About NaN Metrify

NaN Metrify is NaN’s behemoth, no-bullshit take on the Neo/Grotesk sans-serif genre. Known for our library of wild horses, we thought it was about time for a workhorse or two (or three, in fact), and we ended up with quite a globe-hopping rogue of an equine at that. 

Neo-grotesks, through their role in contemporary design history, and their place in visual culture, represent an ubiquitous genre. Systemised and global, NaN’s approach is, in part, an answer to contemporary branding challenges. With nine widths, six weights and corresponding matching italics for each – bringing the number of styles to 108 per ABC version – plus standard versions available in Arabic, Cyrillic, Hebrew, Pan-African and Thai, Metrify is our first world-type family.

World-Ready (and waiting)
Neo-Grotesk typefaces played a significant role in the so-called Swiss international style. But this internationality arose from the inside out, with little regard to writing systems other than Latin. In an increasingly transborder world, we questioned what a sans should be in 2023, and our answer to that is simple – a world-ready typeface. A font family that is truly international. To do so, we collaborated with consultants in each international script to offer NaN Metrify in Arabic, Cyrillic, Greek, Hebrew, Thai, Pan-African and Pan-European writing systems – each meticulously designed to respect Metrify’s internal logic and sensitive to the taste and culture of local readers.

ABC
By considering Neo-Grotesks as a uniform sub-genre, there is a chance of missing the opportunity for styles to have their own very distinct voices. Questioning the creative latitude offered in this relatively small design space, we came up with the idea of Metrify A, B and C. Built around a standard skeleton and shared glyph-set, these three versions, or flavours, offer a different entry point and vision of what a Neo-Grotesk can be.

Metrify A is the most muscular of the three. Its rich treatment of details and added complexity nod to industrial grotesks, introducing a warmth and well-aged familiarity, whilst Metrify B takes a more minimal approach – removing ‘unessential’ features for a rational and distinctly contemporary feel. Metrify C, meanwhile, pushes this logic forward, adopting a simplified approach to glyph structures. In many ways, it accidentally adopts a geometric vocabulary, with rounded tittles and punctuation, making it the friendliest of the trio.

Style Range

Fresh out the packet, NaN Metrify Latin populates a set of nine widths of six weights, each with matching italics, bringing the number of styles to 108 per ABC version. Its extreme range of widths – spanning Compressed and Gigawide – allows for super strong headlines, while the middle range (Narrow, Standard and Wide) are comfortable setting any running text.

This typographic heavyweight comes conveniently packaged in a lightweight variable font file, allowing for the most efficient delivery of all necessary styles without sacrificing load speed. The subtle gradation of widths enables users to pick the perfect ratio between compactness and comfort of reading for any context. Basically, it’s got you covered. Don’t believe us? Give it a go.

www.metrify.world

Typeface: NaN Metrify
Design: NaN
Lead Design: Luke Prowse & J.B Morizot
Engineering: J.B Morizot

Additional Design & QA: Florian Runge, Léon Hugues, Fátima Lázaro, Benjamin Blaess
Arabic: Naïma Ben Ayed
Cyrillic: Florian Runge & Daria Cohen
Hebrew: Florian Runge
Greek: Daria Cohen
Thai: Ben Mitchell & Léon Hugues
Spacing: Igino Marini

Script Consultants:
Hebrew: Liron Lavi
Greek: Kostas Bartsokas
Cyrillic: Daria Cohen
Thai: Ben Mitchell

Year: 2022-2023
Formats: TTF, WOFF2 (Autohinted)

