The idea of having a serif typeface with a very big x-height was in our heads for a while now, and that’s something we already experimented with in the past.
You can fit more lines in a limited vertical space, and it also makes SuperX look bigger than most other fonts at the same pixel or point size.
The dynamism of the italic comes from our wish to double down on the expressiveness of SuperX and shape it as a titling family.
If one wants to use both versions in the same line of text, they will have the same visual size, look aligned, and the line-space will be consistent.
This can be useful for magazines as well as websites or apps meant to be viewed on mobiles, and also particularly impactful on social media.
With this project, we told ourselves this time we’ll keep it simple, and ‘only a weight and a width axis. If only we had known.
Rage came as an obvious choice, describing the energy we put into the project.
We decided to sit in the middle and create a family that would indeed flourish in long-form text while also having very strong titling capabilities.
Fonts are generally costed with a northern hemisphere bias.
We want licensees to get as much use out of the font as possible.
The Brand Identity features NaN’s latest release, SuperX, a serif and sans typeface pair designed for impactful headlines and tight spacing. Developed by Berlin-based foundry NaN under founder Luke Prowse, the system revives phototype-era aesthetics with large x-heights and short ascenders for efficient vertical use. The family includes serif and sans versions with italics in Latin and Arabic scripts, optimized for editorial and digital applications.
The article spotlights NaN’s expansive new type family, NaN Rage, which spans seven sub-families and 252 styles. Founder Luke Prowse details the evolution from Rage Beau to a full typographic universe, each sub-family embodying distinct personalities and design logic. The project showcases NaN’s collaborative process and commitment to creating versatile, expressive type tools for designers.
The Brand Identity interviews Luke Prowse, founder of type design studio NaN, about their new Fair Font Pricing system, which adjusts font prices based on local economies to improve accessibility. Prowse discusses collaborations with studios like Ragged Edge and Koto, the technical challenges of variable fonts, and his hopes for a more equitable type industry. The conversation highlights NaN’s focus on simplicity, inclusivity, and innovation in font licensing.
The Brand Identity’s interview explores how Ragged Edge collaborated with Wise on a global rebrand centered around the idea of ‘The World’s Money.’ The project evolved Wise’s identity from a money transfer service to a global account brand, featuring a custom typeface, accessible design system, and evolved logo. Creative Director Luke Woodhouse and Design Director Cameron Worboys discuss the process, accessibility focus, and global inspiration behind the new identity.
NaN collaborated with DBLG to create a custom variable type family for Outernet, London’s new live-music and retail venue. The resulting Outernet Headline and Outernet Corporate fonts balance digital functionality with architectural inspiration from the venue’s design. The project emphasizes a tech-driven, monospaced aesthetic suited for Europe’s largest digital display.
BP&O’s feature by Emily Gosling covers DesignStudio’s 2023 rebrand of Eurostar following its merger with Thalys. The new identity introduces a ‘spark’ symbol, refreshed blue palette, custom typography by Luke Prowse, and illustration and photography that celebrate European diversity. The project modernizes Eurostar’s image while retaining its heritage elements.