Strichpunkt Sans

Regular

400

Medium

500

Semi Bold

600

Bold

700

Extra Bold

800

Black

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

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?”

Size128
Weight400
Width100%

Width

font-variation-settings: 'wdth';

Shape

'wdth' 100

Shape

'wdth' 150

Shape

'wdth' 200

Contextual Arrows

font-feature-settings: 'calt';

->->
<-<-
—>—>

Discretionary Ligatures

font-feature-settings: 'dlig';

ffff
fifi
flfl
fjfj

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';

1a1a
2o2o

Case Sensitive Forms

font-feature-settings: 'case';

(A)(A)
[H][H]
¿¡@¿¡@

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