Effra’s impressive design ancestry can be traced back to one of the earliest sans serif typeface designs, but its modern outlook, clean lines, and open character shapes make it a supremely flexible family that has become a contemporary design favourite.
Named after the river that runs through Brixton, the area of London that Dalton Maag calls home, Effra takes its inspiration from Caslon Junior, one of the earliest sans serif font designs, but is fully refreshed and refined for contemporary use. By drawing on an iconic piece of design history, Effra has a distinct personality that embraces its heritage while also sitting firmly in the digital age – an approach that earned it a Red Dot Design Award.
Effra’s characters hint at a geometric basis with rounded shapes, but subvert it with soft, humanist details. These give the font family a warmth rarely found in more sober sans serif designs. They also provide increased legibility, making Effra a perfect choice for communicating with an open, fresh, and friendly tone of voice which is equally at home in large headlines or small body copy.
Originally conceptualized by Jonas Schudel, Effra has been constantly updated since its release, most recently in 2022 when all of its writing systems were upgraded and expanded to variable font format. Effra’s wide weight range, from Hairline to Black with matching Italics, supports over 130 languages which use the Arabic, Cyrillic, Greek, and Latin writing systems.
Effra is also available as a variable font, for use in compatible software. All nine static weights from Hairline to Black, their matching italics, plus all of the weights in between, in a single compact file, allowing for maximum expression with minimal overhead, ideal on the web.
Nhà thiết kế: Jonas Schudel, Azza Alameddine, Hanna Donker, Fabio Haag, Ben Jones, Samir Reis, José Solé
Nhà phát hành: Dalton Maag
Việt hóa: STYLEno.1 Fonts
Mua bản gốc nếu sử dụng cho mục đích thương mại từ Dalton Maag
Bản Việt hóa cung cấp cho mục đích sử dụng cá nhân dưới hình thức trả phí.
