Pangea Text

Can a typeface make the world a better place? Well, it can try to.

Designed by Christoph Koeberlin. Published as part of a superfamily along with Pangea. 25% of all designer royalties will be donated to preserving the rainforest and to implementing large-scale reforestation projects.

10 Styles
Rag
Pangea Text Light
Rag
Pangea Text Light Italic
Rag
Pangea Text Regular
Rag
Pangea Text Italic
Rag
Pangea Text Medium
Rag
Pangea Text Medium Italic
Rag
Pangea Text SemiBold
Rag
Pangea Text SemiBold Italic
Rag
Pangea Text Bold
Rag
Pangea Text Bold Italic

What you do makes a difference, and you have to decide what kind of difference you want to make. — Dr Jane Goodall

Counters and angles of Pangea Text
Pangea Text supports three script systems so far … and counting
Pangea Text’s figure sets
Pangea Text and Pangea compared
Fictitious use case of Pangea Text
Pangea Text stylistic sets
Pangea Text stylistic sets

Story

How can a typeface improve the world? Even before he had drawn the first letter, Christoph Koeberlin wanted to answer this question. He wanted to prove that designers can positively influence the environment.

One way that he is doing this is by donating 25% of his income from Pangea to the preservation of the rainforest and to large-scale reforestation projects involving the local population (Trees for the Future, The Green Belt Movement, Fairventures Worldwide). With every font license you purchase, you are helping to preserve one of the most important factors in slowing down climate change. It’s just a bit of a shame that the name Futura had already been taken by another geometric sans serif typeface, as it would have been more appropriate here.

For Christoph, the connection and connotation of the name was of great importance. Just like the primeval continent that the typeface is named after, Pangea is a symbol of not only the big (common) picture but of global cooperation. While Gergő Kókai from Hungary supported him in the design of the upright characters, he brought Tanya George from India and the Japan-based Gabriel Richter on board to work on the italics. He consulted with Irene Vlachou from Greece, Ilya Ruderman from Russia and Donny Trương from the USA to ensure the quality of the Greek, Cyrillic and Vietnamese characters. The spacing and the kerning of the font would not have been possible without Igino Marini from Italy and his superior iKern technology. A broad foreign language extension seems obligatory for this omnicultural approach and in fact, in addition to the Extended Latin, Extended Cyrillic, Greek and Vietnamese that are already included, Arabic is currently in the making, and Hebrew and other languages are to follow.

It’s important to mention that the typeface works remarkably well due to its refined space saving – it is more condensed than a normal geometric sans. Indeed, this could even be sold as a further environmentally friendly and eco-conscious feature as it not only saves paper but screen capacity, but maybe that would be too much of a good thing. This characteristic is actually the result of the smart design decisions that Christoph Koeberlin made during the five years he spent working on Pangea. Another outstanding trait is the consequence between the compactness and closeness, while diagonal terminals and round dots make for a friendly appearance. He successfully manages the balancing act between narrow grotesque typefaces and geometric ones. This approach is also demonstrated in the rather large x-height as well as the barely open forms, but also in the unusual ‘spectacle-g’, double-story a and l with foot. The more common single-story ‘g’ and ‘a’ as well as the straight ‘l’ are, of course, accessible as OpenType alternatives.

The second member of the family, Pangea Text, is built upon the same foundations but aims to improve legibility. With longer ascenders and descenders, more open forms, slight ink traps and more generous spacing, this variant is great for use in extensive texts and is particularly good for use in small sizes as well as on screens. Not only do both families complement and harmonize with each other, but the decision to work with optical sizes is what makes the core family’s uncompromising nature and attractive appearance possible in the first place.

Christoph Koeberlin is not only a designer of highly original typefaces (he also co-designed FF Mark and created Fabrikat), he is also one of the world’s most sought after Font Engineers. As you would expect from such an expert, the entire superfamily comes with a variable font version. This version allows a smooth and infinite adjustment; of font weights from Light to Bold, of ascenders and descenders, of the characters’ openness, of spacing, of the angle of the slope and of ink traps as well as the seamless switching between alternates. Nine axes raise the bar in this area. As with all other Fontwerk fonts that are already available as variable fonts, the Pangea variable versions are included in the super family package at no additional cost and can be tested free of charge as subsetted Trial Fonts.

