Schibsted Grotesk

Regular

Italic

400

Medium

Italic

500

Semi Bold

Italic

600

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
‘¿?’
“!”
- – —
(&)
[*]
{@}
€£¥$¢
:;,.
<>+÷×=

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?”

Size128
Weight400

Standard Ligatures

font-feature-settings: 'liga';

ffff
fifi
flfl
ffiffi
fflffl

Discretionary Ligatures

font-feature-settings: 'dlig';

fijfij
ffijffij

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';

No.No.

Case Sensitive Forms

font-feature-settings: 'case';

(H)(H)
¿¡¿¡
«A»«A»

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