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Gamuth Sans

Styles

ExtralightBuy from €70Extralight ItalicBuy from €70LightBuy from €70Light ItalicBuy from €70RegularBuy from €70ItalicBuy from €70MediumBuy from €70Medium ItalicBuy from €70BoldBuy from €70Bold ItalicBuy from €70BlackBuy from €70Black ItalicBuy from €70

Specimen

Robotic scanners Digital publishing
In the digital age, robotic scanners are playing a crucial role in transforming the publishing industry. These high-tech devices, combining artificial intelligence and automation, enable the rapid and efficient digitization of countless pages of books, documents, and archives, thus facilitating access to information and preserving our cultural heritage.
In summary, the integration of robotic scanners into digital publishing is revolutionizing the way we preserve, access, and share knowledge. By harnessing the power of automation and artificial intelligence, we are paving the way for a more connected and informed world, where the treasures of our literary and historical heritage are just a click away.
Robotic scanners also enhance the accuracy of text recognition through advanced OCR (Optical Character Recognition) software. This ensures that digitized texts are searchable and editable, improving the usability and accessibility of digital content. Researchers, students, and enthusiasts can easily find and utilize information that was previously buried in physical volumes.
p_[dmath*] Steadiness \left(x_{A})
p_[dmath*] Steadiness \left(x_{A})
“In the electric age, the global village replaces the linear world of print.”
The concept of the medium as the message becomes even more poignant in this context. In the electric age, it is not the content of the message that holds the transformative power, but the medium itself. The very form of electronic communication—its speed, its reach, its interactivity—alters our perceptions and social structures. This media environment demands a reconfiguration of our sensory priorities, compelling us to adapt to a world where the boundaries between the physical and the virtual, the individual and the collective, are constantly shifting.
As we navigate this new terrain, we encounter both the promise and the peril of our interconnectedness. The potential for enhanced understanding and empathy is vast, yet so too is the risk of superficiality and disconnection. In the global village, the immediacy of communication can lead to a shallow engagement with ideas, as the relentless pace of information flow leaves little room for deep reflection. The challenge lies in finding balance—embracing the connectivity of the electronic age while preserving the depth and rigor of the typographic legacy.
The journey of discovery in the typographic age was fundamentally solitary endeavor, marked by the meticulous accumulation of knowledge and the gradual unveiling of hidden truths. The printed page, with its fixed and immutable content, served as both the medium and the repository of human understanding. Each book was a treasure trove of insights, carefully curated and preserved, awaiting the diligent scholar to unlock its secrets. This linear pursuit of knowledge, while fostering depth and rigor, also imposed limitations on the speed and breadth of discovery.
AaYy HhGg
This shift from the fixed to the fluid reshapes our sensory balance, fostering a new kind of tribalism where the global village supersedes the solitary reader. The medium, no longer constrained by the rigidity of the page, becomes an extension of our central nervous system, propelling us into a realm where information is not merely received but experienced in a synesthetic fusion of sight, sound, and touch. In this context, the typographic man, once defined by his linear logic and sequential thought, is transformed into an active participant in the creation and dissemination of knowledge, heralding a new epoch of communal cognition and interconnected consciousness.
Constancy:Reliability
Constancy:Reliability
Constancy:Reliability
Linear Logic Medium Print Culture Sensory Perception
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n°9 678
Gamuth Sans Chinese support is powered by FZFangJunHeiS (Founder Type).
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Adjust Chasing Grown Builders
Gamuth Sans Korean support is powered by Sandoll Gothic (Sandoll).

