Grace Hides

The design of Nomada Sans is informed by the examination of several iconic sans serif typefaces, incorporating both lucidity and grace. The result is an entirely new and original typeface family infused with Latin flair. Nomada Sans reveals the essence of the Collection: Here, the structure is reduced to the max. The family comes in nine weights from the most delicate Hair to a punchy Extrablack, all with true italics. In the medium weights, Nomada Sans is a pleasant multi-purpose face and reads well in body copy, too. The generous x-height and open shapes ensure excellent legibility in even the smallest text sizes, while the lightest and boldest weights deliver impact to headlines and other display uses.

Designed by María Ramos and Jordi Embodas, Nomada Didone exhibits a more pronounced contrast than Nomada Serif, with vertical stress and finer hairlines. The contrast amount is not too extreme, though. It’s robust enough to be used confidently also for smaller text sizes, on screen, and in negative settings. The ball terminals add to its posh demeanor – a feature that is particularly noticeable in the gracile Hairline.
At the other end, another exquisite titling typeface: Nomada Didone Extrablack channels the Fat Faces of the 19th century, with adjusted vertical proportions for contemporary use. The medium weights make for a dapper text face that combines clarity and sophistication.

Hermann is one of our most readable typefaces so far. Since last year, the W Design team had been examining closely the possibility of developing a text font. Thus, we dug into concepts within some of our favorite novels, such as The Steppenwolf and Brave New World, written by Hermann Hesse and Aldous Huxley respectively. Ideas like duality, surrealism, and wildness mainly appeared. With these concepts in mind, we analyzed carefully the typefaces used in both Hesse’s and Huxley’s creations; Sabon and Garamond showed up catching our attention and, of course, awakening our admiration. Consequently, the challenge was to combine the key features of these fonts with the concepts already identified. At first, we made a text font which was suitable to compose long texts. However, we realized that we needed to refine some characteristics to convey all the ideas. A full set of capital discretionary ligatures was designed, which convert Hermann in a display font when is required. We also designed swashes (from A-Z) and final forms (in letters h, k, m, n, r and x in romans, and in letters a, d, e, h, i, l, m, n, r, t, u, x and z in italics), conveying more dynamism and versatility when it comes to composing visually.

Hermann was designed not only to be accurate in terms of legibility but also to be wild and bold. That is why we took a big leap and designed from the beginning a font that is inspired by the world of 20th-century novels, using the name of one of its greatest exponents, Hermann Hesse.

Sonny Gothic Vol 2 is an extension of our popular font Sonny Gothic. All corners have been softened to get a friendlier and fluffy visual language. As Sonny Gothic, this typeface has ligatures inspired by the incredible work of Herb Lubalin, chiefly Avant Garde. We designed carefully Sonny’s Vol 2 ligatures, and we also created new ones to control the whites formed between softened characters such as FL, FB, FD, FE, FF, FH, FI, FK, FN, and FR.
Developed with powerful OpenType features in mind. Each weight includes alternate characters, ligatures, fractions, special numbers, arrows, extended language support, small caps, and many more. Perfectly suited for graphic design advertising.