Microsite: www.metrify.world

Business
Vitra – founded by Willi and Erika Fehlbaum, the owner of a shopfitting business – entered the furniture market in 1957 with the licensed production of furniture from the Herman Miller Collection for the European market – primarily designs by Charles and Ray Eames and George Nelson. In 1967 the company introduced the Panton Chair by Verner Panton – the first cantilever chair out of plastic. In 1977 Rolf Fehlbaum took over the management of Vitra. In 1984 the partnership that had been formed with Herman Miller was terminated by mutual consent. Subsequently, Vitra obtained the rights to designs by Charles and Ray Eames and George Nelson for Europe and the Middle East. Today, Vitra’s product line consists of designer furniture for use in offices, homes and public areas. In 2002, the company took in the realm of domestic living. Launched in 2004, the Home Collection includes classic furniture design pieces by Charles and Ray Eames, George Nelson, Verner Panton, Alexander Girard and Jean Prouvé, as well as the works of designers such as Antonio Citterio, Jasper Morrison, Alberto Meda, Maarten van Severen, Ronan and Erwan Bouroullec, Hella Jongerius and BarberOsgerby. After a major fire destroyed a large part of the Vitra production facilities in Weil am Rhein in 1981, British architect Nicholas Grimshaw was commissioned to design new factory buildings and develop a master plan for the company premises. Inspired by his acquaintance with Frank Gehry in the mid-1980s, Vitra departed from Grimshaw’s plan for a unified corporate project. Since that time, buildings have been erected on the Vitra grounds in Weil am Rhein by a wide-ranging group of architects, including Frank Gehry (Vitra Design Museum and Factory Building, 1989), Zaha Hadid (Fire Station, 1993), Tadao Ando (Conference Pavilion, 1993), Alvaro Siza (Factory Building, Passage Cover, Car Parking, 1994), Herzog & de Meuron (VitraHaus, 2010), and SANAA (Factory Building, 2011). Over the years, Vitra accumulated a growing collection of chairs and other furniture. With the aim of making the collection accessible to the public, a museum was established as an independent foundation dedicated to the research and popularization of design and architecture. The Vitra Design Museum from 1989 by Frank Gehry was the first public building on the campus as well as the architect’s first building in Europe. Today the museum is partly based on the own broad collection of 20th century furniture as well as host of visiting exhibitions.
{Speaks many languages}[06]
إذا كان الصوت الخاص بك لا يعمل مع (معظم) المتصفحات الحديثة ، فالرجاء استخدام لوحة تحكم الموقع لتغيير إعدادات الصوت الخاصة بك إلى. تأكد من النقر فوق “حفظ التغييرات” في الزاوية اليسرى السفلية لتطبيق الإعداد. هذه الخطوة ضرورية لأننا للأسف غير قادرينعلى تعديل القيمة (القيم) “الافتراضيةعدادات موقع في الوأضًا ، يرجى ملاحظة أن هذا الموقع يحت ميزتي “بحث / بحث” مختلفتين منفصلتين تمامًا. في حين أن كلا الوضعين يقبلان مصطلحات البحث باللغة الإنجليزية أو التايلاندية للبحث الكامل في قاموسنا التايلاندي على الإنترنت ، فإن مربع “البحث” في الزاوية اليسرى العلوية يكون عمومًا أقل فائدة لأنه قد يوفر نتائج كثيرة جدًا وبترتيب عشوائي. بدلاً من ذلك ، ضع في اعتبارك استخدام اللوحة في علامة تبويب القاموس (في أعلى الصفحة) عند البحث عن الكلمات والعبارات التايلاندية. يحتوي هذا البحث على بعض التحسينات التي قد تجدها مفيدة.
“I’m not saying I’d make a better CEO. That’s unsaid.”
OEFENMATCHEN. KV Mechelen klopt Genk, zuinige zege voor Standard
Rays Center Fielder No. 947 in Draft, No. 1 in Defense
ANALYSE. Iedereen kijkt naar Sagan (behalve zijn eigen team)
Mendes vs. McGregor: UFC 189 Main Event Odds, Predictions and Tale of the Tape
National reaction to Greg Hardy’s reduced suspension: ‘I’m going to throw up in my mouth’
En Turquie, Erdogan plaide l’urgence d’un référendum pour un régime présidentiel à sa mesure. Video: What It’s Like to Face a 150 M.P.H. Tennis Serve
