[HN Gopher] Sweden Sans
___________________________________________________________________
Sweden Sans
Author : 2143
Score : 214 points
Date : 2023-07-18 16:43 UTC (6 hours ago)
(HTM) web link (identity.sweden.se)
(TXT) w3m dump (identity.sweden.se)
| joduplessis wrote:
| For a lot of the sections (esp. the Tone of motion section) - I
| have to ask: why?
| themodelplumber wrote:
| Makes a lot of sense to me if you look at the examples, and
| think of all the wacky things people will try to do with video
| because they think they know that branding means "stick the
| logo in the video somewhere".
|
| It's adding consistency to the presentation and harmonizing
| with any accompanying non-motion graphic styles, as you might
| see in a cultural presentation environment with both
| packaging/signage and video or interactive elements for
| example.
| joduplessis wrote:
| I did and, in my opinion, they are far too generic to offer
| any semblance of value in terms of video composition. I'm no
| expert though, so maybe a videographer can chime in - but it
| feels slightly pedantic.
| themodelplumber wrote:
| They're not telling you how to compose a video. They're
| giving you something to compare with as you compose your
| video. Too many other details will emerge, so it's a
| guideline and not a how-to.
|
| And, later, those guidelines give a designer an
| institutionally-bought-in way to talk to someone without
| talking down to them. Refer to the guideline and discuss
| the guideline, not "I'm right, you're wrong." It's not
| meant as purely a technical spec as it may be interpreted
| by more tech-oriented mindsets IOW.
| etiennemarcel wrote:
| France also has its own design system and font (Marianne):
| https://www.systeme-de-design.gouv.fr/elements-d-interface/f...
| nicbou wrote:
| Berlin has Berlin Type
|
| https://wir.berlin/kampagnen/die-typo
| fmajid wrote:
| The UK has GDS Transport, which can only be used on gov.uk
| websites, not even internal UK government websites.
|
| https://design-system.service.gov.uk/styles/typography/
|
| The British government may be an omnishambles, but their
| websites are remarkably clear and readable, specially for an
| aging population with worsening eyesight.
| CSMastermind wrote:
| Building an atlas of these for every country in the world
| seems like a fun project.
| The_Double wrote:
| To add to the list: The Netherlands has "rijksoverheid"
| (government) in sans and serif.
| https://www.rijkshuisstijl.nl/publiek/modules/product/Digita...
| tuukkah wrote:
| The focus is very different though as the Swedish one is a
| brand guide for country marketing purposes while this is for
| developing government services.
| DaveFlater wrote:
| Sweden Sans logically implies America Bold and Italy Italic
| runlaszlorun wrote:
| America... puttin' the comic back into Comic Sans...
| blowski wrote:
| Not Bolivia Bold?
| microtherion wrote:
| Bolivia Underlined
| Telemakhos wrote:
| > America Bold
|
| Sadly, it's Calibri.
| https://www.nytimes.com/2023/01/19/us/politics/state-departm...
| elromulous wrote:
| https://archive.is/7ytlz
|
| I think we hugged it to death.
| cinntaile wrote:
| It's kind of sad that sweden.se can't handle a couple of
| thousand visitors under a short period of time.
| worksonmine wrote:
| It is, my Pi 2 could handle 10,000 req/s and this page could
| easily be cached or even static. What kind of traffic does
| the HN frontpage generate?
| arp242 wrote:
| sweden.se is fine; it's identity.sweden.se that's having some
| problems. This is a really limited site with a target
| audience that's normally in the hundreds, perhaps thousands,
| of developers. It's probably just running on a cheap
| server/VPS somewhere, which is fine almost all of the time.
| KomoD wrote:
| No, it's running on debroome which uses AWS.
| jen729w wrote:
| Sorry, I know HN isn't a support forum, but am I the only one
| who gets "Safari couldn't establish a secure connection" to any
| of the archive.xx sites? It's been happening for ages now.
| [deleted]
| hultner wrote:
| I've been experiencing this intermittently lately as well.
| satysin wrote:
| Are you using Cloudflare's 1.1.1.1 DNS by any chance?
| jen729w wrote:
| No, I use Apple's Private Relay which might route via
| Cloudflare but I've tried it with it turned off and it
| makes no difference.
|
| It must be something in my network path because I just
| tethered to my phone's 4G connection and it works. Odd.
| arjvik wrote:
| Does Cloudflare DNS block it? Or are you proposing
| Cloudflare DNS as a solution?
