Cina GEO | Public Type

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Try It

A geometric

sans designed

to endure.

Family

▶

Cina GEO

Designer

Michael Cina

2022-2026

Cina GEO began with the ideals that have always made geometric sans-serifs compelling: clarity, structure, and a distinctly modern voice. Through years of drawing, testing, and revision, it moved away from a geometric purity towards a typeface designed to endure.

Family Size

34 total styles: 27 total styles: 9 Roman, 9 Italic, 9 Display, 7 Mono. Alternate cuts in development

Features

10 stylistic sets, small caps, multiple figure styles, case sensitive forms, symbols, arrows, and character alternates.

Character sets

Latin Extended. ~680 glyphs per weight. 334 languages.

Custom Cuts

Available for custom modification.

Licensing

Desktop/Print, Web, Content, App/Game, Logo/Wordmark, Core Media, All Media. Custom License Available.

Formats

OTF, WOFF2, Variable (based on license type)

Regular

Shuffle

Cina GEO/AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz

1234567890!@#$%

Shuffle

Cina GEO/AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz

1234567890!@#$%

A typeface that reads as clean and considered at first glance reveals its depth through use. Spacing, rhythm, optical corrections, tonality, etc. Every decision was made to keep Cina GEO working across a full system, not just looking convincing in isolation. The result is a family that can stay neutral, turn architectural, or open into something more expressive depending on how it is directed. Deceptively simple and drawn to last.

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Variable Weights

Variable type description

Cina Geo Standard Variable

Axis

AaBbCc01234567890!@#$%^&*()

Cina Geo Mono Variable

Axis

AaBbCc01234567890!@#$%^&*()

Cina Geo Display Variable

Axis

AaBbCc01234567890!@#$%^&*()

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The Cuts

Cina GEO

The core of the family. Calm, precise, and broadly durable. Built to handle the full weight of a brand system, from identity down to body copy. It sets well, spaces well, and cooperates with whatever you put it next to.

Cina GEO Italic

The italic carries emphasis and direction while staying consistent with the roman. Use it for contrast, for voice, for the moments in a layout that need to move differently from the rest.

Cina GEO Mono

Cina GEO Mono carries the family's geometric logic into technical territory: data, labels, interfaces, specifications, small-text settings. Drawn to stay legible at small sizes.

Cina GEO Display

Architectural and graphic. Cina GEO Display carries the family's personality into display sizes. Bold, confident, more expressive than the text styles without breaking from the system. Made for headlines, identities, and moments where the type needs to express.

Regular

Size

200

Leading

0.90

Tracking

0.000em

OT Features

No features available

Deceptively simple.

Regular

Deceptively simple.

Regular

Size

200

Leading

0.90

Tracking

0.000em

OT Features

No features available

Usable under pressure.

Regular

Usable under pressure.

Regular

Size

200

Leading

0.90

Tracking

0.000em

OT Features

No features available

Geometry corrected for reality.

Regular

Geometry corrected for reality.

▶

Cina GEO

Value

Deceptively simple at a glance, redrawn to hold up across every surface. Logo, headline, text, interface, packaging, small print. It doesn't collapse when the project gets complicated. Its depth shows through use.

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Cina GEO

Value

Deceptively simple at a glance, redrawn to hold up across every surface. Logo, headline, text, interface, packaging, small print. It doesn't collapse when the project gets complicated. Its depth shows through use.

▶

Cina GEO

Value

Built as one system, not a family of related fonts. Text, display, mono, roman, italic, all drawn by the same hand with continuity in mind. Switch cuts and the voice stays. Nothing was added later to fill a gap.

▶

Cina GEO

Value

Built as one system, not a family of related fonts. Text, display, mono, roman, italic, all drawn by the same hand with continuity in mind. Switch cuts and the voice stays. Nothing was added later to fill a gap.

▶

Cina GEO

Value

Structured enough to hold a full identity system. Open enough to follow where the work goes. Swiss, architectural, editorial, graphic. The warmth comes from spacing, proportion, and rhythm, not decoration. It reads considered because it was.

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Cina GEO

Value

Structured enough to hold a full identity system. Open enough to follow where the work goes. Swiss, architectural, editorial, graphic. The warmth comes from spacing, proportion, and rhythm, not decoration. It reads considered because it was.

Regular

Size

200

Leading

0.90

Tracking

0.000em

OT Features

No features available

Built to hold up.

Regular

Built to hold up.

