Buy It
Buy It
The
contrast is
the typeface.

Family

Designer

Michael Cina

2020

Stadt is a bold display sans with heavy strokes, high x-height, and accents pulled to a true hairline. The spacing is closed in until the letters almost touch. Set as a headline, the letters lock into each other and read as a graphic block, with pattern surfacing on its own.

Family Size

1 Style: Roman

Features

9 stylistic sets, Cyrillic, case-sensitive forms, multiple figure styles, fractions and ordinals, enclosed Alphanumerics, symbols, arrows, ligatures, character alternates

Character sets

Latin Extended. ~620 glyphs per weight. 283 languages.

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
Stadt/AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz
1234567890!@#$%
 
Shuffle
Stadt/AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz
1234567890!@#$%

Armin Hofmann and Herb Lubalin both sit as inspiration behind the drawing. Stadt draws from both.

Stadt

Stadt came out of an aesthetic pull toward high contrast. Cina had been drawing toward a bold sans with a high x-height, heavy strokes, and thin whitespace.

 
Regular
Size
200
Leading
0.90
Tracking
0.000em
OT Features
No features available

A bold sans that practically sets itself.

 
Regular

A bold sans that practically sets itself.

 
Regular
Size
200
Leading
0.90
Tracking
0.000em
OT Features
No features available

Heavy strokes/ Hairline marks/ Close spacing.

 
Regular

Heavy strokes/ Hairline marks/ Close spacing.

 
Regular
Size
200
Leading
0.90
Tracking
0.000em
OT Features
No features available

Contrast at every level!

 
Regular

Contrast at every level!

Value

01

Stadt's accents and ancillary marks are drawn at a true hairline against the heavy letters. The contrast runs through the typeface, from the strokes down to the smallest marks, and stays sharp across working display sizes.

Value

01

Stadt's accents and ancillary marks are drawn at a true hairline against the heavy letters. The contrast runs through the typeface, from the strokes down to the smallest marks, and stays sharp across working display sizes.

Value

02

Sidebearings are closed in so the letters almost touch. The closeness, combined with a high x-height and heavy strokes, gives Stadt a rhythmic, patterned color at headline scale. Set the way it was drawn, letters lock into each other and read as a graphic block.

Value

02

Sidebearings are closed in so the letters almost touch. The closeness, combined with a high x-height and heavy strokes, gives Stadt a rhythmic, patterned color at headline scale. Set the way it was drawn, letters lock into each other and read as a graphic block.

Value

03

Stadt carries arrows, geometric shapes, recycling symbols, and icons drawn to the same logic as the letterforms. The arrows sit at the hairline weight of the accents. Everything integrates with the type as a single graphic system.

Value

03

Stadt carries arrows, geometric shapes, recycling symbols, and icons drawn to the same logic as the letterforms. The arrows sit at the hairline weight of the accents. Everything integrates with the type as a single graphic system.
 
Regular
Size
200
Leading
0.90
Tracking
0.000em
OT Features
No features available

↬Display work ↬ Drawn elements belong to the typeface.

 
Regular

↬Display work ↬ Drawn elements belong to the typeface.

 
Regular
Size
200
Leading
0.90
Tracking
0.000em
OT Features
No features available

⇶Pattern surfaces from repetition

 
Regular

⇶Pattern surfaces from repetition

 
Regular
Size
200
Leading
0.90
Tracking
0.000em
OT Features
No features available

 
Regular

Beyond the stylistic sets, Stadt carries a working set of graphic elements built into the typeface itself. Ligatures. Arrows drawn to the hairline weight of the accents, so they integrate with the letterforms rather than sitting beside them as imported icons. Geometric shapes. Recycling symbols. Icons drawn in the same logic as the letters. Multilingual support across extended Latin. 567 glyphs. The icons and arrows are drawn with the letterforms and they share the typeface's contrast logic. A designer setting Stadt can pull from the alternates, the ligatures, the icons, and the arrows as a robust graphic system.

①⬳⤕○☼✷✹№⬡✱╲‰£╳✲
 
Regular
Size
72
Leading
1.00
Tracking
0.000em
OT Features
No features available

The arrows are drawn around the hairline weight of the accents. The icons follow the full system. Stadt is a display face. It performs at headline scale and above, where the contrast holds and the tight spacing carries rhythm. It suits editorial work, branding systems, posters, and any setting where bold type has to set the tone. The stylistic sets, alternates, arrows, and icons give a designer a full graphic kit.

 
Regular

The arrows are drawn around the hairline weight of the accents. The icons follow the full system. Stadt is a display face. It performs at headline scale and above, where the contrast holds and the tight spacing carries rhythm. It suits editorial work, branding systems, posters, and any setting where bold type has to set the tone. The stylistic sets, alternates, arrows, and icons give a designer a full graphic kit.

 
Regular
Size
28
Leading
1.15
Tracking
0.000em
OT Features
No features available

Stadt is a bold sans with hairline accents, spaced and kerned tight. The letters have a high x-height and heavy strokes. Accents, punctuation, and ancillary marks are pulled to a true hairline against them, so the contrast between stroke and mark runs through the typeface at every level. The spacing is closed in until the letters almost touch. That closeness, combined with the heavy strokes and open counters at a high x-height, gives Stadt a rhythmic, patterned typographic color. Set as aheadline, the letters lock into each other and read as a graphic block first, words second. The letters carry natural symmetry, especially when set in repetition, so pattern surfaces on its own. Armin Hofmann and Herb Lubalin play a large influence on the drawing. Hofmann provided the initial influence and Lubalin worked tight and economical on the American display side, pushing contrast hard. Stadt draws from both. Five stylistic sets carry Lubalin-influenced alternates that lean the typeface further toward pattern. Beyond the letters, Stadt carries a working set of drawn elements: ligatures, arrows pulled to the hairline of the accents, geometric shapes, recycling symbols, and icons. The arrows and icons follow the same contrast logic as the type, so they set as part of the typeface rather than beside it. 567 glyphs across 339 languages.

