Vollkorn
Regular
Italic
400
Medium
Italic
500
SemiBold
Italic
600
Bold
Italic
700
ExtraBold
Italic
800
Black
Italic
900
Characters
Vollkorn was cast into the world not as an aristocratic indulgence or a fragile facsimile of antiquity, but as an honest loaf of whole-grain bread for daily reading. First released in 2005 by German designer Friedrich Althausen—initially drafted during his studies at the Bauhaus-Universität Weimar and shared freely with the reading public under an open license—the typeface takes its name from the German term for whole wheat (Vollkorn). Althausen’s ambition was deliberate, unpretentious, and deeply humane: to forge a hearty, dependable text face capable of nourishing continuous prose across both the uneven grain of cheap paper and the coarse, jagged pixels of the early web. Long before the open-source type movement gathered institutional momentum, Vollkorn stood as an early, steadfast beacon of the typographic commons.
The anatomy of the letterform is distinguished by its grounded, physical constitution. Where historical book types often risk appearing brittle or frail when subjected to the harsh backlighting of digital monitors, Vollkorn plants its feet with resolute certainty. Its serifs are heavy, wedge-like, and generously bracketed, carving out a decisive, rhythmic footing along the baseline that gathers words into a stable, forward-moving cadence. The stroke modulation reflects the firm pressure of a broad-edged pen rather than the clinical geometry of the compass, casting an unusually rich, dark color across the page without ever turning leaden. Wide, hospitable counters and candid apertures welcome light deep into each character, ensuring that dense paragraphs and footnoted passages retain their clarity even at punishingly small measures.
Over years of quiet, devoted stewardship, Althausen nurtured Vollkorn from a modest two-style experiment into an exhaustive typographic system. Its companion italic refuses the passive compromise of a tilted roman; it rolls forward as a spirited cursive hand, punctuated by lively ball terminals and dynamic transitions that lend genuine vocal friction and polyphonic contrast to citations and dialogue. Furnished with true small capitals, proportional oldstyle figures, a complete suite of weights, and native fluency across Latin, Cyrillic, and Greek, the family has matured into an indispensable workhorse of literature and editorial design. Vollkorn stands as an enduring monument to independent craftsmanship—a design proving that an alphabet forged for the everyday bread of reading can possess all the warmth, endurance, and quiet nobility of the book arts.
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
Regular Small Caps · 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
Medium Small Caps · 500
Amazingly few discotheques provide jukeboxes
SemiBold · 600
Why shouldn’t a quixotic Kazakh vampire jog barefoot?
SemiBold Italic · 600
Why shouldn’t a quixotic Kazakh vampire jog barefoot?
SemiBold Small Caps · 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
Bold Small Caps · 700
Grumpy wizards make a toxic brew for the jovial queen
ExtraBold · 800
Jackie will budget for the most expensive zoology equipment
ExtraBold Italic · 800
Jackie will budget for the most expensive zoology equipment
ExtraBold Small Caps · 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
Black Small Caps · 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';
Contextual Alternates
font-feature-settings: 'calt';
Figures
1234567890
Proportional Oldstyle (default)
1234567890
Proportional Lining: 'lnum'
1234567890
Tabular Lining: 'lnum', 'tnum'
1234567890
Tabular Oldstyle: 'onum', 'tnum'
1/2 3/4
Fractions: 'frac'
0
Slashed Zero: 'zero'
H123
Numerators: 'numr'
H123
Denominators: 'dnom'
H123
Subscripts: 'subs'
H123
Superscripts: 'sups'
Ordinals
font-feature-settings: 'ordn';
Stylistic Sets
font-feature-settings: 'ss--';
'ss01'
'ss04'
'ss05'
'ss11'
'ss13'
'ss14'
'ss17'
Stylistic Alternates
font-feature-settings: 'salt';
'salt'
Case Sensitive Forms
font-feature-settings: 'case';
Capital Spacing
font-feature-settings: 'cpsp';
Titling Alternates
font-feature-settings: 'titl';
Loading glyphs…
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