About Asgard Font Family Francesco Canovaro designed Asgard as a way to mix his passion for the raw energy of extra bold sans serif typography with the expressivity of high contrast and calligraphy-inspired letterforms, He built the typeface around a strong geometric sans skeleton, to make the letters feel solid and powerful while using wood-type vernacular solutions to solve density through high contrast details

About Asgard Font Family Francesco Canovaro designed Asgard as a way to mix his passion for the raw energy of extra bold sans serif typography with the expressivity of high contrast and calligraphy-inspired letterforms, He built the typeface around a strong geometric sans skeleton, to make the letters feel solid and powerful while using wood-type vernacular solutions to solve density through high contrast details

Thanks to the help of Andrea Tartarelli and Mario de Libero the original design was extended along with the design space, expanding the number of weights and widths with a “workhorse typeface” approach, and adding also a slanted axis to experiment with italics. The result is a super-family of 9 styles of 8 weights for a total of 72 fonts, each coming with an extended set of 968 glyphs covering over 200 languages using Latin, Greek and Cyrillic scripts. The three variation axes (width, weight, slant) are also all accessible in a variable font version that is included with the whole family.

This gives the designer a full range of options for typesetting, with the Roman and Fit widths providing basic display and text-sized alternatives, and the Wide width adding more display and titling options. The inclusion of backslant italic styles gives Asgard an extra chance to add its voice to the typographic palette. To complement this, all Asgard fonts have been given a full set of Open Type Features including standard and discretionary ligatures, stylistic sets, positional numerals and case sensitive forms.

Dynamic and expressive, Asgard is a super-family that manages to look brutal and refined at the same time, quoting the vernacular typographic practices of letterpress print while expressing the contemporary zeitgeist.