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.

5 Styles
Pangea Text Light
Pangea Text Regular
Pangea Text Medium
Pangea Text SemiBold
Pangea Text Bold
Rag
Rag
Rag
Rag
Rag

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

OpenType
Right Livelihood Award
Tintin Eleonora 2003
See Specimen PDF for further OpenType features.

Story

How can a typeface improve the world? Even before he had drawn the first letter, Christoph Koeberlin wanted to answer this question. He also wanted to prove that designers can also 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 the implementation of large-scale reforestation projects (Trees for the Future, The Green Belt Movement, Fairventures Worldwide). With every font license that you purchase, you are also helping to preserve one of the most important factors in slowing down climate change. It’s just a little 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 living together but of global cooperation. While Gergő Kókai from Hungary supported him in the design of the upright characters, he brought Tanya George from India on board to work on the italics (work in progress). He consulted with Irene Vlachou from Greece and Ilya Ruderman from Russia to ensure the quality of the Greek and Cyrillic characters. The spacing and the kerning of the font would not have been possible without Igino Marini from Italy and his iKern tool. A broad foreign language extension seems obligatory for this omnicultural approach and in fact, extended Latin, Cyrillic, Greek and Vietnamese are already included. Arabic, Hebrew and other languages are to follow.

One could also mention the fact the typeface works remarkably well due to its refined space saving, it’s more condensed than a normal geometric sans, indeed this could even be sold as a further environmentally friendly and eco-conscious feature, it not only saves paper but screen capacity, but maybe that would be too much of a good thing. This characteristic is actually a pleasant side effect of the smart design decisions that Christoph Koeberlin made during the four years he spent working on Pangea. Another lovely side effect is the consequence between the compactness and unity. He successfully manages the balancing act between narrow grotesque typefaces and geometric ones. This approach is also demonstrated in the unusual ‘spectacle-g’, double-story a and I with foot. Of course, in this design there is also the more common single-story ‘g’ and ‘a’ as well as the simple I as an OpenType alternative.

The second member of the family, Pangea Text is built upon the same concept but aims to improve legibility. With longer ascenders and descenders, a more open form, slight ink traps and more generous spacing, the text variant is great for use in extensive texts and especially good for use in small sizes. Both families complement and harmonize with each other.

Pangea and Pangea Text

Pangea Text (light blue) and Pangea compared

Christoph Koeberlin is not only a designer of highly original typefaces (alongside Pangea, he also co-designed FF Mark and Fabrikat) he is also one of the most sought after Font Engineers globally. As you would expect from such an expert, the entire superfamily has a variable font version. Between the five upright weights and italic styles, from Light to Bold, the variable versions allow a smooth and continuous adjustment of the font width, the ascenders and descenders, the open form of the characters as well as the spacing. 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.

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

Pangea and Pangea Text

Fictional book cover design using both Pangea (cover) and Pangea Text (back); Template by Mr. Mockup

A
#65

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
Azerbaijani
Belarusian
Bosnian
Bulgarian
Chechen
Macedonian
Ossetic
Russian
Serbian
Ukrainian
Uzbek
Credits & Details
Design Contributions
  • Gergő Kókai
  • Andreas Frohloff
  • Ilya Ruderman (Cyrillic consultancy)
  • Irene Vlachou (Greek consultancy)
Mastering, Production

Andreas Frohloff
Christoph Koeberlin
Igino Marini (spacing/kerning)

Marketing

Christoph Koeberlin (naming)
Ivo Gabrowitsch (copywriting, imagery, specimen)
Lucy Beckley (English translation)
Jana Kühl (imagery)

Design Period

2016–2020

Release Date

07.2020

Recommended Use

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