The Features

The Grantig family has a total of 482 glyphs per font and includes a lot of Open Type Features like alternates, arrows, figures and many more.

The Stylistic Sets give you the opportunity to choose the best look & feel for your projects.

The Design Process

As a child, I spent many hours in front of the TV, admiring the classics of the earlier Western films. I was lastingly impressed by the opening credits with their slow camera shots over the barren and rocky landscapes, with the names of the protagonists written in western-style slabserif fonts. Nowadays, these films can be criticized for their stereotypical portrayals, but from a cinematic and especially typographic point of view, they made an early influence on me. To draw my own western slab serif was therefore somehow an obvious choice. At the same time, I didn't want to draw an "old" typeface, but rather bring the genre into the modern age and adapt it to today's needs. By modernizing it, it should escape its old Western mustiness and open up to many themes. Deep inktraps, fine details and modern rounded curves have therefore become an important feature of Grantig.

Grantig is the German word for grumpy. But why Grantig? The barren landscapes in the opening titles were usually followed by close-ups of the grumpy-looking protagonists focusing on a distant target. That sounds like a super derivation - doesn't it? But maybe you shouldn't give these "heroes" too much space. Because you could also say that it took me a really long time to come up with a name this time, and over time I got grumpier and grumpier with every brainstorming session. Until one day, out of spite, I simply wrote „Grantig“ in the font and the whole picture and sound suddenly seemed very coherent. So that's how it was supposed to be.

When the majority of the letters were drawn, I thought about drawing a thinner version to be able to generate a more extensive family. However, the thin letters didn't look very coherent and I would have had to make some compromises in the bold letters, which I didn't like. Therefore, I quickly dropped this idea and concentrated on this one style. But to get more variance, I drew italics in both directions, to the right and to the left. This makes the small family of three styles a varied tool for very expressive and font-emphasized headlines and logos.