Comenia Sans
Comenia Sans	$75.00
Comenia Sans Italic
Comenia Sans Italic	$75.00
Comenia Sans Medium
Comenia Sans Medium	$75.00
Comenia Sans Medium Italic
Comenia Sans Medium Italic	$75.00
Comenia Sans Bold
Comenia Sans Bold	$75.00
Comenia Sans Bold Italic
Comenia Sans Bold Italic	$75.00
Comenia Sans Cond
Comenia Sans Cond	$75.00
Comenia Sans Cond Italic
Comenia Sans Cond Italic	$75.00
Comenia Sans Cond Medium
Comenia Sans Cond Medium	$75.00
Comenia Sans Cond Medium Italic
Comenia Sans Cond Medium Italic	$75.00
Comenia Sans Cond Bold
Comenia Sans Cond Bold	$75.00
Comenia Sans Cond Bold Italic
Comenia Sans Cond Bold Italic	$75.00

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Design Credits

First seen on MyFonts: October 13th, 2008
Designed by: Tomas Brousil
Designed when: 2008
Contained in Category: Legible
Design owned by: Suitcase Type Foundry
MyFonts Keywords: education, humanist, iPod, legible, magazine, narrow, sans-serif, text

Comenia Sans

Comenia Sans was designed in the framework of a unique typographic project for all types of schools. It is a complementary face for Comenia Serif, released by our friends at Storm Type Foundry. Comenia Sans has a lot in common with its serif sister: the height of both upper and lower case, the length of ascenders and descenders, and the general weight. This makes the two perfect partners which work well even when set side by side in a single line of text. Comenia Sans does, however, lack all serifs, ornamental elements and stroke stress variation. All these elements freshen up the feel of long texts, but for shorter texts use, they are not necessary. Despite that, Comenia Sans retains the soft, friendly character of its big sister, as well as a few tiny details which lend it its unique character without compromising legibility or utility.

Open counters give all letters an airy feel and permit enough variation in construction. This is why the face works well even in multiple-page texts. All its letters are easily distinguished from each other, so the reader’s eyes are not strained. Diacritics and punctuation harmonize with both upper and lower case. As usually, all diacritical marks fully respect conventional shapes of accents and they are perfectly suitable for Czech, Slovak, Polish and other Central European languages, where a lot of diacritics abounds.

Similarly to the renaissance italics which refers to the cursive forms, Comenia Sans introduces novel shapes of some characters drawing from the hand-written heritage. This is most apparent in the single-bellied a, the simplified g, and the stem of f which crosses the baseline and ends with a distinct terminal. In the text, emphasized words are thus distinguished not only by the slant of letters, but also by the shapes of the letters themselves. All twelve styles contain set of small caps, suitable for the names, in the indexes or the headlines in longer texts.
Legibility in small sizes under 10 points was at the center of designers' attention, too. This is why the counters of a, e and g are large enough to prevent ink spread in small sizes, both on-screen and in print. After all, the font was specifically optimized for screen use: its sober, simple forms are perfectly fit to be displayed on the computer screen and in other low-resolution devices. When used in the context of architecture, the smoothness of all contours stands out, permitting to enlarge the letters almost without limit.

A standard at the Suitcase Type Foundry, each style of Comenia Sans boasts a number of ligatures, an automatic replacement of small caps and caps punctuation, a collection of mathematical symbols, and several types of numerals which make it easy to set academic and other texts in an organised, well-arranged way. For the same purpose, fractions may come in handy, too.
Apart from the standard emphasis styles, the family also contains six condensed cuts (each set has the same number of characters), designated for situations where space is limited or the need for striking, poster-like effect arises.

Comenia Sans is the ideal choice for the setting of magazines, picture books, and navigation systems alike. Its excellent legibility and soft, fine details will be appreciated both in micro-typography and in poster sizes. Although it was designed as a member of a compact system, it will work equally well on its own or in combination with other high-quality typefaces.

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