Match
Match DS
Standing compact with self-confidence.

Self-confidence is an attitude about your skills and abilities. It is something that can be found in both typography and design. A self-confident designer is willing to take risks and to go the extra mile in order to achieve the best possible solution. Starting with the initial sketches in 2017, Hannes von Döhren wanted to create a typeface that scores with a simple idea: Appearing compact with certainty and sticking to its principles – not leaving a doubt in its message.

All 16 Styles
Aa
Thin
Aa
Thin Italic
Aa
ExtraLight
Aa
ExtraLight Italic
Aa
Light
Aa
Light Italic
Aa
Regular
Aa
Regular Italic
Aa
Medium
Aa
Medium Italic
Aa
Bold
Aa
Bold Italic
Aa
Black
Aa
Black Italic
Aa
Ultra
Aa
Ultra Italic
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HEADQUARTERS 4
Electronic Components

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APPROXIMATELY 7
Surrounding Countryside

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SYNCHRONIZED 5
Aeronautical Engineers

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LAST EXPERIENCE
Engineering Businesses

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GOVERNMENTAL 3
Automotive → Interests

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MICRØSYSTEMS 6
Character Mechanism

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DECOMPOSITION
Original Architecture

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Brilliant 3

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With a Desktop License, you can install the font software on a fixed number of computers and use it for graphics, print or products. You will receive OpenType (OTF) font files.

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With a Web License, you can use the font software on a website within the given page views. You will receive web font files (WOFF, WOFF2) for self hosting. These font formats can not be installed on your computer.

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With an App License, you can include the font software in a mobile application with a defined maximum number of downloads.

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Match
Background Info

Letters have a body language like a human being. Standing straight with your head held up and your feet on the ground, nonverbally reflecting this. This basic idea can be transferred to a typeface. But how do you design letters that have a self-confident look? There are several things that can be adjusted to shape the visual language of forms in typography. First of all the shapes should have a decisive and reliable appeal. This does not apply to the weight or thickness of the strokes but to its architecture in general.

The Match family has been developed on a grid and the constructed design has a reduced and precise appearance. The shapes are optically corrected and follow micro-typographic rules. You will notice that the stroke endings are all either vertical or horizontal – this lets the typeface appear organized. The curves are drawn with a higher curve tension than other conventional geometric typefaces, in order to achieve a super compact look making words look like logos. These tricks lead to the appearance of smaller white spaces and more compact words. To take this step even further, we analyzed different letterforms and explored how far we could go in minimizing white space between characters – While keeping the overall elegance. A key to the new appearance is the balance between black and white shapes.

Scope of Styles

In the bolder weights every word has a strong and loud appearance, nevertheless we did not forget the need of a working text face that needs to transport a lot of information in small sizes. Readability and functionality is very important for a typeface that needs to work in headlines as well as in long text blocks. To achieve a good readability in the thinner weights, we added a wider spacing to the Medium, Regular and Light weights. We also took care of a homogenous grey value and a good reading rhythm by slightly adjusting the letter width for these weights. For the light weights of the weight range like ExtraLight or Thin, we wanted to convey a clean elegance and sophisticated voice. The challenge as a type designer is to keep the defined characteristics throughout the family, while emphasizing the idiosyncrasies of each weight. The members of a family share common ideas, but emphasize their character and their own voice.

The Match type family is a versatile tool with a broad scope of tonalities — The strong, confident and loud Ultra and Black styles. On the other end are the elegant Thin and Light styles. In between are the more silent and strong workers, delivering a good performance for reading texts.

Prepared for digital use

The Match™ fonts are manually hinted to ensure a clean and sharp rendering in the digital world all the way down to very small sizes. The family is made to work on screens and in digital environment.

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In this section we want to explain, how we achieved the look of the typeface. We will explain our thoughts on the aesthetics and the design decisions. We also show some more details of the features that are not visible at the first glance. Besides a big number of accented letters, making sure that the typeface has a good language support, a font should include several features for excellent typographic work joining forces with the layout applications of the time and of course the user. Here is a selection of what this font family has to offer under the hood.

Flat characters with Diagonals

We wanted the letters to stand together like a strong team — in each combination. We looked for a way to reduce the white space between letters as much as possible. One tweak was to reduce the angles of the letters with diagonal strokes. As a solution we added short horizontal strokes to the letters with diagonals like “A” “V” or “W”. This also emphasizes the horizontal grid based direction.

Horizontal emphasis.

The horzontal emphasis was important to achieve the compact, close forms. Visually emphasized vertical and horizontal strokes are creating a grid based, solid and geometric presence.

Horizontal stroke endings and compact forms

Our goal was to shape a precise, well-constructed, grid-based appearance. As a result, we considered designing either vertical or horizontal stroke endings. The characteristic look of compact letterforms and tight spacing became another fundamental ingredient for the final design of the typeface. Following the concept further we added more tension than a classic geometric circle and designed the strokes of “a”, “e” or “s” in a very closed way.

Tight spacing

The letters have a tight spacing, which helps giving a compact logo-ish vibe. In general the spacing has to be judged in the used size of the typeface. It always makes sense to add a little spacing in small sizes or reduce the spacing even more, when it comes to big display use. We created a tight spacing for the extreme weights (Thin, ExtraLight, Black & Ultra) that will be normally used in big sizes. The weights inbetween have a little wider spacing as we assume they will be used preferably in smaller text or reading sizes.

