Nexus Mix Pro Regular

Martin Majoor

Nexus Mix Pro

Nexus Sans Pro Regular

Nexus Sans Pro

Nexus Serif Pro Regular

Nexus Serif Pro

Nexus Typewriter Pro Regular

Nexus Typewriter Pro

Scala Jewel Pro Crystal

Scala Jewel Pro

Scala Pro Regular

Scala Pro

Scala Sans Pro Regular

Scala Sans Pro

Seria Sans Pro Regular

Seria Sans Pro

Seria Serif Pro Regular

Seria Serif Pro

Martin Majoor Logo

Martin Majoor has built a long career as a typeface designer starting in the late 1980s. His independent type foundry “Martin Majoor” offers several award-winning font families that have their strength in editorial use, but are also suitable as display typeface. The ‘Scala’ family (1990) is a worldwide bestseller and has established itself as a &#x27;classic&#x27; among digital fonts. ‘Seria’ (2000) is a delicately proportioned text typeface. ‘Nexus’ (2004) is an extensive type family with four different font styles, including a slab design and a typewriter font.

Stories

Martin Majoor has been active as a graphic designer since the mid 1980s. He designed books, covers, stamps and posters, but he is best known for his type designs, such as Scala, Nexus and Questa. In 2021 he launched his own type foundry and released Comma Base. Majoor teaches typography and conducts type design workshops at several art schools. He lectured at conferences on type and design. He wrote articles for magazines like Eye and Page, as well as contributing to several books on typography.

Nexus started as an alternative to Seria, a typeface Majoor had designed some 5 years earlier. But soon the design developed into a new typeface, with numerous changes in proportions and in details and with a redrawn italic. Besides the three connected versions (Nexus Serif, Nexus Sans, Nexus Mix) Majoor designed a monospaced version called Nexus Typewriter. The Nexus family is a workhorse typeface system like Scala, with features such as small caps in all weights, four different sorts of numbers and an extensive set of ligatures. All fonts in the Nexus family come in regular, italic, bold and bold italic. Free bonus: there are more than 100 elegant Swash italics and dozens of arrows and other icons. The Nexus family was awarded the First Prize at the Creative Review Type Design Awards 2006.

Nexus started as an alternative to Seria, a typeface Majoor had designed some 5 years earlier. But soon the design developed into a new typeface, with numerous changes in proportions and in details and with a redrawn italic. Besides the three connected versions (Nexus Serif, Nexus Sans, Nexus Mix) Majoor designed a monospaced version called Nexus Typewriter. The Nexus family is a workhorse typeface system like Scala, with features such as small caps in all weights, four different sorts of numbers and an extensive set of ligatures. All fonts in the Nexus family come in regular, italic, bold and bold italic. Free bonus: there are more than 100 elegant Swash italics and dozens of arrows and other icons. The Nexus family was awarded the First Prize at the Creative Review Type Design Awards 2006.

Nexus started as an alternative to Seria, a typeface Majoor had designed some 5 years earlier. But soon the design developed into a new typeface, with numerous changes in proportions and in details and with a redrawn italic. Besides the three connected versions (Nexus Serif, Nexus Sans, Nexus Mix) Majoor designed a monospaced version called Nexus Typewriter. The Nexus family is a workhorse typeface system like Scala, with features such as small caps in all weights, four different sorts of numbers and an extensive set of ligatures. All fonts in the Nexus family come in regular, italic, bold and bold italic. Free bonus: there are more than 100 elegant Swash italics and dozens of arrows and other icons. The Nexus family was awarded the First Prize at the Creative Review Type Design Awards 2006.

Whereas Crystal and Pearl are modelled on historic examples, Diamond and Saphyr are original designs. Scala Jewel offers the possibility to set decorated borders, designed in the style of each of the four variations. There are corners and different sorts of long and short elements. One of the best ways to use Scala Jewel is as a two- or three-line drop cap at the start of a chapter.

In fact Scala and Scala Sans (1990-1993) are two different typefaces sharing a common form principle: the skeletons of both Scala and Scala Sans are identical. Scala’s dark colour and low contrast works to prevent the thin parts from breaking up. The generous length of Scala italic’s serifs gives it a strong rhythm. The bold weight has the same character widths as the normal weight, so changing a text from normal into bold does not affect the set width. This professional uniwidth feature is highly appreciated among graphic designers. Another part of Scala is very popular among its users: Scala Hands, containing more than one hundred decorative hands and pointers, is a free bonus.

In fact Scala and Scala Sans (1990-1993) are two different typefaces sharing a common form principle: the skeletons of both Scala and Scala Sans are identical. Scala’s dark colour and low contrast works to prevent the thin parts from breaking up. The generous length of Scala italic’s serifs gives it a strong rhythm. The bold weight has the same character widths as the normal weight, so changing a text from normal into bold does not affect the set width. This professional uniwidth feature is highly appreciated among graphic designers. Another part of Scala is very popular among its users: Scala Hands, containing more than one hundred decorative hands and pointers, is a free bonus.

The first sketches for Seria emerged in the summer of 1996 on the train from Berlin to Warsaw, to be precise, on July 25 – the date Majoor noted on the napkins of the train’s on-board restaurant, which he used for lack of suitable drawing paper. The italics are almost upright which contributes much to Seria’s delicately proportioned appearance. The Seria family consists of Seria Serif and Seria Sans. Combining the two creates countless possibilities of expression.

The first sketches for Seria emerged in the summer of 1996 on the train from Berlin to Warsaw, to be precise, on July 25 – the date Majoor noted on the napkins of the train’s on-board restaurant, which he used for lack of suitable drawing paper. The italics are almost upright which contributes much to Seria’s delicately proportioned appearance. The Seria family consists of Seria Serif and Seria Sans. Combining the two creates countless possibilities of expression.

Martin Majoor

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