Regular

Size

200

Leading

0.90

Tracking

0.000em

OT Features

No features available

A full display system that works the whole way through.

Regular

A full display system that works the whole way through.

Regular

Size

200

Leading

0.90

Tracking

0.000em

OT Features

No features available

Drawn slowly. Built to last.

Regular

Drawn slowly. Built to last.

Regular

Size

Leading

1.00

Tracking

0.000em

OT Features

No features available

Cina GEO was drawn and redrawn over many years. The early versions leaned closer to Renner's early Futura/Stempel drafts and the familiar logic of idealized geometric construction. Over time the design moved away from structure held as dogma. Every character was evaluated against the others. Optical correction was treated as central, not cosmetic. Where geometry produced the wrong result, judgment took over. Spacing is where most geometric sans-serif families fail. Cina GEO was spaced slowly, by eye, and tested in real settings across sizes. The goal was tightness without crowding, openness without drift. Small sizes had to stay legible. Large sizes had to hold rhythm. The kerning pairs were built to keep texture consistent across every setting.

Regular

Size

Leading

1.15

Tracking

0.000em

OT Features

No features available

Geometric sans-serifs promise clarity, order, and a modern voice. Most keep the promise in isolation and break it under use. Letters can look convincing in a type tester and fall apart when a brand asks the family to carry a full brand system all at once. Cina GEO was drawn to answer that problem directly. Through repeated revision and pressure-testing, the design moved away from geometric dogma and toward judgment. Where a shape felt stiff, it was opened. Where a technically correct form read wrong, it was redrawn. Spacing and kerning drove the voice of the family, treated as central decisions in their own right. What comes out reads clean and considered on the surface and reveals its depth through use. Designers who use it for a day appreciate that it sets well. Designers who use it for a month understand why it's trusted. The family carries enough personality to give identity work a point of view without dominating it. Neutral corporate structure, architectural voice, editorial rhythm, or something stranger when directed. The stylistic alternates extend that range without breaking the system. Stable enough to hold a system together. Open enough to take the shape of the work. A geometric sans designed to endure. Simple on the surface. Deeply considered underneath. Drawn for designers who know the difference.

Regular

▶

Designer

Michael Cina

Regular

Michael Cina’s work exists at the intersection of design, typography, branding, strategy, and art. This uncommon mix allows him to see differently and direct ideas with purpose. Decades of moving fluidly between disciplines have shaped an approach that blends instinct with strategy, intuition with clarity, and expression with systems thinking. An internationally recognized Creative Director and Artist, Michael leads the multi-disciplinary studio Cina Associates. 

His work spans global brands including Disney, Apple, American Express, ESPN, Pepsi, Coca-Cola, Hewlett-Packard, and Microsoft. Across his career, he has synthesized typography, branding, illustration, motion, web, music, photography, and type design into cohesive systems that perform across platforms and cultures. His work has been widely published, recognized with Emmy and Grammy honors, and he is a frequent speaker at global design conferences, sharing a point of view rooted in authorship, clarity, and long-term brand thinking.

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Designer Notes

Regular

This typeface took more than twenty years to draw. Not continuously, but the thinking and attempts never fully stopped.

I've drawn countless geometric sans letterforms through my years designing identities. It's the style that rules the branding landscape, for good reason. Legibility, economy, friendliness, and the ability to carry a brand across every surface without breaking. I kept drawing toward those qualities and kept finding that most geometric sans families, including the ones I was using professionally, had real problems once you put them to work. Several years ago a client needed a unique geometric sans and I didn't have one ready. That forced the decision.

The thin and the black are different typefaces in spirit. I've always been drawn to that dual personality, the idea that the lightest and heaviest weights in a family carry different intentions and different uses.

The thin has a foundation in historical mathematics. I'd been looking at imperial Roman majuscules and Luca Pacioli's 1509 treatise De Divina Proportione, which describes building the Roman alphabet geometrically from lines, squares, and circles. That led me to what calligraphers call Ideal Letters, universal skeleton forms built on proportion ratios. The thin weights of Cina GEO grew from that system, adjusted to my eye.

The black came from branding and logos. From drawing letterforms in the most restrictive environments and finding out what survives. A logo has to work in the worst conditions. That ethos is built into the heavier cuts.

It would be impossible to ignore what came before. Paul Renner's early Futura drafts floored me when I first saw them in the early '90s. Erbar, Neuzeit-Grotesk, Avenir, Kabel, Avant Garde, ITC Bauhaus, Century Gothic. The Bauhaus lettering tradition has played a role in my typeface work from the beginning. Universalschrift was a constant reference in my early logo years. DIN, especially the machine-cut variants in their utilitarian applications.

