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Home > Fonts > Emtype Foundry > Relato Sans

Relato Sans

Relato Sans by Emtype Foundry
Individual Styles from $50.00
Complete family of 12 fonts: $349.00
Relato Sans Font Family was designed by Eduardo Manso and published by Emtype Foundry. Relato Sans contains 12 styles and family package options. More about this family

About Relato Sans Font Family


Relato Sans is the other face of Relato Serif (a typeface with much idiosyncrasy) nevertheless, the sans version of this typeface is more austere and aseptic. A humanistic type, with a contemporary cut, created for general use in texts and holders and with a great variety of weights, which allow enough flexibility for projects of great magnitude. Although leading with an independent family it maintains many of the characteristics of its homologous such as proportions, the “x” height, the construction based on air lines of the italic, ornaments and so on. These details show coherence with the serif version, and at the same time reinforce its personality. Being a multifunctional type, the “kerning” has been worked to function in small sizes as well as in larger ones such as holders. The contrast between weights, was optimized to be used in pairs (Light with Semibold, Regular with Bold and Medium with Black). Relato Sans is presented in 6 different weights, in Roman, Italic, Small Caps and Small Caps Italic with three different styles of numerals, Old style figures, Lining figures and Small Caps figures. 

Designers: Eduardo Manso

Publisher: Emtype Foundry

Foundry: Emtype Foundry

Design Owner: Emtype Foundry

MyFonts debut: Nov 28, 2006

Relato Sans

About Emtype Foundry

Self-taught type designer Eduardo Manso is originally from Argentina but runs his one-man foundry, Emtype, in Barcelona, Spain. “My interest in type design grew gradually,” he said in his 2013 Creative Characters interview. “I think it is unavoidable, when you love fonts and use them in excess, that you eventually cross the line and become a type designer.” Each of Eduardo’s typefaces take a considerable amount of time to mature, and it shows: they are all thoughtful, original and well-wrought. “When you accept that designing a font is a long term activity,” he said, “it all becomes clear. It’s normal to spend several days drawing a ‘g’ or an ‘s,’ and it is also normal that three months later you no longer like it. So, we need time to design, time to leave it in a drawer, time to go back to it and finally time to redraw it over and over.” Several of his designs have been published through ITC, Bitstream, [T-26 ] and Linotype. Rather than responding to passing trends, Emtype publishes fonts that are aimed at enjoying a long shelf-life. One of his most popular typefaces, Geogrotesque, has been on the best sellers list since its 2008 debut. “Geogrotesque was born to answer my own question. I’m really proud of it because it’s simple but has a bit of personality, just enough to be original, but not so much as to be unusable.” An organizer of a major annual get-together for type designers, ATypI, Eduardo is committed to nourishing international typographic culture. “I think that in a globalized world it has become ever more difficult to speak of national identity in matters of design and typography,” he said. “The most important thing that a type designer has is their reputation, so it is better to wait and publish when you are absolutely sure about your typeface. It is the philosophy that I follow now and I believe.”