OpenType Features – or what else you can do with it, besides designing your next corporate design.

Giving Millions!

Alternates

Square Punctuation: Besides the standard letters a font sometimes contains several versions of some characters called alternates. Match™ is equipped with two versions of punctuation. The standard set of Match™ has round punctuation, this gives a little warm and emotional feeling to the appearance. For those who would like to go extra straight can activate the square punctuation in Stylistic Set 01. You can exchange the alternate with the standard letter by selecting it through the Opentype feature panel and the complete punctuation will be exchanged from round to square. This results in a totally different more straight and mathematical optical appearance of the typeface.

Materials.

Alternates

Besides the standard letters a font sometimes contains several versions of a letter called alternates. You can exchange the alternate with the standard letter by selecting it through the Opentype feature panel through Stylistic Set 02 and every “a” will be exchanged.

And 5/7 of the page is white.

Fractions

If fractions are needed anywhere an OpenType code makes sure that if you type any numbers combined with a slash between a fraction will automatically be substituted.

11126

52416

Tabular Figures

Besides the standard lining figures, the fonts contain a set of tabular figures. This means that all numbers have the same width, which is useful for setting up invoices, tables or every other task where the figures should have a structured appearance among themselves.

C2H5OH

Subscript

A subscript is a character that is set slightly below the normal line of type. They are used in formulas, mathematical expressions, and specifications of chemical compounds and isotopes, but can have many other uses as well. These characters are not simply ordinary characters reduced in size – to keep them visually consistent with the rest of the font, they are slightly heavier than a reduced-size character would be.

Hello!2

Superscript

A superscript is a character that is set slightly above the line of type. It has the same weight and size like a subscript character. They are also used in formulas, mathematical expressions and text references, but can have many other uses as well.

Language Support

Match has an extended character set that supports more than a hundred languages. Part of the language coverage is the support for Latin, Greek and Cyrillic script.

What’s inside? Character Set Overview
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
a
b
c
d
e
f
g
h
i
j
k
l
m
n
o
p
q
r
s
t
u
v
w
x
y
z
0
1
2
3
4
5
6
7
8
9
Á
Ă
Â
Ä
À
Ā
Ą
Å
Ã
Æ
Ć
Č
Ç
Ċ
Ð
Ď
Đ
É
Ě
Ê
Ë
Ė
È
Ē
Ę
Ğ
Ģ
Ġ
Ħ
Í
Î
Ï
İ
Ì
Ī
Į
Ķ
Ĺ
Ľ
Ļ
Ł
Ń
Ň
Ņ
Ŋ
Ñ
Ó
Ô
Ö
Ò
Ő
Ō
Ø
Õ
Œ
Þ
Ŕ
Ř
Ŗ
Ś
Š
Ş
Ș
ẞ
Ŧ
Ť
Ţ
Ț
Ú
Û
Ü
Ù
Ű
Ū
Ų
Ů
Ẃ
Ŵ
Ẅ
Ẁ
Ý
Ŷ
Ÿ
Ỳ
Ź
Ž
Ż
á
á
ă
ă
â
â
ä
ä
à
à
ā
ā
ą
ą
å
å
ã
ã
æ
ć
č
ç
ċ
ð
ď
đ
é
ě
ê
ë
ė
è
ē
ę
ğ
ģ
ġ
ħ
ı
í
î
ï
ì
ī
į
ķ
ĺ
ľ
ļ
ł
ń
ň
ņ
ŋ
ñ
ó
ô
ö
ò
ő
ō
ø
õ
œ
þ
ŕ
ř
ŗ
ś
š
ş
ș
ß
ŧ
ť
ţ
ț
ú
û
ü
ù
ű
ū
ų
ů
ẃ
ŵ
ẅ
ẁ
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—
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“
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$
€
ƒ
£
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Δ
Ω
μ
π
|
¦
©
®
℗
™
°
℮
ℓ
^
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↙
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↖
Match has 593 characters and supports 104 languages:

Latin: Afar, Afrikaans, Albanian, Basque, Belarusian, Bislama, Bosnian, Breton, Catalan, Chamorro, Chichewa, Comorian, Croatian, Czech, Danish, Dutch, Esperanto, Estonian, Faroese, Fijian, Filipino/Tagalog, Finnish, Flemish, French, Gaelic, Gagauz, German, Gikuyu, Gilbertese/Kiribati, Haitian-Creole, Hawaiian, Hungarian, Icelandic, Indonesian, Irish, Italian, Javanese, Kashubian, Kinyarwanda, Kirundi, Latin, Latvian, Lithuanian, Luba/Ciluba/Kasai, Luxembourgish, Malagasy, Malay, Maltese, Maori, Marquesan, Moldovan/Romanian, Montenegrin, Nauruan, Ndebele, Norwegian, Oromo, Palauan/Belauan, Polish, Portuguese, Quechua, Romanian, Romansh, Sami, Samoan, Sango, Serbian, Sesotho, Setswana, Seychellois-Creole, Swazi, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swedish, Tahitian, Tetum, Tok-Pisin, Tongan, Tsonga, Tswana, Turkish, Turkmen, Tuvaluan, Uzbek, Wallisian, Walloon, Welsh, Xhosa, Zulu. Cyrillic: Belarusian, Bosnian, Bulgarian, Chechen, Macedonian, Ossetic, Russian, Serbian, Ukrainian, Uzbek. Greek: Greek

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