Giants’ Jason Pierre-Paul Should Be Able to Overcome Loss of Finger, Former Players Say
Orienteering’s Key to Winning: Not Getting Lost
Boston’s 2024 Olympic Bid Faces Skepticism Despite New Proposal, Poll Finds
Володіє багатьма мовами
Cabe aquí una diferencia muy clara planteada por Wilhelm Röpke al clasificar las intervenciones del Estado en «conformes» y «no conformes». Las primeras son aquellas que tienden a asegurar el funcionamiento de las leyes del mercado. Como ejemplo, podemos citar la legislación anti-monopolios.
โดยที่รัฐสมาชิกต่างปฎิญาณ จะให้บรรลุถึงซึ่งการส่งเสริม การเคารพและการปฎิบัติตาม ทั่วสากลต่อสิทธิมนุษยชนและ
อิสรภาพหลักมูล โดยร่วมมือ กับสหประชาชาติ
PARTIKEL KOLLIDER
أراك في المرة القادمة
To build more sustainably in the future, European architects should draw inspiration from the continent’s past. Such is the premise of Slovenia’s exhibit at this year’s Venice Architecture Biennale, which shows how our ancestors used building techniques and interior design to keep their homes warm or cool. Examples in the exhibition — entitled +/- 1 °C: In Search of Well-Tempered Architecture — include Belgian cottages where box beds are located to trap the fireplace’s heat, glazed balconies from houses on Spain’s rainy northern coast and seasonal shepherds’ huts from Slovenia where animal shelters ring the human quarters to keep them warm. Many of the examples make practical sense. In parts of Poland, for example, residents would gain an extra layer of winter insulation by tenting high-ceilinged rooms with heavy fabric during winter. This reduced the space requiring heat without permanently lowering the ceiling, which could have left the room uncomfortable due to poorer air circulation during Poland’s frequently hot summers. Others might be a little less easy to adapt to contemporary life. A type of farmstead once common in parts of central Sweden, for example, went a stage further than Polish tented ceilings by having separate spaces for summer and winter. The design sandwiched a low-roofed house between two taller buildings whose use changed throughout the year. In winter, the residents would retire to the low-roofed part of the cottage, which was easier to heat, leaving the higher wings for storage or workspaces. When the weather warmed, people would spread out across the whole structure, using the taller wings as bedroom space that stayed cooler and afforded more privacy. The arrangement makes sense, but it might be less easy to emulate today, with our typically higher land costs and lower tolerance of being confined to a room or two with our families for months.
הואיל והכרח חיוני הוא שזכויות האדם תהיינה מוגנות בכוח שלטונו של החוק, שלא יהא האדם אנוס, כמפלט אחרון, להשליך את יהבו על מרידה בעריצות ובדיכוי
Purchasing Power Parity
Кожна людина має право брати участь в управлінні своєю країною безпосередньо або через вільно обраних представників
Μιλάει πολλές γλώσσες
Maala kaa nui lɔpee gəle yei ŋɔɔ kiliɲahie lɛ ə gweiwooɓo, ə gilipuju kwɛli, ə jɔlɔɓo ə nɛi nuta kpɛli ŋaa diə kɛnakele yi ɲɔu hwa kɛ ju.
2026-06-19: Aircraft Mega-Deals Prompt Bubble Warning From Industry Veterans
لما كان الاعتراف بالكرامة المتأصلة في جميع أعضاء الأسرة البشرية وبحقوقهم المتساوية الثابتة هو أساس الحرية والعدل والسلام في العالم
