Designed by Veronika Burian José Scaglione. Released 2007.

Ronnia has the kind of personality that performs admirably in headlines but is diffident enough for continuous small text. Seen in design choices such as its space-saving ability, high legibility, and the hospitable tone with which it approaches the reader, Ronnia prides itself in being ready to serve.

  • Tipos Latinos 2008
  • 30 Typefaces for Corporate Design, Smashing Magazine
  • 23rd Biennale of Graphic Design 2008 in Brno
  • Smashing Magazine: 80 Typefaces for Professional Design
Ronnia Set. 14 fonts USD 451,52
Ronnia Cond Set. 14 fonts USD 451,52

Air-Marshal Sir Victor Goddard visits the future

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J. H. Brennan tells a curious story of a time slip experience that happened to Air-Marshal Sir Victor Goddard.

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Brennan writes: “In 1935, while still a Wing Commander, he was sent to inspect a disused airfield near Edinburgh at a place called Drem. He found it in a very dilapidated state with cattle grazing on grass that had forced through cracks in the tarmac. Later that day, he ran into trouble while flying his biplane in heavy rain and decided to fly back to Drem to get his bearings.

There were mechanics in blue overalls walking around and four yellow planes parked on the runway. One of these was a model which, for all his aviation experience, he completely failed to recognize.

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It was a very puzzling experience, not alone because the instant renovation was quite impossible, but also because mechanics were supposed to wear khaki and Air Force planes were painted with a silvery aluminum paint.

Four years later, Goddard solved the mystery. With war now raging in Europe, he happened to visit Drem again… to find it exactly as he had seen it in 1935, completely with blue-overalled mechanics and yellow planes. He even found the plane he had been unable to identify earlier – a Miles Magister. ”

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The Backstory


An hospitable sans, ready to serve the reader in wide editorial use.

One of the most remarkable characteristics of this humanist sans serif is its versatility. José Scaglione and Veronika Burian’s Ronnia has the kind of personality that performs admirably in headlines, but is diffident enough for continuous and small text alike. From newspaper headlines to web text and corporate business reports, Ronnia satisfies a broad range of applications in an equal range of sizes.

Good type designers create typefaces to solve a specific problem whether that problem is aesthetic, functional, or both. Ronnia was primarily engineered for newspaper and magazine applications. This is seen in design choices such as its space-saving ability, high legibility, and the hospitable tone with which it approaches the reader; Ronnia prides itself in being ready to serve. Toward this end, Ronnia comes in regular and condensed widths that deliver cohesive shapes, a strong impact in the heavier weights, and clear hospitality in the lighter weights.

Distinct letterforms help with quick reading, and interesting letterforms cause the reader to want to continue doing so. With this in mind, key glyphs like Ronnia’s ‘a’, ‘c’, ‘e’, ‘l’, ‘s’, ‘M’, and ‘G’ have enough internal space to make recognition easy and enough personality to make reading enjoyable. Ronnia benefits from a mammoth x-height to readily voice captions, tables, and other minutiae. Its 28 styles grant the designer a broad range in text blocks, from coherent colour to texture variations — necessary tools to solve complex problems involving information and editorial design.

Ronnia’s many OpenType features (small caps, arrows, ornaments, ligatures, info-numerals, fractions, arrows, dingbats, superior letters, stylistic alternates, and much more) are focused on two corresponding things: serving its readers and eliminating the problems plaguing editorial designers. The complete Ronnia family, along with our entire catalogue, has been optimised for today’s varied screen uses.