Spacing took a long time. The light weight originally had twenty percent more whitespace between letters. The black was tracked tighter. I wanted spacing that felt tight but stayed readable at economical small sizes. I spent far too long on it.

Along the way I passed Cina GEO to some of my type heroes for feedback. Thomas Thiemich spent generous hours finding inconsistencies. Mirko Velimirović drew the italics with me.

In the end the designer decides. I just provide my best read on how the face will be used. Twenty years to draw. A career to see what it becomes.

Regular

This typeface took more than twenty years to draw. Not continuously, but the thinking and attempts never fully stopped.

I've drawn countless geometric sans letterforms through my years designing identities. It's the style that rules the branding landscape, for good reason. Legibility, economy, friendliness, and the ability to carry a brand across every surface without breaking. I kept drawing toward those qualities and kept finding that most geometric sans families, including the ones I was using professionally, had real problems once you put them to work. Several years ago a client needed a unique geometric sans and I didn't have one ready. That forced the decision.

The thin and the black are different typefaces in spirit. I've always been drawn to that dual personality, the idea that the lightest and heaviest weights in a family carry different intentions and different uses.

The thin has a foundation in historical mathematics. I'd been looking at imperial Roman majuscules and Luca Pacioli's 1509 treatise De Divina Proportione, which describes building the Roman alphabet geometrically from lines, squares, and circles. That led me to what calligraphers call Ideal Letters, universal skeleton forms built on proportion ratios. The thin weights of Cina GEO grew from that system, adjusted to my eye.

The black came from branding and logos. From drawing letterforms in the most restrictive environments and finding out what survives. A logo has to work in the worst conditions. That ethos is built into the heavier cuts.

It would be impossible to ignore what came before. Paul Renner's early Futura drafts floored me when I first saw them in the early '90s. Erbar, Neuzeit-Grotesk, Avenir, Kabel, Avant Garde, ITC Bauhaus, Century Gothic. The Bauhaus lettering tradition has played a role in my typeface work from the beginning. Universalschrift was a constant reference in my early logo years. DIN, especially the machine-cut variants in their utilitarian applications.

Spacing took a long time. The light weight originally had twenty percent more whitespace between letters. The black was tracked tighter. I wanted spacing that felt tight but stayed readable at economical small sizes. I spent far too long on it.

Along the way I passed Cina GEO to some of my type heroes for feedback. Thomas Thiemich spent generous hours finding inconsistencies. Mirko Velimirović drew the italics with me.

In the end the designer decides. I just provide my best read on how the face will be used. Twenty years to draw. A career to see what it becomes.

Michael Cina

2022-2026

Family

Cina GEO

Designers

Michael Cina

Release

2022-2026

Family Size

34 total styles: 27 total styles: 9 Roman, 9 Italic, 9 Display, 7 Mono. Alternate cuts in development

Features

10 stylistic sets, small caps, multiple figure styles, case sensitive forms, symbols, arrows, and character alternates.

Character Set

Latin Extended. ~680 glyphs per weight. 334 languages.

Formats

OTF, WOFF2, Variable (based on license type)

Licensing

Desktop/Print, Web, Content, App/Game, Logo/Wordmark, Core Media, All Media. Custom License Available.