| satysin wrote:
| It's a long story! https://jarv.is/notes/cloudflare-dns-
| archive-is-blocked/
|
| In short if you use Cloudflare's 1.1.1.1 DNS then some
| archive.is domains won't load so you should perhaps use
| another DNS server.
|
| Edit: Not because 1.1.1.1 is in the wrong it is just what
| the person behind archive.is recommends as he will not be
| changing his position and neither will Cloudflare so it's
| a bit of a stalemate.
| whatgoodisaroad wrote:
| this story does more to persuade me to switch _to_
| 1.1.1.1
| hostcontroller wrote:
| It's the other way around. The site blocks Cloudflare for
| some political reasons that have been mentioned here
| before, but I can't remember what they were.
| Sunspark wrote:
| I love looking at new fonts but from the perspective of book
| readability, this one I feel has the letter spacing too close
| together, and possibly also too narrow letters.
| rickreynoldssf wrote:
| Having lived in Sweden, this font makes me hungry for lingonberry
| and bacon.
| bjoli wrote:
| Cloudberry jam and vanilla ice cream!
| Kon5ole wrote:
| I am fascinated by typography and page design and enjoy reading
| about it, but I have to admit I don't understand how this level
| of pedantry is able to survive.
|
| The amount of documentation and attention to detail spent on
| typefaces and when to use them is often off the charts compared
| to the time spent on stuff like keeping the website running,
| documenting the API or even the basic functionality of the app.
|
| It's like if someone grows oak trees for a century and slices
| veneer from it with a handcrafted blade and soaks it in coconut
| oil for a year before slapping it on a IKEA pulp honeycomb. :)
| at-fates-hands wrote:
| >> I am fascinated by typography and page design and enjoy
| reading about it
|
| You should check out the Netflix series:
|
| Abstract: The Art of Design Episode: Jonathan Hoefler: Typeface
| Design
|
| The guy has some of the most important typefaces. The episode
| does an amazing job detailing his career and how they develop
| new typefaces. His work is literally everywhere and its super
| fascinating some of the misconceptions about type.
| themodelplumber wrote:
| This type of guideline can be extremely helpful in a number of
| ways. People at various levels and with various levels of
| training tend to love to be creative at the expense of huge
| brand campaigns, so the branding design team has to find ways
| to reign in those passions. Technical access is generally much
| more limited for such people than is access to de facto brand
| representation through graphical presentation.
|
| If it's a differential comparison vs. tech then that
| differential should be treated as its own issue, not an issue
| of design guidelines deserving a label like pedantry just
| because something else isn't as well-planned or documented.
| mlsu wrote:
| It is actually amazing how much effort is seemingly expended on
| things like this.
|
| I think it's pretty simple:
|
| - there are a lot of people out there who love obsessing over
| typography
|
| - they want to obsess over typography
|
| - so they invent a purpose for obsessing over typography
|
| I love it, I'm here for it, and I think we should give people
| money for obsessing over typography.
| Kon5ole wrote:
| I suspect you're on to something ;-)
|
| It might also be that people who obsess about typography are
| more inclined to create pretty documents whenever they can.
| API authors and DB designers are maybe less interested in
| making pretty documents, which is why their (at the very
| least equally important work) is often described in a
| readme.txt meant to be read from the terminal in the typeface
| of the reader's choice.
| jacobr1 wrote:
| I've met DBAs, when that role was more common, that
| obsessed over creating ERDs and other data digrams - posted
| them all over the walls. But that was because they wanted
| to do it and were sufficiently empowered. It clearly was
| related to their work, but most other engineers wouldn't
| really have cared if they existed or not.
| imiric wrote:
| I think that's an overly cynical take for the work type
| designers do.
|
| Design in general is highly detail oriented. In interior
| design, there are philosophies about the proper arrangement
| of furniture (feng shui). In visual design the balance of
| colors is crucial, and there are complex theories about the
| best ways to match and offset colors. This is highly
| technical work that might seem overly pedantic to outsiders,
| but really has an established theory about how it impacts the
| viewer.
|
| So is the case with type design. There are infinite
| combinations of shapes and sizes of symbols, and an entire
| science behind how humans interpret characters to form words
| and communicate ideas. Think about how much design went into
| just this paragraph you're reading. A bad type can be tiring
| to read, while a good one can make the words flow off the
| page/screen. As readers, we take this for granted, but a type
| designer needs to take all this into consideration.
