Modulate between three types of italics plus special Beethoven glyphs —

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We’re excited to release the complete package of Synt today, a unitized reimagining of 19th Century “modern” faces for today’s fast-paced world of screens and streaming.

This beautiful font takes its logic and shapes from a typeface used in a 1900 book by influential commercial printer Theodore Low De Vinne and turbo charges them into the future.

Let's gooooooooo 🦇

The full family comes complete with six weights, a mono cut, and not one but three styles of italics: a True Italics, a Slanted variation, and a Turbo Slant for whenever you need to really emphasize something.

It’s also packed with special glyphs and alternates ideal for apps, podcasting, and all spheres of audio culture. Let’s dive in!


16° (but differs in shape)


Synt has been with us for many years, developed and fine tuned by the eyes and mind of team member Kaj Lehmann. We’re proud to release his full family today on the occasion of the launch of the new issue of music magazine zweikommasieben, the pages of which Synt found its first home many moons ago 🥺


In 1900, printer Theodore Low De Vinne classified typefaces with large ball terminals, horizontal serifs, sharply vertical axis, and high stroke contrast as “modern” in his book, The Practice of Typography: Plain Printing Types. Think of other early 20th Century faces ATF Bodoni and the Didone genre at large.

When young Kaj was a student in 2017 reading De Vinne’s words in the ECAL library, he noticed that they were set in a neat “modern” typeface of their own. This unnamed body copy became the starting point for an exploration of modern faces, eventually leading Kaj to Synt’s base structure.

The De Vinne Press Building on 393-399 Lafayette Street in lower Manhattan (you’ll see why that’s important later)


You’ll notice Synt has a particular rhythm. Its unique flow comes from the fact its reference material was a form of unitized type: De Vinne often used metal-cast letters with specified widths to speed up the typesetting process, allowing typesetters to compose justified text by hand quickly.

Synt takes the functional logic of these systems into digital space, celebrating the unitized rhythm as a beautiful design feature in its own right (with the added bonus of translating seamlessly to pixels for hinting).

ASCII-Theo ♡

Kaj used an early version of Synt when designing issue 17 of zweikommasieben. It’s there that our team first spotted the design. I think the hard, constructed vertical lines of the font, as well as the exaggerated slants, suit the club culture publication’s context ;)

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