Supported Languages

Acheron, Achinese, Acholi, Achuar-Shiwiar, Afar, Afrikaans, Aguaruna, Alekano, Aleut, Algonquin, Amahuaca, Amarakaeri, Amis, Anaang, Andaandi, Anuta, Ao Naga, Apinayé, Aragonese, Arbëreshë Albanian, Arvanitika Albanian, Asháninka, Ashéninka Perené, Asu (Tanzania), Atayal, Balinese, Banjar, Bari, Basque, Batak Dairi, Batak Karo, Batak Mandailing, Batak Simalungun, Batak Toba, Bemba (Zambia), Bena (Tanzania), Bikol, Bini, Bislama, Borana-Arsi-Guji Oromo, Bosnian, Breton, Buginese, Candoshi-Shapra, Caquinte, Caribbean Hindustani, Cashibo-Cacataibo, Cashinahua, Catalan, Cebuano, Central Aymara, Central Kurdish, Chachi, Chamorro, Chavacano, Chiga, Chiltepec Chinantec, Chokwe, Chuukese, Cimbrian, Cofán, Congo Swahili, Cook Islands Māori, Cornish, Corsican, Creek, Crimean Tatar, Croatian, Czech, Danish, Dehu, Dimli, Dutch, Eastern Arrernte, Eastern Oromo, Efik, Embu, English, Ese Ejja, Esperanto, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gagauz, Galician, Ganda, Garifuna, Ga'anda, German, Gheg Albanian, Gilbertese, Gooniyandi, Gourmanchéma, Guadeloupean Creole French, Gusii, Haitian, Hani, Hawaiian, Hiligaynon, Ho-Chunk, Hopi, Huastec, Hungarian, Hän, Icelandic, Ido, Iloko, Inari Sami, Indonesian, Interglossa, Interlingua, Interlingue, Irish, Istro Romanian, Italian, Ixcatlán Mazatec, Jamaican Creole English, Javanese, Jola-Fonyi, K'iche', Kabuverdianu, Kaingang, Kala Lagaw Ya, Kalaallisut, Kalenjin, Kamba (Kenya), Kaonde, Kara-Kalpak, Karelian, Kashubian, Kekchí, Kenzi/Mattokki, Khasi, Kikuyu, Kimbundu, Kinyarwanda, Kirmanjki, Kituba (DRC), Klingon, Kongo, Konzo, Koyra Chiini Songhay, Koyraboro Senni Songhai, Kuanyama, Kven Finnish, Kölsch, Ladin, Ladino, Latgalian, Ligurian, Lithuanian, Lojban, Lombard, Low German, Lower Sorbian, Luba-Lulua, Lule Sami, Luo (Kenya and Tanzania), Luxembourgish, Macedo-Romanian, Makhuwa, Makhuwa-Meetto, Makonde, Makwe, Malagasy, Malaysian, Maltese, Mandinka, Mandjak, Mankanya, Manx, Maore Comorian, Maori, Mapudungun, Marshallese, Matsés, Mauritian Creole, Meriam Mir, Meru, Minangkabau, Mirandese, Mohawk, Montenegrin, Munsee, Murrinh-Patha, Mwani, Mískito, Naga Pidgin, Ndonga, Neapolitan, Ngazidja Comorian, Niuean, Nobiin, Nomatsiguenga, North Marquesan, North Ndebele, Northern Kurdish, Northern Qiandong Miao, Northern Sami, Northern Uzbek, Northwestern Ojibwa, Norwegian, Novial, Nyanja, Nyankole, Occitan, Ojitlán Chinantec, Orma, Oroqen, Palauan, Paluan, Pampanga, Papantla Totonac, Papiamento, Pedi, Picard, Pichis Ashéninka, Piemontese, Pijin, Pintupi-Luritja, Pipil, Pohnpeian, Polish, Portuguese, Potawatomi, Purepecha, Páez, Quechua, Romanian, Romansh, Rotokas, Rundi, Rwa, Samburu, Samoan, Sango, Sangu (Tanzania), Saramaccan, Sardinian, Scots, Scottish Gaelic, Sena, Seri, Seselwa Creole French, Shambala, Shawnee, Shipibo-Conibo, Shona, Shuar, Sicilian, Silesian, Slovak, Slovenian, Soga, Somali, Soninke, South Marquesan, South Ndebele, Southern Aymara, Southern Qiandong Miao, Southern Sami, Southern Sotho, Spanish, Sranan Tongo, Standard Estonian, Standard Latvian, Standard Malay, Sundanese, Swahili, Swati, Swedish, Swiss German, Tagalog, Tahitian, Taita, Tasawaq, Tedim Chin, Tetum, Tetun Dili, Tiv, Toba, Tojolabal, Tok Pisin, Tokelau, Toki Pona, Tonga (Tonga Islands), Tonga (Zambia), Tosk Albanian, Tsonga, Tswana, Tumbuka, Turkish, Turkmen, Tuvalu, Tzeltal, Tzotzil, Uab Meto, Umbundu, Ume Sami, Upper Guinea Crioulo, Upper Sorbian, Venetian, Veps, Volapük, Võro, Wallisian, Walloon, Walser, Wangaaybuwan-Ngiyambaa, Waorani, Waray (Philippines), Warlpiri, Wayuu, Welsh, West Central Oromo, Western Abnaki, Western Frisian, Wik-Mungkan, Wiradjuri, Wolof, Xavánte, Xhosa, Yanesha', Yao, Yapese, Yindjibarndi, Yucateco, Zapotec, Zarma, Zulu, Záparo