|
| Consider the work it takes to design a logotype, and how it
| sometime seems deceptively simple, when in reality it takes a
| keen eye to design a brand logo. Now extrapolate that to all
| letters of all alphabets that a modern type should support,
| and it's no wonder that great type designers deserve all the
| praise and recognition.
|
| So, yes, all these documents are necessary, and explain the
| intent of the designer, or how the user feels the type helps
| with transmitting their message.
| MAGZine wrote:
| It is actually amazing how much effort is seemingly expended
| on things like this.
|
| I think it's pretty simple:
|
| - there are a lot of people out there who love obsessing over
| software
|
| - they want to obsess over software
|
| - so they invent a purpose for obsessing over software
|
| I love it, I'm here for it, and I think we should give people
| money for obsessing over software.
|
| Just because it's simple on the surface does not mean that
| there's a lot that goes into it, or that the details don't
| matter. I feel like what you've written is a little
| reductionist to the hard work people put into designing
| frameworks for communications like this, and how much it can
| help to give voice and unify messaging in intra- and inter-
| institution communication. How do you keep two government
| agencies on the same page wrt to design language? or is it ok
| that one agency likes to produce communications in comic sans
| while the other uses sans and the third uses helvetica?
|
| It's one of those 99% invisible things.
| notatoad wrote:
| i think it's even simpler
|
| - there are not that many people out there who love obsessing
| about typography
|
| - the few that do have figured out that they can make a
| viable business of selling typefaces for slightly less than
| the cost of licencing helvetica
|
| - writing a document like the one linked here makes people
| feel a bit better about cutting a big cheque for a typeface
| agloe_dreams wrote:
| Typographic documentation is for designers generally, but there
| is a world where this can actually help everyone. Designers
| should make consistent designs. By doing this Developers can
| create functional designs systems that have sane default
| behaviors. Once you can get to that point, the system serves to
| reduce the load from the dev, not increase.
|
| I have created a tailwind-based design system interpretation
| like this in the education space at a rather large scale. Our
| designs and our tailwind-config comes from the same spec.
|
| Doing this removes the engineer from thought by reducing
| options and possibilities. It also serves as check and balance.
| Paddings, font-weights, all of it are consistent. Designs that
| deviate from line-height, padding, weights, colors, etc are
| incorrect mocks and our configured values will make it obvious
| to the dev. Code that deviates from the spec is incorrect. This
| requires a good communication flow between Eng and UX but
| actually works in practice.
|
| In a functioning system, it is a weight off your shoulders as
| you end up knowing the defaults just by looking at something.
|
| Might I also remind you, the point of the entire backend of an
| app is to serve the front end. An app with amazing backend
| practices but fails at matching designs or specs is just a
| failure and is noticeable by customers.
| blowski wrote:
| I agree with much of your comment, but take umbrage with:
|
| > the point of the entire backend of an app is to serve the
| front end
|
| It's a phoney argument. Once can just as easily say "the
| whole point of a front end is to provide simple access to the
| backend, rather than doing it via APIs".
|
| The whole system is important.
|
| Some backends have appalling frontends and are still popular.
| The opposite is also true.
| agloe_dreams wrote:
| I was kinda hoping that the OP would counter with that line
| and then I would agree and make exactly your point haha. My
| point was simply that the system is interdependent as
| opposed to the OP's take that the FE consistency doesn't
| matter.
| Kon5ole wrote:
| Good points which I generally agree with, but I still think
| it's common to see a remarkable level of time and effort
| spent on typography compared to even other parts of the
| frontend. Not always, but surprisingly often.
|
| Many companies have these style guides around typography.
| Beautiful, thoughtful, very well made things for sure, yet
| when some backend dev makes a typo so the custom font drops
| to arial or whatever, it can be days before someone notices
| and the ones who notice are the font nerds from marketing.
| Nobody else seems to mind much.
|
| Compare that with what happens if someone misunderstands the
| 20 year old SQL schema and writes the wrong magic string to a
| table. Instant crash, everybody notices immediately. Yet
| database schemas for internal applications tend not to be
| documented in Porsche-brochure-like sites like this Sweden
| Sans is.
|
| How did the typography guys get a voice so strong? Note that
| I don't mind it, I like to see well made things in general,
| but it's puzzling. It's like there is a secret society of
| typography nerds that have spread to all major organisations.
|
| >Might I also remind you, the point of the entire backend of
| an app is to serve the front end. An app with amazing backend
| practices but fails at matching designs or specs is just a
| failure and is noticeable by customers.