Vitra – founded by Willi and Erika Fehlbaum, the owner of a shopfitting business – entered the furniture market in 1957 with the licensed production of furniture from the Herman Miller Collection for the European market – primarily designs by Charles and Ray Eames and George Nelson. In 1967 the company introduced the Panton Chair by Verner Panton – the first cantilever chair out of plastic. In 1977 Rolf Fehlbaum took over the management of Vitra. In 1984 the partnership that had been formed with Herman Miller was terminated by mutual consent. Subsequently, Vitra obtained the rights to designs by Charles and Ray Eames and George Nelson for Europe and the Middle East. Today, Vitra’s product line consists of designer furniture for use in offices, homes and public areas. In 2002, the company took in the realm of domestic living. Launched in 2004, the Home Collection includes classic furniture design pieces by Charles and Ray Eames, George Nelson, Verner Panton, Alexander Girard and Jean Prouvé, as well as the works of designers such as Antonio Citterio, Jasper Morrison, Alberto Meda, Maarten van Severen, Ronan and Erwan Bouroullec, Hella Jongerius and BarberOsgerby. After a major fire destroyed a large part of the Vitra production facilities in Weil am Rhein in 1981, British architect Nicholas Grimshaw was commissioned to design new factory buildings and develop a master plan for the company premises. Inspired by his acquaintance with Frank Gehry in the mid-1980s, Vitra departed from Grimshaw’s plan for a unified corporate project. Since that time, buildings have been erected on the Vitra grounds in Weil am Rhein by a wide-ranging group of architects, including Frank Gehry (Vitra Design Museum and Factory Building, 1989), Zaha Hadid (Fire Station, 1993), Tadao Ando (Conference Pavilion, 1993), Alvaro Siza (Factory Building, Passage Cover, Car Parking, 1994), Herzog & de Meuron (VitraHaus, 2010), and SANAA (Factory Building, 2011). Over the years, Vitra accumulated a growing collection of chairs and other furniture. With the aim of making the collection accessible to the public, a museum was established as an independent foundation dedicated to the research and popularization of design and architecture. The Vitra Design Museum from 1989 by Frank Gehry was the first public building on the campus as well as the architect’s first building in Europe. Today the museum is partly based on the own broad collection of 20th century furniture as well as host of visiting exhibitions.
Literatur:
• Rolf Fehlbaum: Vitra. Vom Umgang mit Design, Gegenwart und Ökonomie. Steidl, Göttingen 1991, 221 S., Ill.
• Dietmar Stock-Nieden: Die Bauten der Vitra Design GmbH in Weil am Rhein 1981–1994. Untersuchungen zur Architektur- und Ideengeschichte eines Industrieunternehmens am Ende des 20. Jahrhunderts. Dissertation, Albert-Ludwigs-Universität Freiburg, Philosophische Fakultät, 2006, online-Datei, 13,3 MB, PDF, 313 S., mit grossem Bildanhang
• Rolf Fehlbaum: Projekt Vitra. Orte, Produkte, Autoren, Museum, Sammlungen, Zeichen; Chronik, Glossar, [1957–2007], hrsg. von Cornel Windlin und Rolf Fehlbaum. Birkhäuser, Basel 2008, 2., korr. Auflage, ISBN 978-3-7643-8592-7[8]
• Matthias Pühl: Projekt Vitra – ein weit gefasster Kulturbegriff als zentrales Element der Unternehmenskultur. In: Archiv und Wirtschaft. Zeitschrift für das Archivwesen der Wirtschaft, Bd. 55 (2022), S. 126–137.
يتحدث العديد من اللغات
Κανείς δεν επιτρέπεται να υποβάλλεται σε βασανιστήρια ούτε σε ποινή ή μεταχείριση σκληρή, απάνθρωπη ή ταπεινωτική
Globalisierung
Dear Colleagues:
1 – A driving force and the use of innovative techniques and ideas have brought NASA the image of a get-it-done agency, and the record backs up the reputation. 2 – As we move ahead to an even more exciting era in aeronautical research and space exploration, we have added a new tool to enhance and symbolize the progressive path we have always followed. 3 – Not as suspenseful as a Command and Service Module splashdown nor