 
Regular

Stadt is a bold sans with hairline accents, spaced and kerned tight. The letters have a high x-height and heavy strokes. Accents, punctuation, and ancillary marks are pulled to a true hairline against them, so the contrast between stroke and mark runs through the typeface at every level. The spacing is closed in until the letters almost touch. That closeness, combined with the heavy strokes and open counters at a high x-height, gives Stadt a rhythmic, patterned typographic color. Set as aheadline, the letters lock into each other and read as a graphic block first, words second. The letters carry natural symmetry, especially when set in repetition, so pattern surfaces on its own. Armin Hofmann and Herb Lubalin play a large influence on the drawing. Hofmann provided the initial influence and Lubalin worked tight and economical on the American display side, pushing contrast hard. Stadt draws from both. Five stylistic sets carry Lubalin-influenced alternates that lean the typeface further toward pattern. Beyond the letters, Stadt carries a working set of drawn elements: ligatures, arrows pulled to the hairline of the accents, geometric shapes, recycling symbols, and icons. The arrows and icons follow the same contrast logic as the type, so they set as part of the typeface rather than beside it. 567 glyphs across 339 languages.

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.

Family

Stadt

Designers

Michael Cina

Release

2020

Family Size

1 Style: Roman

Features

9 stylistic sets, Cyrillic, case-sensitive forms, multiple figure styles, fractions and ordinals, enclosed Alphanumerics, symbols, arrows, ligatures, character alternates

Character Set

Latin Extended. ~620 glyphs per weight. 283 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, Ahtna, Alekano, Aleut, Algonquin, Amahuaca, Amarakaeri, Amis, Anaang, Andaandi, Anuta, Ao Naga, Apinayé, Aragonese, Arbëreshë Albanian, Arvanitika Albanian, Asháninka, Ashéninka Perené, Asu (Tanzania), Atayal, Awetí, Balinese, Banjar, Bari, Basque, Batak Dairi, Batak Karo, Batak Mandailing, Batak Simalungun, Batak Toba, Bemba (Zambia), Bena (Tanzania), Bikol, 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, Rarotongan, Cornish, Corsican, Creek, Crimean Tatar, Croatian, Czech, Danish, Dehu, Dimli, Dutch, Eastern Arrernte, Eastern Oromo, Embu, English, Ese Ejja, Esperanto, Falam Chin, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gagauz, Galician, Ganda, Garifuna, Ga'anda, German, Gheg Albanian, Gilbertese, Gooniyandi, Gourmanchéma, Guadeloupean Creole French, Gusii, Haitian, Hakha Chin, Hani, Hiligaynon, Ho-Chunk, Hopi, Huastec, Hungarian, Han, 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, Kalaallisut, Kalenjin, Kamba (Kenya), Kaonde, Kaqchikel, Karelian, Kashubian, Kekchí, Mattokki, Khasi, Kikuyu, Kimbundu, Kinyarwanda, Kirmanjki, Kituba (DRC), Klingon, Kongo, Konzo, Kuanyama, Kven Finnish, Kölsch, Ladin, Ladino, Latgalian, Ligurian, Lithuanian, Lojban, Lombard, Low German, Lower Sorbian, Lozi, Luba-Lulua, Lule Sami, Luo (Kenya and Tanzania), Luxembourgish, Macedo-Romanian, Madurese, Makhuwa, Makhuwa-Meetto, Makonde, Makwe, Malagasy, Malay, Maltese, Mandinka, Mandjak, Mankanya, Manx, Maore Comorian, Maori, Mapudungun, Marshallese, Matsés, Morisyen, Meriam Mir, Meru, Minangkabau, Mirandese, Lushai, Mohawk, Montenegrin, Munsee, Murrinh-Patha, Muslim Tat, Mwani, Mískito, Naga Pidgin, Ndonga, Neapolitan, Ngazidja Comorian, Niuean, Nobiin, Nomatsiguenga, North Azerbaijani, North Ndebele, Northern Kurdish, Northern Qiandong Miao, Northern Sami, Northern Uzbek, Northwestern Ojibwa, Norwegian, Novial, Nyanja, Nyankole, Occitan, Ojitlán Chinantec, Orma, Oroqen, Otuho, Palauan, Paluan, Pampanga, Papantla Totonac, Papiamento, Paraguayan Guaraní, Pedi, Picard, Pichis Ashéninka, Piemontese, Pijin, Pintupi-Luritja, Pipil, Pite Sami, 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 Azerbaijani, 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, Talysh, Tedim Chin, Tetum, Tetun Dili, Tiv, Toba, Tojolabal, Tok Pisin, Tokelau, Toki Pona, Tonga (Tonga Islands), Tonga (Zambia), Tosk Albanian, Tsakhur, Tsonga, Tswana, Tumbuka, Turkish, Turkmen, Tuvalu, Tzeltal, Tzotzil, Uab Meto, Umbundu, Ume Sami, Upper Guinea Crioulo, Upper Sorbian, Venetian, Veps, Volapük, Võro, 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, Zulu, Zuni, Záparo