Strichpunkt Sans
Regular
400
Medium
500
Semi Bold
600
Bold
700
Extra Bold
800
Black
900
Characters
Strichpunkt Sans originated within the Berlin and Stuttgart studios of the German branding agency Strichpunkt, drafted initially as a core element of the agency’s visual identity before being released as an open-source typographic asset. Rooted in the disciplined tradition of German corporate typography, Strichpunkt Sans was conceived to navigate the boundary between systematic functionalism and contemporary editorial character, providing a sturdy, multi-channel voice across digital platforms, identity systems, and print collateral.
Anatomically, the design is built upon the rational chassis of the European neo-grotesque, yet it avoids the absolute neutrality that often flattens the genre. The proportions are balanced and upright, anchored by an ample x-height and compact ascenders and descenders that allow lines to sit cleanly within tightly packed interface modules or multi-line headlines. Its apertures remain open and light-filled, preventing character chambers in glyphs like c, e, and s from filling in at micro-scales. Terminals are sheared with crisp, horizontal precision, reinforcing an orderly, architectural silhouette. True to the agency’s namesake—Strichpunkt being the German term for semicolon—the punctuation marks and accents are drawn with deliberate graphic clarity, providing distinct, rhythmically sharp pauses throughout the line. In continuous text, it casts an even, neutral grey, maintaining legibility without calling undue attention to individual character quirks.
Across its weight spectrum, Strichpunkt Sans shifts smoothly between utilitarian text setting and structural display duties. In its lighter and regular weights, it behaves with the measured reserve required of body copy, technical presentations, and user interfaces; in its bolder iterations, the stroke mass expands outward while keeping the internal counters defined, lending headlines a firm, graphic presence. While its contemporary, low-contrast construction makes it less suited to classical book typography or immersive literary prose, it operates with dependable precision across branding systems, exhibition collateral, wayfinding, and responsive digital layouts. Within the open catalog, Strichpunkt Sans stands as a clean, capable instrument, demonstrating how agency-driven corporate design can yield adaptable, public-domain typography.
Words
Questography
difficult waffles
Havana Plywood
Château d’Yquem
Högertrafikomläggningen
hamburgevontpids
Headlines
Regular · 400
Brawny gods just flocked up to quiz and vex him
Medium · 500
Amazingly few discotheques provide jukeboxes
Semi Bold · 600
Why shouldn’t a quixotic Kazakh vampire jog barefoot?
Bold · 700
Grumpy wizards make a toxic brew for the jovial queen
Extra Bold · 800
Jackie will budget for the most expensive zoology equipment
Black · 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?”
Width
font-variation-settings: 'wdth';
'wdth' 100
'wdth' 150
'wdth' 200
Contextual Arrows
font-feature-settings: 'calt';
Discretionary Ligatures
font-feature-settings: 'dlig';
Figures
1234567890
Lining (default)
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';
Case Sensitive Forms
font-feature-settings: 'case';
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