as dramatic as a Mariner flyby, it is nonetheless of major importance because it is designed to achieve maximum communication of the agency’s program objectives, both internally and externally. 4 – We have adopted a new system of graphics-the visual communications system by which we are known to those who read our publications, see our vehicle markings and signboards and the logotype that unmistakably brands them as NASA’s. 5 – The new system focuses on a new logotype, in which the letters “N-A-S-A” are reduced to their simplest form, replacing the red, white and blue circular emblem with the white block letters. 6 – I think the new logotype is pleasing to the eye and gives a feeling of unity, technological precision, thrust and orientation toward the future. Unity, tech­nology, pioneering achievement-that’s what NASA is all about. 7 – This manual is a reference book for NASA designers. It is the official policy document regarding NASA identification (use of logotype), communication in general and sets the tone and level of quality for all NASA graphics. 8- My experience has shown that, in order to succeed , a program which departs from the accustomed must have the full support of every NASA employee. Top-level management must take the lead, our experts in the field of graphic design must follow, and all of us must see that the specifics are diligently monitored to insure that standards of excellence are maintained. 9 – I think we were fortunate in recognizing that our graphics could stand improvement; I am confident that the program we now have underway will be second to none in effectiveness either in government or industry; and I solicit the enthusiastic support of each of you in implementing NASA’s look of the future.
การสื่อสารเป็นกุญแจสำคัญ
هو نموذج اقترحه الألمانيان ألفريد أرماك ولودفيغ إيرهارت يجمع بين اقتصاد السوق الحر، مثل قدرة اقتصاده متطورة عالية الكفاءة وتوفير المنتجات، وفي نفس الوقت تلافي مساوئ طرق المنافسة الشرسة وعدم السماح بالانفراد بتصنيع المنتجات (منع الاحتكار) ومن استغلال العاملين وذلك عن طريق السماح بتكوين نقابات عمال قوية وعدم السماح لعمليات تجارية تسيئ إلى النظام الاجتماعي. فالغرض من اقتصاد السوق الاجتماعي هو تحقيق أكبر مستوى للرخاء مع تأمين المجتمع والعاملين. وفي ظل هذا النظام لاقتصاد السوق الاجتماعي لا تتصرف الحكومة سلبيا كما هو في اقتصاد السوق الحر، وإنما تتدخل الحكومة على هامش مجرى الاقتصاد الذي يكون إلى أبعد الحدود في القطاع الأهلي المدني، مثل تحفيز النشاط الاقتصادي، وضع سياسات تضمن منافسة أمينة سليمة، وسياسات اجتماعية تخص العاملين والمواطنين. “ويقر وزير الاقتصاد السابق في ألمانيا – وكان قد زار مصر في الستينيات من القرن الماضي بغرض تقديم اقتراحات إلى الحكومة المصرية آنذاك – يقر لودفيغ إيرهارد أن السوق من نفسه اجتماعي. ويوضح تلك الفكرة بتأكيده على أن الاقتصاد يكون أكثر اجتماعيا كلما زادت حريته.أما ألفريد أرماك فهو يرى في اقتصاد السوق الاجتماعي أنه «يحاول الجمع بين مثالية العدالة، والحرية، والنمو الاقتصادي في أنظومة متوازنة معقولة» التطبي ق منذ نهاية الحرب العالمية الثانية التي خرجت منها ألمانيا مدمرة تماما، اتبعت اقتصاد السوق الاجتماعي الذي وضعه لودفيج إيرهار، فأسس المجتمع المدني شركات تساهمية للإنتاج وإعادة البناء تعززها في ذلك المصارف والبنوك، نعرف منها اليوم شركات مثل مرسيدس بنز وفولكسفاجن وباير للأدوية والصناعات الكيميائية، وشركات مساهمة للحديد والصلب مثل كروب وسيمنز وغيرها… حتى إنتاج الكهرباء تقوم به شركات مساهمة أهلية تمتلك نحو 19 مفاعلا نوويا لإنتاج الكهرباء. ولكن كل هذا ليس إلا الجزء الصغير مما يظهر من جبل الثلج فمعظمه تحت الماء. إذ تعززها شركات أهلية تبدأ صغيرة ربما ب 5 أشخاص وتكبر وتنمو مع الأيام والسنين لتحوي بعد ذلك 200 عامل مثلا. تقوم تلك الشركات المتوسطة بإنتاج قطع تحتاجها المصانع الكبيرة فتشتريها منهم مرسيدس مثلا وتركبها في سياراتها من ضمنها الزجاج مثلا أو جلود الكراسي أو زيوت التشحيم أو الإطارات. وتقوم تلك الشركات المساهمة المتوسطة أيضا بإنتاج العديد من المنتجات التي يحتاجها الأفراد كالصابون، ومعلبات الغذاء، والزجاج، والأثاث، والبلاط، والخزف، السيراميك والكتب والأدوات اليدوية، وبالطبع أيضا شركات الخدمات والتسويق وغيرها. وفي الشركات المتوسطة الأهلية يعمل أكثر العاملين فهو الضمان للعمالة ووجود فرص العمل في ألمانيا.
“32 מערכות הפעלה!”
NaN Metrify A
“ABCDEFGHIJKLMNOPQRSẞTUVWXYZ”
abcdefghijklmnopqrsßtuvwxtz
#0123456789
!?&%@({†*
:-)
NaN Metrify B
“ABCDEFGHIJKLMNOPQRSẞTUVWXYZ”
abcdefghijklmnopqrsßtuvwxtz
#0123456789
!?&%@({†*
:-)
NaN Metrify C
“ABCDEFGHIJKLMNOPQRSẞTUVWXYZ”
abcdefghijklmnopqrsßtuvwxtz
#0123456789
!?&%@({†*
:-)

