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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!

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 🥺

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.

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).

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 ;)