Information

Design

Max Esnée

Release Date

2024-09-03

Team

Jean-Baptiste Levée
Arthur Schwarz
Léa Bruneau
Charly Derouault
Igino Marini

Version

1.001

Awards & distinctions

Hiii Typography Bronze Award 优异奖 2023
Download PDF Specimen

About this font

Gamuth Sans is part of the , a type polyptych by .
Gamuth Sans updates humanist warmth with rational precision. This contemporary reimagining of Franco-Dutch inscriptional typefaces maintains the organic quality of man-made letterforms, denuded of excess softness. Agnostically specific, Gamuth Sans delivers information with a tone of kind seriousness, balancing clarity and approachability.
When the seriffed and font families were first released, they were designed for content-rich print and screen applications such as news publications and websites. The all-new Gamuth Sans is built for low-key UI applications like navigation elements, forms, and text collaterals. Ideal for presenting complex data, Gamuth Sans offers various styles and weights that allow for easy content hierarchization.
The typeface is economical, maintaining clarity at smaller sizes with clear letter shapes and generous spacing. As a multiplexed typeface, all styles and weights of Gamuth Sans can be interchanged without affecting copyfitting, as all fonts share the same metrics. Last-minute formatting changes, such as bolding a sentence, swapping weights, or italicizing quotes, have no impact on the layout.
For UI applications, this means rollover and hover effects on buttons do not reflow, providing more predictable interactions. It also facilitates fluid visual parsing of data tables, making it especially convenient for interactive web applications and interesting graphic design projects.
Gamuth Sans sits well in the vast Gamuth font family. From ExtraLight to Black, in both Roman and Italics, the 12 styles of Gamuth Sans get the message across in a rational fashion.
Gamuth Sans CJK support is powered by FZFangJunHeiS (Founder Type), Sandoll Gothic (Sandoll).

Formats

Static (OTF, TTF, WOFF, WOFF2)

Language support

Acheron, Achinese, Acholi, Afar, Afrikaans, Alekano, Aleut, Amahuaca, Amarakaeri, Amis, Anaang, Andaandi, Dongolawi, Anuta, Ao Naga, Aragonese, Arbëreshë Albanian, Arvanitika Albanian, Asháninka, Ashéninka Perené, Asu (Tanzania), Atayal, Balinese, Bari, Basque, Batak Dairi, Batak Karo, Batak Mandailing, Batak Simalungun, Batak Toba, Bemba (Zambia), Bena (Tanzania), Bikol, Bislama, Borana-Arsi-Guji Oromo, Bosnian, Breton, Buginese, Candoshi-Shapra, Caquinte, Caribbean Hindustani, Cashibo-Cacataibo, Catalan, Cebuano, Central Aymara, Central Kurdish, Chamorro, Chavacano, Chiga, Chiltepec Chinantec, Chokwe, Chuukese, Cimbrian, Cofán, Congo Swahili, Cook Islands Māori, Cornish, Corsican, Creek, Crimean Tatar, Croatian, Czech, Danish, Dehu, Dutch, Eastern Arrernte, Eastern Oromo, Embu, English, Ese Ejja, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gagauz, Galician, Ganda, Garifuna, Ga’anda, German, Gheg Albanian, Gilbertese, Gooniyandi, Gourmanchéma, Guadeloupean Creole French, Gusii, Haitian, Hani, Hiligaynon, Ho-Chunk, Hopi, Huastec, Hungarian, Icelandic, Iloko, Inari Sami, Indonesian, Irish, Istro Romanian, Italian, Ixcatlán Mazatec, Jamaican Creole English, Japanese, Javanese, Jola-Fonyi, K'iche', Kabuverdianu, Kala Lagaw Ya, Kalaallisut, Kalenjin, Kamba (Kenya), Kaonde, Karelian, Kashubian, Kekchí, Kenzi, Mattokki, Khasi, Kikuyu, Kimbundu, Kinyarwanda, Kituba (DRC), Kongo, Konzo, Kuanyama, Kven Finnish, Kölsch, Ladin, Ladino, Latgalian, Ligurian, Lithuanian, Lombard, Low German, Lower Sorbian, Luba-Lulua, Lule Sami, Luo (Kenya and Tanzania), Luxembourgish, Macedo-Romanian, Makhuwa, Makhuwa-Meetto, Makonde, Makwe, Malagasy, Malaysian, Maltese, Mandinka, Mandjak, Mankanya, Manx, Maore Comorian, Maori, Mapudungun, Marshallese, Matsés, Mauritian Creole, Meriam Mir, Meru, Minangkabau, Mirandese, Mohawk, Montenegrin, Munsee, Murrinh-Patha, Mwani, Mískito, Naga Pidgin, Ndonga, Neapolitan, Ngazidja Comorian, Niuean, Nobiin, Nomatsiguenga, North Ndebele, Northern Kurdish, Northern Qiandong Miao, Northern Sami, Northern Uzbek, Norwegian, Nyanja, Nyankole, Occitan, Ojitlán Chinantec, Orma, Oroqen, Palauan, Paluan, Pampanga, Papantla Totonac, Papiamento, Pedi, Picard, Pichis Ashéninka, Piemontese, Pijin, Pintupi-Luritja, Pipil, Pohnpeian, Polish, Portuguese, Potawatomi, Purepecha, Quechua, Romanian, Romansh, Rotokas, Rundi, Rwa, Samburu, Samoan, Sango, Sangu (Tanzania), Saramaccan, Sardinian, Scottish Gaelic, Sena, Seri, Seselwa Creole French, Shambala, Shawnee, Shipibo-Conibo, Shona, Sicilian, Silesian, Slovak, Slovenian, Soga, Somali, Soninke, South Ndebele, Southern Aymara, Southern Qiandong Miao, Southern Sami, Southern Sotho, Spanish, Sranan Tongo, Standard Estonian, Standard Latvian, Standard Malay, Sundanese, Swahili, Swati, Swedish, Swiss German, Tagalog, Tahitian, Taita, Tedim Chin, Tetum, Tetun Dili, Tiv, Tok Pisin, Tokelau, Tonga (Tonga Islands), Tonga (Zambia), Tosk Albanian, Tsonga, Tswana, Tumbuka, Turkish, Turkmen, Tzeltal, Tzotzil, Uab Meto, Ume Sami, Upper Guinea Crioulo, Upper Sorbian, Venetian, Veps, Võro, Walloon, Walser, Wangaaybuwan-Ngiyambaa, Waray (Philippines), Warlpiri, Wayuu, Welsh, West Central Oromo, Western Abnaki, Western Frisian, Wik-Mungkan, Wiradjuri, Wolof, Xhosa, Yanesha', Yao, Yapese, Yindjibarndi, Yucateco, Zapotec, Zulu, Záparo