Selected Opentype Features

Dandy Single-storey (a)
Fairytale Single-storey (y)
Bazinga Double storey (g)
Illiad 101 Legibility Set (I/l/i)

Styles

  • NaN Metrify A Latin Compressed Light
  • NaN Metrify A Latin Compressed Light Italic
  • NaN Metrify A Latin Compressed Regular
  • NaN Metrify A Latin Compressed Italic
  • NaN Metrify A Latin Compressed Medium
  • NaN Metrify A Latin Compressed Medium Italic
  • NaN Metrify A Latin Compressed Bold
  • NaN Metrify A Latin Compressed Bold Italic
  • NaN Metrify A Latin Compressed Extrabold
  • NaN Metrify A Latin Compressed Extrabold Italic
  • NaN Metrify A Latin Compressed Black
  • NaN Metrify A Latin Compressed Black Italic
  • NaN Metrify A Latin XCondensed Light
  • NaN Metrify A Latin XCondensed Light Italic
  • NaN Metrify A Latin XCondensed Regular
  • NaN Metrify A Latin XCondensed Italic
  • NaN Metrify A Latin XCondensed Medium
  • NaN Metrify A Latin XCondensed Medium Italic
  • NaN Metrify A Latin XCondensed Bold
  • NaN Metrify A Latin XCondensed Bold Italic
  • NaN Metrify A Latin XCondensed Extrabold
  • NaN Metrify A Latin XCondensed Extrabold Italic
  • NaN Metrify A Latin XCondensed Black
  • NaN Metrify A Latin XCondensed Black Italic
  • NaN Metrify A Latin Condensed Light
  • NaN Metrify A Latin Condensed Light Italic
  • NaN Metrify A Latin Condensed Regular
  • NaN Metrify A Latin Condensed Italic
  • NaN Metrify A Latin Condensed Medium
  • NaN Metrify A Latin Condensed Medium Italic
  • NaN Metrify A Latin Condensed Bold
  • NaN Metrify A Latin Condensed Bold Italic
  • NaN Metrify A Latin Condensed Extrabold
  • NaN Metrify A Latin Condensed Extrabold Italic
  • NaN Metrify A Latin Condensed Black
  • NaN Metrify A Latin Condensed Black Italic
  • NaN Metrify A Latin Narrow Light
  • NaN Metrify A Latin Narrow Light Italic
  • NaN Metrify A Latin Narrow Regular
  • NaN Metrify A Latin Narrow Italic
  • NaN Metrify A Latin Narrow Medium
  • NaN Metrify A Latin Narrow Medium Italic
  • NaN Metrify A Latin Narrow Bold
  • NaN Metrify A Latin Narrow Bold Italic
  • NaN Metrify A Latin Narrow Extrabold
  • NaN Metrify A Latin Narrow Extrabold Italic
  • NaN Metrify A Latin Narrow Black
  • NaN Metrify A Latin Narrow Black Italic
  • NaN Metrify A Latin Standard Light
  • NaN Metrify A Latin Standard Light Italic
  • NaN Metrify A Latin Standard Regular
  • NaN Metrify A Latin Standard Italic
  • NaN Metrify A Latin Standard Medium
  • NaN Metrify A Latin Standard Medium Italic
  • NaN Metrify A Latin Standard Bold
  • NaN Metrify A Latin Standard Bold Italic
  • NaN Metrify A Latin Standard Extrabold
  • NaN Metrify A Latin Standard Extrabold Italic
  • NaN Metrify A Latin Standard Black
  • NaN Metrify A Latin Standard Black Italic
  • NaN Metrify A Latin Wide Light
  • NaN Metrify A Latin Wide Light Italic
  • NaN Metrify A Latin Wide Regular
  • NaN Metrify A Latin Wide Italic
  • NaN Metrify A Latin Wide Medium
  • NaN Metrify A Latin Wide Medium Italic
  • NaN Metrify A Latin Wide Bold
  • NaN Metrify A Latin Wide Bold Italic
  • NaN Metrify A Latin Wide Black
  • NaN Metrify A Latin Wide Black Italic
  • NaN Metrify A Latin XWide Light
  • NaN Metrify A Latin XWide Light Italic
  • NaN Metrify A Latin XWide Regular
  • NaN Metrify A Latin XWide Italic
  • NaN Metrify A Latin XWide Medium
  • NaN Metrify A Latin XWide Medium Italic
  • NaN Metrify A Latin XWide Bold
  • NaN Metrify A Latin XWide Bold Italic
  • NaN Metrify A Latin XWide Black
  • NaN Metrify A Latin XWide Black Italic
  • NaN Metrify A Latin Ultrawide Light
  • NaN Metrify A Latin Ultrawide Light Italic
  • NaN Metrify A Latin Ultrawide Regular
  • NaN Metrify A Latin Ultrawide Italic
  • NaN Metrify A Latin Ultrawide Medium
  • NaN Metrify A Latin Ultrawide Medium Italic
  • NaN Metrify A Latin Ultrawide Bold
  • NaN Metrify A Latin Ultrawide Bold Italic
  • NaN Metrify A Latin Ultrawide Black
  • NaN Metrify A Latin Ultrawide Black Italic
  • NaN Metrify A Latin Gigawide Light
  • NaN Metrify A Latin Gigawide Light Italic
  • NaN Metrify A Latin Gigawide Regular
  • NaN Metrify A Latin Gigawide Italic
  • NaN Metrify A Latin Gigawide Medium
  • NaN Metrify A Latin Gigawide Medium Italic
  • NaN Metrify A Latin Gigawide Bold
  • NaN Metrify A Latin Gigawide Bold Italic
  • NaN Metrify A Latin Gigawide Extrabold
  • NaN Metrify A Latin Gigawide Extrabold Italic
  • NaN Metrify A Latin Gigawide Black
  • NaN Metrify A Latin Gigawide Black Italic