|
| Just checked my notes and it turns out that frontend is just
| a temporary fashion-dictated skin over the actually important
| features of the backend! ;-)
| bobthepanda wrote:
| Graphics design manuals predate computers. They were first
| used in the real world, with real physical objects like
| signs, and perhaps the most famous is the London
| Underground, whose font is pretty much synonymous with
| British culture at this point.
| eastof wrote:
| I don't think it's that puzzling. After designing the
| typeface, those same designers have time to sit down and
| write up a fancy brochure for it. Engineers on the other
| hand, have a long list of existing tickets, so the minute
| they fix the broken magic string, there's another fix to
| move on to and no time to write a fancy brochure about the
| SQL schema.
| rhaway84773 wrote:
| The irony, of course, is that codebases would be a lot
| better if developers did sit down at the end of a project
| and wrote high quality documentation for it. Even better
| if they did it while developing the codebase.
|
| Also, this comment is especially ironic on HN where the
| top 10 comments on every Show HN submission will be
| nitpicking about the design of the website or the wording
| used, etc.
| jacobolus wrote:
| > _How did the typography guys get a voice so strong?_
|
| In my opinion the "typography guys" don't have an
| especially stronger "voice" than anyone else. They just do
| a job once, get paid some (relatively small) amount for it,
| and then move on to the next project. At the biggest these
| projects involve a few people working for a year or two.
| Their entire job is about communication, sales, and
| sweating small design details, so it's no wonder they do a
| relatively good job at those.
|
| The amount of work those "20 year old SQL schemas" take,
| once you include every bit of other comparable detail
| across a whole organization, is (at least) thousands of
| times bigger and more complicated. Overall the "code guys"
| have much more resources spent, spend a lot more time, and
| everyone ultimately cares a lot more about their output.
| They are large teams of either long-term employees or long-
| term contractors, whose work never really ends.
|
| In short: Code is a sprawling mess rather than a cutely
| packaged self-contained thing. Unsurprisingly it's harder
| to make sense of at a glance.
| FredPret wrote:
| Because visual people accomplish work by showing people the
| work.
|
| Backend people accomplish work by making systems work.
|
| For that reason you've seen many fonts and many working
| websites, but not as many people showing how they created a
| font or made their website work.
| TylerE wrote:
| > but I still think it's common to see a remarkable level
| of time and effort spent on typography compared to even
| other parts of the frontend
|
| We spend a lot more time reading body text than scrolling
| through menus or fiddling with radiobuttons.
| WorldMaker wrote:
| It is generally different roles of people working on design
| guides like this versus working on documenting an API or other
| "basic functionality". It's not necessarily a zero sum effort
| (and probably often is entirely not) to produce design guides
| and work on other technical requirements at the same time.
|
| Also, design, including and sometimes especially typography,
| _is_ accessibility and is often worth that sort of attention to
| detail for exactly that reason, keeping designs accessible to
| all users. Defining contrasts and visual hierarchy hugely
| influences how accessible something using a design might be.
|
| One specific example I see is the callout in this particular
| example for using much less UPPERCASE text moving forward from
| whatever their previous design language was. This is something
| I know that I've fought designers I've worked with over as an
| accessibility problem they've missed. (It's also something that
| Microsoft went through a huge accidental blow up in very public
| with early "Metro" designs that they had to apologize for and
| then walk back in consequent "Fluent" designs.) In general
| people read word shapes more than individual letters, uppercase
| forms a lot of very similar looking "rectangles" and even for
| readers with no other obvious dyslexia uppercase words are the
| visual equivalent of "speed bumps" in a roadway. They slow
| reading, sometimes to a crawl, and generally just get in the
| way, for _all_ readers. (For dyslexic readers I 've known they
| sometimes are even more "walls" than simply "speed bumps" and
| text entirely in uppercase will completely upset them, if not
| make the content 100% inaccessible to them and they will nope
| out entirely.)
|
| That's an important thing about typography that is easy to
| miss. I've seen so many designs use all uppercase text in
| places simply because it "looks nice" (those "all words create
| about the same sort of rectangular shape" that makes a dyslexic
| viewpoint absolutely hate seeing all uppercase text add a
| regularity and "cleanliness" to design shapes that some
| designers find they love; one person's massive accessibility
| bug is another's aesthetic feature).
| tomalaci wrote:
| We just hugged Sweden to death.
| intothemild wrote:
| Normally any kind of social interaction has the same effect...
