Crimson Pro

Extra Light

Italic

200

Light

Italic

300

Regular

Italic

400

Medium

Italic

500

Bold

Italic

700

Extra Bold

Italic

800

Black

Italic

900

Characters

Aa
Bb
Cc
Dd
Ee
Ff
Gg
Hh
Ii
Jj
Kk
Ll
Mm
Nn
Oo
Pp
Qq
Rr
Ss
Tt
Uu
Vv
Ww
Xx
Yy
Zz
Åå
Ææ
Çç
Éé
Øø
Ññ
Üü
Žž
1234567890
‘¿?’
“!”
- – —
(&)
[*]
{@}
€£¥$¢
:;,.
<>+÷×=

Crimson Pro began as an effort to thoroughly overhaul one of the early fixtures of libre book typography: Sebastian Kosch's Crimson Text, a design inspired by the Renaissance lineage of Claude Garamond, Robert Granjon, and Jan Tschichold’s twentieth-century interpretation, Sabon. While Kosch’s original captured the humane warmth of classical book faces, its vector geometry and spatial rhythm required structural refinement to meet modern publishing standards. Entrusted to Dutch type designer Jacques Le Bailly (Baron von Fonthausen) and released under the SIL Open Font License, Crimson Pro was completely redrawn from the ground up, emerging not as a minor update, but as a fully realized, scholarly reading instrument.

The anatomy of the letterform is rooted firmly in the Garalde tradition, guided by the organic cadence of the broad-nib pen rather than the geometric precision of the compass. Its strokes exhibit a gentle diagonal stress and moderate modulation, avoiding the optical vibration common to sharper, high-contrast transitional and Didone models. Serifs are subtly cupped along the baseline and softly bracketed, providing a steady footing that carries the reader’s gaze smoothly along the line. Apertures remain hospitably open, interior counters welcome ambient light into dense paragraphs, and terminals on letters like c, f, and r resolve into graceful, teardrop forms. In running text, Crimson Pro weaves an even, warm-grey texture that sits comfortably on both uncoated paper and illuminated screens.

Technically, Le Bailly re-engineered the family into an adaptable variable system with continuous axes for weight and optical size. The optical size axis is particularly vital to its literary utility: at smaller text grades, hairlines are reinforced, spacing is relaxed, and proportions widen to preserve legibility at micro-sizes; at larger display settings, the stroke contrast sharpens and details tighten into a more formal editorial voice. Its true cursive italic departs briskly from the upright roman, rolling forward with fluid entry and exit strokes that provide genuine vocal contrast for citations and dialogue. Furnished with true small capitals, fractions, oldstyle and lining figures, and comprehensive linguistic coverage across extended Latin, Crimson Pro operates as a dependable workhorse for academic monographs, literary journals, and long-form digital essays. Within the open catalog, it stands as a faithful and disciplined continuation of the humanist printing tradition.

Words

Questography

difficult waffles

Havana Plywood

Château d’Yquem

Högertrafikomläggningen

hamburgevontpids

Headlines

Extra Light · 200

Brawny gods just flocked up to quiz and vex him

Extra Light Italic · 200

Brawny gods just flocked up to quiz and vex him

Light · 300

Amazingly few discotheques provide jukeboxes

Light Italic · 300

Amazingly few discotheques provide jukeboxes

Regular · 400

Why shouldn’t a quixotic Kazakh vampire jog barefoot?

Regular Italic · 400

Why shouldn’t a quixotic Kazakh vampire jog barefoot?