Saving the world through one typeface at a time — it’s worth a try.

Further Information

Want to find out about Christoph Koeberlin’s thoughts behind Pangea? Head to his website.

A
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Glyphs

Uppercase

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

Lowercase

a
b
c
d
e
f
g
h
j
k
l
m
n
o
p
q
r
s
t
u
v
w
x
y
z

Latin Accents

Á
Ă
Ǎ
Â
Ä
À
Ā
Ą
Å
Ã
Æ
Ǣ
Ć
Č
Ç
Ĉ
Ċ
DŽ
Ð
Ď
Đ
Dž
É
Ĕ
Ě
Ê
Ë
Ė
È
Ē
Ę
Ğ
Ǧ
Ĝ
Ģ
Ġ
Ħ
Ĥ
Í
Ĭ
Ǐ
Î
Ï
İ
Ì
Ī
Į
Ĩ
Ĵ
Ķ
LJ
Ĺ
Ľ
Ļ
Ŀ
Lj
Ł
NJ
Ń
Ň
Ņ
Ŋ
Nj
Ñ
Ó
Ŏ
Ǒ
Ô
Ö
Ò
Ơ
Ő
Ō
Ø
Õ
Œ
Þ
Ŕ
Ř
Ŗ
Ś
Š
Ş
Ŝ
Ș
Ə
Ŧ
Ť
Ţ
Ț
Ú
Ŭ
Ǔ
Û
Ü
Ǘ
Ǚ
Ǜ
Ǖ
Ù
Ư
Ű
Ū
Ų
Ů
Ũ
Ŵ
Ý
Ŷ
Ÿ
Ȳ
Ź
Ž
Ż
á
ă
ǎ
â
ä
à
ā
ą
å
ã
æ
ǣ
ć
č
ç
ĉ
ċ
dž
ð
ď
đ
é
ĕ
ě
ê
ế
ë
ė
è
ē
ę
ğ
ǧ
ĝ
ģ
ġ
ħ
ĥ
í
ĭ
ǐ
î
ï
i
̇
ì
ī
į
ĩ
ĵ
ķ
lj
ĺ
ľ
ļ
ŀ
ł
nj
ń
ň
ņ
ŋ
ñ
ó
ŏ
ǒ
ô
ö
ò
ơ
ő
ō
ø
õ
œ
þ
ŕ
ř
ŗ
ś
š
ş
ŝ
ș
ß
ə
ŧ
ť
ţ
ț
ú
ŭ
ǔ
û
ü
ǘ
ǚ
ǜ
ǖ
ù
ư
ű
ū
ų
ů
ũ
ŵ
ý
ŷ
ÿ
ȳ
ź
ž
ż

Numerals & Currency Symbols

0
1
2
3
4
5
6
7
8
9
¤
$
¢
£
¥
฿
ƒ
0
1
2
3
4
5
6
7
8
9
0
1
2
3
4
5
6
7
8
9
0
1
2
3
4
5
6
7
8
9

Punctuation

.
,
:
;
!
¡
?
¿
&
@
·
*
#
/
|
\
(
)
{
}
[
]
-
­
_
«
»
"
'

Mathematical Signs & Symbols

+
×
÷
=
>
<
±
~
¬
^
µ
%

Arrows & Shapes

Greek

Α
Β
Γ
Ε
Ζ
Η
Θ
Ι
Κ
Λ
Μ
Ν
Ξ
Ο
Π
Ρ
Σ
Τ
Υ
Φ
Χ
Ψ
Ά
Έ
Ή
Ί
Ό
Ύ
Ώ
Ϊ
Ϋ
α
β
γ
δ
ε
ζ
η
θ
ι
κ
λ
ν
ξ
ο
π
ρ
σ
τ
υ
φ
χ
ψ
ω
ί
ϊ
ΐ
ύ
ϋ
ΰ
ό
ώ
ά
έ
ή
·
΄
΅

