Even though Passenger Sans is an addition to two related ITF typefaces – Passenger Serif and Passenger Display – its publication is more than just a simple extension: Passenger Sans is one of the largest families we’ve ever published. For example, our previous Latin-script champions Ekster and Poppins each had 18 styles. Passenger Sans has 20. As a large sans serif family, Passenger Sans will be a great aid in editorial projects. We’re thrilled to see how designers around the world use it. You could build entire design systems using Passenger Sans’s fonts alone, or you could combine them with Passenger Serif and Passenger Display if you need contrasting styles.
Akin is a monolinear script typeface designed in a single weight. Its letters’ designs combine geometric elements with a retro aesthetic, swashes, and a steep slope. Characters’ sides are straight, giving the typeface a condensed feeling overall. Akin’s design language feels reminiscent of both the 1950s and the 1990s, but there isn’t just one specific style that it cites. Instead, Akin is a timeless face. It looks like it could always have been a part of graphic design, despite only having been released in 2019. Like almost every good OpenType script face, Akin has a lot of alternates, which enliven designs composed with it. Whereas a normal Latin-script ITF font might have almost 400 glyphs – and a text-setting powerhouse like Passenger Sans has 471 – Akin’s character set includes twice as many glyphs: 996.
Passenger Sans’s letterforms have compact proportions, too. Their apertures are also small, just have a look at the openings in the‘a’, ‘c’, or ‘e’, etc and you’ll see what we mean. In the design’s upright fonts, all letterforms’ strokes end at horizontal or vertical angles, not diagonals. Long passages of text set with the typeface are comfortable to read. As a family, Passenger Sans includes ten weights – ranging in style from Thin through Ultra. Each weight has both an upright font and an italic on offer. The fonts’ default numerals are proportionally-spaced lining figures. Via the OpenType features, there are also oldstyle figures and tabular figures available. The ascenders of the lowercase letters rise up above the tops of the capitals. In the upright fonts, the ‘a’ and the ‘g’ are double-storied. In the italics, they’re single-storied. The ‘opposite’ version is always available as an OpenType alternate. Fonts have alternate forms of ‘Q’ and the ampersand (&) as well. Passenger Serif – this family’s serif companion – is a Clarendon-style typeface, and its Passenger Display cousin dials up that serif family’s contrast significantly. Each of those related families contain 14 styles.When it comes to Akin, the most prominent features are the font’s swashes. Swashes of various lengths are included, and these can be automatically applied to a text via an OpenType feature. That feature reads the surrounding characters – in both directions – and inserts letterforms with swashes whose swooping elements might sweep above or below two or even three other characters. The font knows better than to let its swashes collide with capital letters, ascenders, descenders, etc. Another technical feature in Akin substitutes specially-designed ‘final’ glyphs in for letters that come at the end of a word. Akin’s basic lowercase letters are a bit ‘reduced’-looking when viewed on their own, but when put together into words, they’re fabulous. The typeface’s x-heigh is not terribly high, and the capital letters themselves are tall. Non-swash descenders are short and compactly drawn. Akin supports all European languages written with the Latin script.
Who’s behind these fonts? Passenger Sans was designed by the same duo that was behind Passenger Serif and Passenger Display: Diana Ovezea and Samo Ačko. Diana Ovezea – a designer behind a whole range of ITF’s Latin-script typefaces – is also Akin’s co-designer. She made it together with Sabina Chipară.