About the designers

  • Max Esnée

    Designer

    Max Esnée is a type designer and web developer who is passionate about the blend of creativity and technical skills.
    View full profile

Glyphs

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OpenType Features

Production Type ships OpenType fonts with built-in features such as ligatures, alternates, or pictograms. Here are some of the most important features. To view a comprehensive list of features, please refer to the PDF specimen.

Case-Sensitive Forms

[CASE-SENSITIVE] !¡?¿-–—()[]{}‹›«»· ­

off

Standard Ligatures

fichier flicker affliger ­

off

Slashed Zero

0123456789 ­

off

Lining Figures

H0123456789 ­

off

Proportional Figures

H0123456789 ­

off

Oldstyle Figures

H0123456789 ­

off

Tabular Figures

H0123456789 ­

off

Superscript

H012345679 ­

off

Scientific Inferiors

H012345679 ­

off

Numerators

H012345679 ­

off

Denominators

H012345679 ­

off

Fractions

1/4 1/2 3/4 ­

off

Ordinals

2a 2o No. ­

off

Stylistic Set 1

012345678910 ­

off

Stylistic Set 2

012345678910 ­

off

Stylistic Set 3

<>+−×÷=± ­

off

Stylistic Set 4

abcdef ­

off

Pair well with Gamuth Sans

  • Gamuth Sans Bold

    Useful type with an edge.

    Gamuth Text Regular

    Creates versatile, expressive, and functional fonts

  • Gamuth Sans Extralight

    Useful type with an edge.

    Gamuth Display Black

    Creates versatile, expressive, and functional fonts

  • Gamuth Sans Regular

    Useful type with an edge.

    Super Castel Light Italic

    Creates versatile, expressive, and functional fonts

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Discover the Gamuth family

  • Gamuth Text

    12 styles: ExtraLight, ExtraLight Italic, Light, Light Italic, Regular, Italic, Medium, Medium Italic, Bold, Bold Italic, Black, Black Italic

  • Gamuth Display

    12 styles: ExtraLight, ExtraLight Italic, Light, Light Italic, Regular, Italic, Medium, Medium Italic, Bold, Bold Italic, Black, Black Italic

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    Useful type with an edge.

    Useful type with an edge.

    Production Type provide retail as well as dedicated creative services in typeface design for brands.

    Based in Paris and Shanghai, Production Type is a digital type design agency. Its activities span from the exclusive online distribution of its retail type for design professionals, to the creation of custom typefaces for the industrial, luxury, and media sectors.
    Enquire about custom fonts