Schibsted Grotesk
Regular
Italic
400
Medium
Italic
500
Semi Bold
Italic
600
Bold
Italic
700
Extra Bold
Italic
800
Black
Italic
900
Characters
Schibsted Grotesk was conceived to reconcile the analog newsroom heritage of the Nordic media conglomerate Schibsted—publisher of venerable Scandinavian daily newspapers such as Aftenposten and Aftonbladet—with the operational demands of its expansive digital publishing and marketplace platforms. Designed by Henrik Kongsvoll at the digital design studio Bakken & Bæck in close partnership with Schibsted’s internal brand team, the face was introduced as a bespoke corporate identity before being contributed to the open commons under the SIL Open Font License in 2023. The project sought to avoid the generic corporate blandness of mid-century neo-grotesques, deliberately drawing inspiration from the idiosyncratic early twentieth-century newspaper grotesques that historically announced breaking news across Northern Europe.
Anatomically, the design is structured around a bifurcated optical philosophy that shifts character as it gains mass. In its lighter and regular weights, Schibsted Grotesk functions with quiet utilitarian discipline: it features an ample x-height, wide and hospitable apertures, and subtly thinned stroke intersections that prevent ink and pixel pooling, ensuring uncompromised legibility across small digital screens and dense news feeds. As the variable weight axis progresses toward its bold and black extremes, however, the typeface unlocks a distinct journalistic personality. Stems become broad and muscular, internal counters compress into sharp, wedge-like cavities, and terminals shear cleanly along strict axes, giving words the physical, ink-laden authority of vintage lead-type headlines. Supported by a true italic and covering the comprehensive Underware Latin Plus character set, the family maintains an even, commanding rhythm across both continuous and segmented settings.
This structural versatility firmly defines its functional territory. While its uniform stroke distribution and modern cadence make it an unnatural fit for long-form literary prose or classical book composition, it excels in contemporary editorial and product ecosystems. It thrives in digital journalism, responsive UI navigation, micro-copy, data tables, and high-impact editorial mastheads where hierarchy must pivot instantaneously from quiet information delivery to bold declaration. Within the open catalog, Schibsted Grotesk stands as an exemplary civic and corporate contribution, showing how a media conglomerate can honor its historical printing roots while engineering a sharp, public-domain instrument for the screen.
Words
Questography
difficult waffles
Havana Plywood
Château d’Yquem
Högertrafikomläggningen
hamburgevontpids
Headlines
Regular · 400
Brawny gods just flocked up to quiz and vex him
Regular Italic · 400
Brawny gods just flocked up to quiz and vex him
Medium · 500
Amazingly few discotheques provide jukeboxes
Medium Italic · 500
Amazingly few discotheques provide jukeboxes
Semi Bold · 600
Why shouldn’t a quixotic Kazakh vampire jog barefoot?
Semi Bold Italic · 600
Why shouldn’t a quixotic Kazakh vampire jog barefoot?
Bold · 700
Grumpy wizards make a toxic brew for the jovial queen
Bold Italic · 700
Grumpy wizards make a toxic brew for the jovial queen
Extra Bold · 800
Jackie will budget for the most expensive zoology equipment
Extra Bold Italic · 800
Jackie will budget for the most expensive zoology equipment
Black · 900
Monsieur Jack, vous dactylographiez bien mieux que votre ami Wolf
Black Italic · 900
Monsieur Jack, vous dactylographiez bien mieux que votre ami Wolf
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?”
Standard Ligatures
font-feature-settings: 'liga';
Discretionary Ligatures
font-feature-settings: 'dlig';
Figures
1234567890
Proportional Lining (default)
1234567890
Tabular Lining: 'tnum'
1/2 3/4
Fractions: 'frac'
0
Slashed Zero: 'zero'
H123
Numerators: 'numr'
H123
Denominators: 'dnom'
H123
Superscripts: 'sups'
Ordinals
font-feature-settings: 'ordn';
Case Sensitive Forms
font-feature-settings: 'case';
Loading glyphs…
- Glyph name
- Not available
- Unicode
- Not encoded
- HTML code
- Not available
- CSS code
- Not available