Vollkorn

Regular

Italic

400

Medium

Italic

500

SemiBold

Italic

600

Bold

Italic

700

ExtraBold

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

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?”

Stylistic sets
Size128

Standard Ligatures

font-feature-settings: 'liga';

ffff
ffiffi
fflffl
fifi
flfl

Discretionary Ligatures

font-feature-settings: 'dlig';

chch
ctct
stst
ThTh

Contextual Alternates

font-feature-settings: 'calt';

fäfä
RTRT
ff!ff!
AAßAAß

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';

3a3a
4o4o
No.No.

Stylistic Sets

font-feature-settings: 'ss--';

agjMagjM

'ss01'

юѝюѝ

'ss04'

бб

'ss05'

11

'ss11'

33

'ss13'

44

'ss14'

77

'ss17'

Stylistic Alternates

font-feature-settings: 'salt';

agQagQ

'salt'

Case Sensitive Forms

font-feature-settings: 'case';

01230123
89()89()
+-:<+-:<

Capital Spacing

font-feature-settings: 'cpsp';

HAMBURGHAMBURG

Titling Alternates

font-feature-settings: 'titl';

ÅÄÖÅÄÖ
ÜJQĴÜJQĴ
ŁŊҔŁŊҔ

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