Yep! Type Foundry

Unifora feels like a natural match for a car brand.

The slanted styles suggest motion, and tabular figures keep live numbers easy to read.

(Sound on)

Currency symbols in Unifora are a bit smaller than the numbers, which helps prices look more balanced.

Finished adding punctuation to Unifora—case-sensitive marks included.

Currency and symbol set coming soon.

The double-storey g is another character alternate available in Unifora.

It adds a more humanist touch to Unifora’s otherwise industrial and brutalist feel.

Unifora includes 2 alternate forms of the glyph ‘a’: ‘a’ with a tail and a single‑storey ‘a.’

Congrats on the great pick!

Hope you enjoy using Innovator!

Thank you! ❤️

In Unifora, accents on capitals are shortened to improve the look and spacing of all-caps multilingual settings.

Pick a paid font if you want your product to stand out.

Most your competitors use free fonts and end up looking the same. Spend a few dollars on type, and even plain black text on white will feel distinct.

Calling sans-serif fonts “inhuman” is what’s actually inhuman.

One step closer: the Eszett aka sharp S aka double S is done. Both uppercase and lowercase took 14 extra masters each to get right.

I love æ and œ, but they gave me a real challenge in Unifora’s uniwidth design 😅

Why fonts look better on macOS than on Windows When art and science render the same word, it doesn’t always look the same.

A type designer’s dream: hi-res screens everywhere. No hinting headaches, clean edges, better readability.
uxdesign.cc/why-fonts-lo...

Innovator Grotesk got a little spotlight in @freshfonts.io 😊

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I believe that, sooner or later, most type foundries will move away from today’s overly complex font licenses.

Well done, Displaay! Welcome to the club, and good luck!

1/2

“The new licensing model strips away the usual complexity. Instead of tracking device counts, managing web traffic metrics, or navigating tiered user structures, it comes down to one question: how many people work at the company? That’s it.”

This is new licensing from the Displaay foundry.

Optical adjustment on / off

Unifora’s slant, weight, and width range makes it perfect for standout packaging and strong brand identities.

Almost there with the Unifora diacritics.

Time’s up—figures done.

Doing the numbers on Unifora

You're absolutely right. This is the most effective and modern way to design fonts today.

Yep, common names are Poster, Display, Text, Caption, and Micro.

Optical size can help adjust for light or dark themes. Some rare fonts also include a Grade axis, which lets you tweak character weight slightly without changing their width.

In the next episodes, we can talk about how to use display fonts (which, unlike text fonts, are made for larger sizes), the optical size axis in variable fonts, and other useful typography tips.

If this was helpful, feel free to give it a boost so more designers see it in their feed 🫶

Strategy 4: adjust spacing dynamically with font size

There’s no one-size-fits-all value. A headline at 60px might need more negative spacing than one at 40px. Same goes for tiny caption text, a touch of extra spacing can go a long way.

Strategy 3: loosen spacing for tiny text

At small sizes, the letters can feel cramped. Adding a bit of positive spacing helps open things up and improves legibility.

Strategy 2: tighten spacing for headlines

As you scale up your text, the space between letters grows too. So if you’re using a text font at large sizes (say, 20px or more), it often helps to reduce letter spacing a little to keep things looking balanced.

Strategy 1: leave text fonts alone at body text sizes

Popular fonts like Inter or Poppins are designed to work well at common text sizes (usually between 14 and 18px) without any extra spacing tweaking.

That’s why they’re called “text fonts,” btw.

[Click the image to see the fonts at actual size]