Medium · 500

Grumpy wizards make a toxic brew for the jovial queen

Medium Italic · 500

Grumpy wizards make a toxic brew for the jovial queen

Bold · 700

Jackie will budget for the most expensive zoology equipment

Bold Italic · 700

Jackie will budget for the most expensive zoology equipment

Extra Bold · 800

Monsieur Jack, vous dactylographiez bien mieux que votre ami Wolf

Extra Bold Italic · 800

Monsieur Jack, vous dactylographiez bien mieux que votre ami Wolf

Black · 900

Jeg begynte å fortære en sandwich mens jeg kjørte taxi på vei til quiz

Black Italic · 900

Jeg begynte å fortære en sandwich mens jeg kjørte taxi på vei til quiz

Paragraphs

With matted beard, and swathed in a bristling shark-skin apron, about mid-day, Perth was standing between his forge and anvil, the latter placed upon an iron-wood log, with one hand holding a pike-head in the coals, and with the other at his forge’s lungs, when Captain Ahab came along, carrying in his hand a small rusty-looking leathern bag. While yet a little distance from the forge, moody Ahab paused; till at last, Perth, withdrawing his iron from the fire, began hammering it upon the anvil—the red mass sending off the sparks in thick hovering flights, some of which flew close to Ahab. “Are these thy Mother Carey’s chickens, Perth? they are always flying in thy wake; birds of good omen, too, but not to all;—look here, they burn; but thou—thou liv’st among them without a scorch.” “Because I am scorched all over, Captain Ahab,” answered Perth, resting for a moment on his hammer; “I am past scorching; not easily can’st thou scorch a scar.” “Well, well; no more. Thy shrunk voice sounds too calmly, sanely woeful to me. In no Paradise myself, I am impatient of all misery in others that is not mad. Thou should’st go mad, blacksmith; say, why dost thou not go mad? How can’st thou endure without being mad? Do the heavens yet hate thee, that thou can’st not go mad?—What wert thou making there?”

With matted beard, and swathed in a bristling shark-skin apron, about mid-day, Perth was standing between his forge and anvil, the latter placed upon an iron-wood log, with one hand holding a pike-head in the coals, and with the other at his forge’s lungs, when Captain Ahab came along, carrying in his hand a small rusty-looking leathern bag. While yet a little distance from the forge, moody Ahab paused; till at last, Perth, withdrawing his iron from the fire, began hammering it upon the anvil—the red mass sending off the sparks in thick hovering flights, some of which flew close to Ahab. “Are these thy Mother Carey’s chickens, Perth? they are always flying in thy wake; birds of good omen, too, but not to all;—look here, they burn; but thou—thou liv’st among them without a scorch.” “Because I am scorched all over, Captain Ahab,” answered Perth, resting for a moment on his hammer; “I am past scorching; not easily can’st thou scorch a scar.” “Well, well; no more. Thy shrunk voice sounds too calmly, sanely woeful to me. In no Paradise myself, I am impatient of all misery in others that is not mad. Thou should’st go mad, blacksmith; say, why dost thou not go mad? How can’st thou endure without being mad? Do the heavens yet hate thee, that thou can’st not go mad?—What wert thou making there?”

With matted beard, and swathed in a bristling shark-skin apron, about mid-day, Perth was standing between his forge and anvil, the latter placed upon an iron-wood log, with one hand holding a pike-head in the coals, and with the other at his forge’s lungs, when Captain Ahab came along, carrying in his hand a small rusty-looking leathern bag. While yet a little distance from the forge, moody Ahab paused; till at last, Perth, withdrawing his iron from the fire, began hammering it upon the anvil—the red mass sending off the sparks in thick hovering flights, some of which flew close to Ahab. “Are these thy Mother Carey’s chickens, Perth? they are always flying in thy wake; birds of good omen, too, but not to all;—look here, they burn; but thou—thou liv’st among them without a scorch.” “Because I am scorched all over, Captain Ahab,” answered Perth, resting for a moment on his hammer; “I am past scorching; not easily can’st thou scorch a scar.” “Well, well; no more. Thy shrunk voice sounds too calmly, sanely woeful to me. In no Paradise myself, I am impatient of all misery in others that is not mad. Thou should’st go mad, blacksmith; say, why dost thou not go mad? How can’st thou endure without being mad? Do the heavens yet hate thee, that thou can’st not go mad?—What wert thou making there?”

Size128
Weight400

Standard Ligatures

font-feature-settings: 'liga';

ffiffi
flfl

Discretionary Ligatures

font-feature-settings: 'dlig';

fjfj
ThTh
fijfij

Figures

1234567890

Proportional Lining (default)

1234567890

Tabular Lining: 'lnum', 'tnum'

1234567890

Proportional Oldstyle: 'onum'

1234567890

Tabular Oldstyle: 'onum', 'tnum'

1/2 3/4

Fractions: 'frac'

H123

Numerators: 'numr'

H123

Denominators: 'dnom'

H123

Subscripts: 'subs'

H123

Scientific Inferiors: 'sinf'

H123

Superscripts: 'sups'

Ordinals

font-feature-settings: 'ordn';

3a3a
4o4o
No.No.

Stylistic Sets

font-feature-settings: 'ss--';

jj

'ss01' · Italic

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