Sign Up for Trial Fonts

NaN uses Fair Font Pricing to ensure fair access to our fonts no matter where you are in the world. As a coffee doesn’t cost the same depending of where you live, neither do our fonts. FFP is based on purchasing power parity by the World Bank. It looks like you’re in Germany. Your total cost will be adjusted down by 20%. Country and final pricing confirmation at checkout.

Select NaN Metrify

NaN Metrify Cyrillic Subfamily Per Style ⁘ €40
NaN Metrify Cyrillic Subfamily Per Style ⁘ €40
NaN Metrify Cyrillic Subfamily Per Style ⁘ €40
NaN Metrify Arabic Subfamily Per Style ⁘ €40
NaN Metrify Arabic Subfamily Per Style ⁘ €40
NaN Metrify Arabic Subfamily Per Style ⁘ €40
NaN Metrify Greek Subfamily Per Style ⁘ €40
NaN Metrify Greek Subfamily Per Style ⁘ €40
NaN Metrify Greek Subfamily Per Style ⁘ €40
NaN Metrify Hebrew Subfamily Per Style ⁘ €40
NaN Metrify Hebrew Subfamily Per Style ⁘ €40
NaN Metrify Hebrew Subfamily Per Style ⁘ €40
NaN Metrify Thai Subfamily Per Style ⁘ €40
NaN Metrify Thai Subfamily Per Style ⁘ €40
NaN Metrify Thai Subfamily Per Style ⁘ €40
NaN Metrify Panafrican Subfamily Per Style ⁘ €40
NaN Metrify Panafrican Subfamily Per Style ⁘ €40
NaN Metrify Panafrican Subfamily Per Style ⁘ €40
NaN Metrify Latin Compressed Subfamily Per Style ⁘ €40
NaN Metrify Latin Compressed Subfamily Per Style ⁘ €40
NaN Metrify Latin Compressed Subfamily Per Style ⁘ €40
NaN Metrify Latin XCondensed Subfamily Per Style ⁘ €40
NaN Metrify Latin XCondensed Subfamily Per Style ⁘ €40
NaN Metrify Latin XCondensed Subfamily Per Style ⁘ €40
NaN Metrify Latin Condensed Subfamily Per Style ⁘ €40
NaN Metrify Latin Condensed Subfamily Per Style ⁘ €40
NaN Metrify Latin Condensed Subfamily Per Style ⁘ €40
NaN Metrify Latin Narrow Subfamily Per Style ⁘ €40
NaN Metrify Latin Narrow Subfamily Per Style ⁘ €40
NaN Metrify Latin Narrow Subfamily Per Style ⁘ €40
NaN Metrify Latin Standard Subfamily Per Style ⁘ €40
NaN Metrify Latin Standard Subfamily Per Style ⁘ €40
NaN Metrify Latin Standard Subfamily Per Style ⁘ €40
NaN Metrify Latin Wide Subfamily Per Style ⁘ €40
NaN Metrify Latin Wide Subfamily Per Style ⁘ €40
NaN Metrify Latin Wide Subfamily Per Style ⁘ €40
NaN Metrify Latin XWide Subfamily Per Style ⁘ €40
NaN Metrify Latin XWide Subfamily Per Style ⁘ €40
NaN Metrify Latin XWide Subfamily Per Style ⁘ €40
NaN Metrify Latin Ultrawide Subfamily Per Style ⁘ €40
NaN Metrify Latin Ultrawide Subfamily Per Style ⁘ €40
NaN Metrify Latin Ultrawide Subfamily Per Style ⁘ €40
NaN Metrify Latin Giga­wide Subfamily Per Style ⁘ €40
NaN Metrify Latin Giga­wide Subfamily Per Style ⁘ €40
NaN Metrify Latin Giga­wide Subfamily Per Style ⁘ €40