Cyrillic

А
Б
В
Г
Ѓ
Ґ
Д
Е
Ѐ
Ё
Ж
З
И
Й
Ѝ
К
Ќ
Л
М
Н
О
П
Р
С
Т
У
Ў
Ф
Х
Ч
Ц
Ш
Щ
Џ
Ь
Ъ
Ы
Љ
Њ
Ѕ
Є
Э
І
Ї
Ј
Ћ
Ю
Я
Ђ
Ѣ
Ѳ
Ѵ
Ғ
Җ
Ҙ
Қ
Ҝ
Ҡ
Ң
Ҥ
Ҫ
Ү
Ұ
Ҳ
Ҷ
Ҹ
Һ
Ӏ
Ӂ
Ӑ
Ӕ
Ӗ
Ә
Ӣ
Ӧ
Ө
Ӯ
Ӳ
а
б
в
г
ѓ
ґ
д
е
ѐ
ё
ж
з
и
й
ѝ
к
ќ
л
м
н
о
п
р
с
т
у
ў
ф
х
ч
ц
ш
щ
џ
ь
ъ
ы
љ
њ
ѕ
є
э
і
ї
ј
ћ
ю
я
ђ
ѣ
ѳ
ѵ
ғ
җ
ҙ
қ
ҝ
ҡ
ң
ҥ
ҫ
ү
ұ
ҳ
ҷ
ҹ
һ
ӏ
ӂ
ӑ
ӕ
ӗ
ә
ӣ
ӧ
ө
ӯ
ӳ

Languages

Afrikaans
Albanian
Asu
Basque
Bemba
Bena
Breton
Catalan
Cornish
Croatian
Czech
Danish
Dutch
Embu
English
Esperanto
Estonian
Faroese
Filipino
Finnish
French
Friulian
Galician
Ganda
German
Gusii
Hungarian
Icelandic
Inari Sami
Indonesian
Irish
Italian
Jola-Fonyi
Kabuverdianu
Kalenjin
Kamba
Kikuyu
Kinyarwanda
Latvian
Lithuanian
Lower Sorbian
Luo
Luxembourgish
Luyia
Machame
Makhuwa-Meetto
Makonde
Malagasy
Maltese
Manx
Meru
Morisyen
North Ndebele
Northern Sami
Norwegian Bokmål
Norwegian Nynorsk
Nyankole
Oromo
Polish
Portuguese
Quechua
Romanian
Romansh
Rombo
Rundi
Rwa
Samburu
Sango
Sangu
Sanskrit
Sena
Serbian
Shambala
Shona
Slovak
Slovenian
Soga
Somali
Spanish
Swahili
Swedish
Swiss German
Taita
Teso
Turkish
Upper Sorbian
Uzbek
Vietnamese
Volapük
Vunjo
Walser
Welsh
Greek
Abaza
Abkhaz
Adyghe
Aghul
Altai
Avar
Azerbaijani
Bashkir
Belarusian
Bosnian
Bulgarian
Buryat
Chechen
Chukchi
Chuvash
Crimean Tatar
Dargwa
Dungan
Erzya
Even
Evenki
Gagauz
Hill Mari
Ingush
Kabardian
Kalmyk Oirat
Karachay-Balkar
Karakalpak
Kazakh
Khakas
Khanty
Khinalugh
Komi
Koryak
Kumyk
Kyrgyz
Lak
Lezgian
Macedonian
Mansi
Meadow Mari
Moksha
Moldovan
Mongolian
Montenegrin
Nanai
Nenets
Nivkh
Nogai
Ossetic
Permyak
Russian
Rusyn
Rutul
Selkup
Serbian
Tabasaran
Tajik
Talysh
Tat
Tatar
Turkmen
Tuvan
Udmurt
Ukrainian
Uyghur
Uzbek
Yakut
Yupʼik
Credits & Details
Design Contributions
  • Gergő Kókai
  • Tanya George (Italics)
  • Gabriel Richter (Italics)
  • Andreas Frohloff
  • Ilya Ruderman (Cyrillic consultancy)
  • Irene Vlachou (Greek consultancy)
  • Donny Truong (Vietnamese Consultancy)
Mastering, Production

Christoph Koeberlin
Andreas Frohloff
Igino Marini (spacing/kerning)

Marketing

Christoph Koeberlin (naming)
Ivo Gabrowitsch (copywriting, imagery, specimen)
Anja Knust (graphic design, imagery)

Lucy Beckley (English translation)
Jana Kühl (imagery)

Design Period
2016–2021
Release Date
July 20, 2020; Italics March 9, 2021
Recommended Use

Advertising & Packaging
Editorial & Publishing
Logo, Branding & CI
Poster & Billboards
Responsive Designs