• Lens Grotesk Medium
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    JAZZ FESTIVAL
    • Lens Grotesk Bold
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    ①②③④⑤⑥⑦⑧⑨⑩
    • Lens Grotesk Book
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    Les sources d'énergie renouvelables telles que l'énergie éolienne, l'énergie hydroélectrique, l'énergie solaire et la géothermie sont généralement beaucoup plus durables que les sources de combustibles fossiles. Toutefois, les projets d'énergie renouvelable, comme le déboisement pour la production de biocarburants, ou encore l'extraction et le raffinage des métaux nécessaires à l'énergie éolienne ou à l'énergie solaire, peuvent causer de graves dommages environnementaux.
    • Lens Grotesk Thin
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    ✳POPESICK✳
    • Lens Grotesk Medium Italic
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    тайнствените златни градове
    • Lens Grotesk Variable - Variable
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Lens Grotesk was inspired by one fairly simple question. What does it actually take for a neutral typeface to last?

Every so often you always hear the same types brought up again. Helvetica. Univers. Here decades later and still so many places. Not because they're the exciting ones, but because they just get the job done, don't really get in the way.

This was the beginning.

Eventually, Pavel Palov pointed to a drawing of one of our types and declared it "not neutral enough." That was it. It was more of a brief than anything you could write. We didn't need another expressive sans; we just needed something you could trust in without over-thinking, the type you reach for when everything else feels like just a little too much.

Lens Grotesk is built on this concept to a large degree. With uniform weight, controlled proportions and a lack of loosely drawn forms and open terminals, the typehold it together in all sizes and through lengthy copy. The spacing and rhythm does most of the work.

There's still a distinction: shapes open slightly and some strokes tilt more toward geometric construction. You can observe this in the round forms and construction of arcs and tails; subtly. It give the type a bit more presence without taking it outside the bounds of the neutral type space.

Zoom in and it’s clear where this is the case. In the distance it reads clean, solid, and overall the whole point of the matter.

The family offers sixteen styles, with eight weights each with italics, and variable if you like that form of communication. Cyrillic and OpenType features/alternates, all of the standard bits.

There is nothing in this design that reinvents any part of type design. It is meant only to be used again and again.

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