GT Era

Family overview
  • Display
  • Thin Oblique
  • Light Oblique
  • Regular Oblique
  • Medium Oblique
  • Bold Oblique
  • Heavy Oblique
  • Black Oblique
  • Text
  • Thin Oblique
  • Light Oblique
  • Regular Oblique
  • Medium Oblique
  • Bold Oblique
  • Heavy Oblique
  • Black Oblique
Subfamilies
  • Display Thin
    This meant evolving goods specifically designed for mass-production. Our object was to eliminate every drawback of the machine without sacrificing any one of its real advantages.
  • Display Thin Oblique
    The creative human being knows (and suffers from it) that the inherent values of life are being destroyed under the pressure of moneymaking, competition, and trade.
  • Display Light
    MARCEL BREUER (Ungarn), Dessau, Anhalt — Modell zu eine m Etagenhaus für Kleinwohnungen (1924)
  • Display Light Oblique
    So much for technique! But what about beauty? The New Architecture throws open its walls like curtains to admit a plenitude of fresh air.
  • Display Regular
    Not the single piece of work, nor the highest individual attainment must be emphasized, but instead the creation of the commonly usable type, development toward “standards”.
  • Display Regular Oblique
    The creative human being knows (and suffers from it) that the inherent values of life are being destroyed under the pressure of moneymaking, competition, and trade.
  • Display Medium
    Each of the various people looking at the cow sees her in a way which is related to his occupation and his talents. The butcher sees the cow primarily as so many pounds of meat, so many pounds of fat, and so many pounds of bones.
  • Display Medium Oblique
    Moholy-Nagy was the first interwar artist to suggest the use of scientific equipment such as the telescope, microscope, and radiography in the making of art.
  • Display Bold
    The prime essential for fruitful collaboration on the part of our pupils was a complete understanding of the aims that have inspired the New Architecture.
  • Display Bold Oblique
    Not the single piece of work, nor the highest individual attainment must be emphasized, but instead the creation of the commonly usable type, development toward “standards”.
  • Display Heavy
    Line Diagram 25: Linear structure of the picture “Little Dream in Red” (1925) by Kandinsky, Wassily.
  • Display Heavy Oblique
    Not the single piece of work, nor the highest individual attainment must be emphasized, but instead the creation of the commonly usable type, development toward “standards”.
  • Display Black
    One should not imagine that these relationships are to be taken literally, and, above all, should not believe that they can determine the compositional idea.
  • Display Black Oblique
    Painting, especially, has advanced with almost fantastic strides during the last decades, and it has only recently been freed from practical meaning and liberated from the necessity of responding to the many purposes it had earlier been forced to serve.
  • Settings
    Size
Typeface information

GT Era reimagines the warmth and idiosyncrasies of early grotesk typefaces for our own era. These pre-modernist tools were being pushed to their extremes in the radical designs of the modernist movements—like Bauhaus and De Stijl—of the period. The typeface shuns neutrality and embraces friction, championing recognition over uniformity and flavor over conformity.

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Latin-alphabet languages: Afaan, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Asturian, Atayal, Aymara, Azerbaijani, Basque, Belarusian, Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Cornish, Corsican, Creek, Croatian, Czech, Danish, Dawan, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut), Guadeloupean Creole, Gwich’in, Haitian Creole, Hawaiian, Hiligaynon, Hopi, Hungarian, Icelandic, Ido, Igbo, Ilocano, Indonesian, Irish, Istro-Romanian, Italian, Jamaican, Javanese, Jèrriais, Kaingang, Kala Lagaw Ya, Kapampangan, Kaqchikel, Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Kurdish, Ladin, Latin, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, Māori, Marquesan, Megleno-Romanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese Creole, Nahuatl, Ndebele, Neapolitan, Niuean, Noongar, Norwegian, Occitan, Old Icelandic, Old Norse, Oshiwambo, Palauan, Papiamento, Piedmontese, Polish, Portuguese, Q’eqchi’, Quechua, Rarotongan, Romanian,Romansh, Rotokas, Inari Sami, Lule Sami, Northern Sami, Southern Sami, Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Upper and Lower Sorbian, Northern and Southern Sotho, Spanish, Sranan, Sundanese, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Tuvaluan, Tzotzil, Venetian, Vepsian, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zarma, Zazaki, Zulu, Zuni

Typeface features

OpenType features enable smart typography. You can use these features in most Desktop applications, on the web, and in your mobile apps. Each typeface contains different features. Below are the most important features included in GT Era’s fonts:

  • SS01
  • Alternate g
Painting
Typeface Minisite
  • Visit the GT Era minisite to discover more about the typeface family’s history and design concept.