| Especially eye contact over a couple seconds.
| glonq wrote:
| Finland says hi. From 3 meters away.
| ComputerGuru wrote:
| Site is barely loading (probably due to being on HN). Here's an
| archive copy: https://archive.is/7ytlz
| roughly wrote:
| Part of me desperately wishes they'd picked a serif font.
| mrintegrity wrote:
| There are quite a few grammatical errors on that page which is
| surprising, as much because of the sites subject as the fact that
| Swedes excel at English
| kdmccormick wrote:
| site's
| sib wrote:
| "page, which"
| [deleted]
| askonomm wrote:
| Not to take away from Sweden, but Estonia also has something like
| this: https://brand.estonia.ee/guidelines/typography/?lang=en
| davee5 wrote:
| Beauty in the eye of the beholder and all, but the Swedish work
| is largely quite pretty and readable where the Estonian
| guidelines are an excellent of what designers do when they can
| get away with it or the client is too compliant / eager to be
| different. (source: am designer)
|
| The intro claims the character of the Estonia brand is "nordic,
| surprising, smart" but the Aino font in particular seems way
| too focused on being surprising at the expense of legibility,
| which certainly diminishes expression of the smart element.
| michaelmior wrote:
| I can't be the only one who finds that the headings are far too
| close to the body text.
| astrolx wrote:
| More recently I found about Finlandica for Finland, quite nice
| too. https://toolbox.finland.fi/brand-identity-and-
| guidelines/fin...
| smlacy wrote:
| Wow, this is really nice looking. Almost monospaced, and could
| easily be tweaked into a really nice looking font for
| programming.
| TazeTSchnitzel wrote:
| I think this is just for some site focussed at promoting Sweden's
| image to foreigners? I don't think I've ever seen this font in
| use in normal communications from the Swedish state, living here
| in Sweden.
|
| I like the Swedish Tax Agency's design language, if it can be
| called that. I don't think they use this Sweden Sans, but I'm not
| sure what they _do_ use.
| ricardobayes wrote:
| It's definitely interesting how countries have their own PR
| these days. And it's working, if you think of a nordic country,
| chances are, Sweden is the first one that comes to mind.
| tuukkah wrote:
| It happens to be the biggest (excluding Greenland).
| Sharlin wrote:
| Biggest by population by a wide margin.
| darkclouds wrote:
| > I think this is just for some site focussed at promoting
| Sweden's image to foreigners?
|
| I did think that myself, certainly a bit of space and
| countryside to enjoy and getting around Sweden doesnt take long
| if you have a motorbike...
|
| https://www.youtube.com/watch?v=qXiIJ32kaZU
|
| Someone on Sweden was saying the Police have to catch you on
| the day to prove you are the driver, but I think I will stick
| to the German autobahns, less moose on the loose.
|
| ghost rider patrik furstenhoff
| mikae1 wrote:
| _> I think this is just for some site focussed at promoting
| Sweden 's image to foreigners?_
|
| It's run by the Swedish Institute.
|
| _> The Swedish Institute is a public agency that builds
| interest and trust in Sweden around the world. We work with
| Sweden promotion, cooperation in the Baltic Sea region and
| global development._ [...] _SI's operations are financed mainly
| through appropriations directly through the state budget. SI
| has approximately 470 million Swedish government funds in four
| areas: international cooperation, international assistance,
| education and university research and business._ [1]
|
| [1] https://si.se/en/about-si/our-mission/
| sakjur wrote:
| I believe Sweden Sans is used as title typeface on the most
| recent national ID-cards and passports.
| astrolx wrote:
| Yep
| rav wrote:
| Sweden using O for 0 is so insensitive towards their fellow
| Scandic neighbors to the west! Such a Swedish thing to do.
| antipaul wrote:
| No italic
| ShadowBanThis01 wrote:
| Crossbars on the capital "i": CHECK
|
| Zero distinguished from capital "o"? CHECK
|
| APPROVED
| mongol wrote:
| > Inspired by the old signages system in Sweden
|
| I am interested in this part. Which signage system does it refer
| to? It does not immediately ring a bell for me.
| jffry wrote:
| I found a Guardian article [1] which quotes one of the people
| involved: "We started to think about how it
| would work with different typefaces, then started mood boards
| with different fonts and pictures - especially of old Swedish
| signs we'd seen from the 1940s and 50s," said Jesper Robinell,
| Soderhavet's head of design.
|
| [1] https://www.theguardian.com/world/2014/nov/14/sweden-sans-
| de...
