpenType features enable smart typography. You can use these features in most Desktop applications, on the web, and in your mobile apps. Each typeface contains different features. Below are the most important features included in GT Era’s fonts:

  • SS01
  • Alternate g
Painting
Typeface Minisite
  • Visit the GT Era minisite to discover more about the typeface family’s history and design concept.