Select Your Font License

1. License Type

Our Commercial License is based on a perpetual, worry-free model with no surprise costs. The key metric we use is the end-user’s company size as measured by employee count. Agencies are allowed to buy and use fonts on behalf of their end-user clients.

Our Pitch License offers access to complete, full-featured fonts for internal trial and pitch purposes only at a 70% discount. This allows you to test-drive and present our fonts in your mockups before project sign-off.

We offer an 80% discount to students and educators. Students may use licensed fonts for both school projects and commercial ones during and after their studies, as long as they work for companies with less than 6 employees. No I.D required, we trust you.

Our Charity and Social Enterprise License offers everything that our Commercial one does but for a 50% discount. The licensee must be a registered charity, non-profit or social enterprise.

2. Covered usages

3. Company Name
[?]
End-user company name including client or organisation / student. The company or organisation making final use of the fonts for its communication. The agency or studio is only a sub-contractor. By using the fonts, this company agrees to the license terms.

4. Company Size
[?]
This is the number of people who work for the end-user company (employees and sub-contractors combined). External designers or agencies working on behalf of the end-user should be included. Any freelancer or sub-contractor working more than half of their time for the Licensee for a duration of minimum 3 months should be counted in their employee number.

Licensee →

The licensee is the company or organisation making final use of the fonts for its communication. The agency or design team is a sub-contractor and should be included in the Licensee’s employee count.

Read our EULA

Company Size →

This is the number of people working for the company (employees, designers and sub-contractors combined).

Any doubts or questions? Read our F.A.Q.

Pricing Model →

Our pricing model is based on the size of the Licensee’s company. The price increases with the size of the company. Our pricing model also takes into account the Licensee’s country of residence to adjust the price in a fairer way.

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If You Liked X You May Like Y?

16 styles
NaN
Serf Micro
  • NaN Serf A Micro – Light
  • NaN Serf B Micro – Light
  • NaN Serf A Micro – Book
  • NaN Serf B Micro – Book
  • NaN Serf A Micro – Regular
  • NaN Serf B Micro – Regular
  • NaN Serf A Micro – Medium
  • NaN Serf B Micro – Medium
  • NaN Serf A Micro – Semibold
  • NaN Serf B Micro – Semibold
  • NaN Serf A Micro – Bold
  • NaN Serf B Micro – Bold
  • NaN Serf A Micro – ExtraBold
  • NaN Serf B Micro – ExtraBold
  • NaN Serf A Micro – Black
  • NaN Serf B Micro – Black
5 styles
NaN
Tragedy Display
  • NaN Tragedy Display Light
  • NaN Tragedy Display Regular
  • NaN Tragedy Display Medium
  • NaN Tragedy Display Bold
  • NaN Tragedy Display Black
5 styles
NaN
Tresor Swash
  • NaN Tresor Swash ExtraLight
  • NaN Tresor Swash Light
  • NaN Tresor Swash Regular
  • NaN Tresor Swash Semibold
  • NaN Tresor Swash Bold