| mongol wrote:
| I was originally thinking of the old Stockholm subway signage
| typeface. But it does not look similar
|
| https://en.m.wikipedia.org/wiki/Esseltub
|
| https://fontsgeek.com/fonts/Esseltub-Regular
| EastLondonCoder wrote:
| Made by the design agency Soderhavet in Stockholm. More info here
| https://soderhavet.com/work/sweden/
| jamesblonde wrote:
| Soderhavet are not even in Soder - they're on Brunkebergsgatan
| 10, near t-centralen.
| nnnnnande wrote:
| I'd wager that it's a reference to the old Swedish name for
| the Pacific Ocean and not Sodermalm.
| thomashabets2 wrote:
| Soderhavet is the Pacific? But that makes no sense,
| geographically!
| zgluck wrote:
| Being an early adopter sucks.
|
| _In the early 16th century, Spanish explorer Vasco Nunez
| de Balboa crossed the Isthmus of Panama in 1513 and
| sighted the great "Southern Sea" which he named Mar del
| Sur (in Spanish). Afterwards, the ocean's current name
| was coined by Portuguese explorer Ferdinand Magellan
| during the Spanish circumnavigation of the world in 1521,
| as he encountered favorable winds on reaching the ocean.
| He called it Mar Pacifico, which in Spanish, Portuguese
| and Italian means 'peaceful sea'._
|
| (https://en.wikipedia.org/wiki/Pacific_Ocean#Etymology)
| INTPenis wrote:
| Pippi i Soderhavet are my favorite old records from
| childhood. :)
| RandallBrown wrote:
| It's called Sweden Sans, but it appears to have serifs on at
| least some of the letters like lowercase i and l. Am I
| misunderstanding what a serif is? Or am I understanding what sans
| means in this context?
| AtNightWeCode wrote:
| What you are not understanding is how corps are selling fonts.
| The Font is garbage.
| bobbylarrybobby wrote:
| The regular and bold versions probably qualify as slab serifs,
| but the "book" weight is a true sans. (Might be easiest to see
| if you just download the font and look at the OTF files.)
| Zetobal wrote:
| The right term would be Slab Serif.
| giraffe_lady wrote:
| It isn't a strict category like that. It is more like an
| indicator of the general font lineage the designer considers it
| to be in.
|
| But plenty of sans fonts have a handful of serifs, particularly
| on the mistakable chars like l. And especially if they're
| expected to be used in technical contexts or as an "everything
| all the time" font like this one.
| karaterobot wrote:
| Yeah, it looks like there are some slab serifs in there. I
| guess you could generously say that serif and sans-serif are
| handles on either end of what is really a spectrum. It may be
| simpler to call it a sans-serif, because if you called it a
| serif, people would expect it to be more serify.
| themodelplumber wrote:
| There's a lot of wiggle room. Sometimes a font designer will
| even throw in a single serif because hey--this is also an
| emotive art. Or maybe for a specific reason due to the project
| spec.
|
| When I used to teach typography in the 2000s, sometimes
| students would point this out. Or as an example of a beginner's
| lesson, they'd use a font without really examining it, and some
| detail about the font would catch them out later.
|
| It's weird but most people pick fonts without really thinking
| about the font itself, or even reading its name, let alone
| examining it. They are thinking about their design, their
| thoughts & feelings, their message, their amazing design
| opportunity, or whatever.
|
| Skilled designers need to be trained to think about whether
| they're basically hallucinating the purpose of the font, as a
| few seconds of inspection will often make the original purpose
| really obvious. To people who learn how this works, it becomes
| just that obvious why those slab serifs might be in there.
| ChrisArchitect wrote:
| (2014)
|
| Something new here?
| ChrisArchitect wrote:
| More looks from the designer https://so-type.com/custom/sweden-
| sans/
| s-xyz wrote:
| I think its quite good... not just the design but that they apply
| something governmental so thorough and modern.
| omoikane wrote:
| I find it funny that they used Neng Deng san (Noto-san) in the
| example text for Noto Sans. I wonder if that's a reference to
| Neng Deng Ma Mei Zi (Noto Mamiko)?
| bjourne wrote:
| I am Swedish and I've never heard of the Sweden Sans font before.
| The font doesn't look very "Swedish" to me and is completely
| different from the font used on road signage, for example. For
| running text the font doesn't work at all imo.
| fnord77 wrote:
| ultimately derived from Switzerland, the font (Helvetica)
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