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Case — Case Text — Case Micro

Next-Level Linear-Grotesque Base Family

Best use for logos, text as well as disclaimers

Including real Italic styles

auch mit smallcaps „und allem pipapo“

Made by Anja Meiners, Ralph du Carrois and Erik Spiekermann, produced and sold by Fontwerk with love and team spirit.

“My dear fellow,” said Sherlock Holmes as we sat on either side of the fire in his lodgings at Baker Street, “life is infinitely stranger than anything which the mind of man could invent. We would not dare to conceive the things which are really mere commonplaces of existence. If we could fly out of that window hand in hand, hover over this great city, gently remove the roofs, and peep in at the queer things which are going on, the strange coincidences, the plannings, the cross-purposes, the wonderful chains of events, working through generation, and leading to the most outré results, it would make all fiction with its conventionalities and foreseen conclusions most stale and unprofitable.“ “And yet I am not convinced of it,” I answered. “The cases which come to light in the papers are, as a rule, bald enough, and vulgar enough. We have in our police reports realism pushed to its extreme limits, and yet the result is, it must be confessed, neither fascinating nor artistic.“ “A certain selection and discretion must be used in producing a realistic effect,” remarked Holmes. “This is wanting in the police report, where more stress is laid, perhaps, upon the platitudes of the magistrate than upon the details, which to an observer contain the vital essence of the whole matter. Depend upon it, there is nothing so unnatural as the commonplace.“ I smiled and shook my head. “I can quite understand your thinking so.” I said. “Of course, in your position of unofficial adviser and helper to everybody who is absolutely puzzled, throughout three continents, you are brought in contact with all that is strange and bizarre. But here”--I picked up the morning paper from the ground-- “let us put it to a practical test. Here is the first heading upon which I come. 'A husband's cruelty to his wife.' There is half a column of print, but I know without reading it that it is all perfectly familiar to me. There is, of course, the other woman, the drink, the push, the blow, the bruise, the sympathetic sister or landlady. The crudest of writers could invent nothing more crude.” “Indeed, your example is an unfortunate one for your argument,” said Holmes, taking the paper and glancing his eye down it. “This is the Dundas separation case, and, as it happens, I was engaged in clearing up some small points in connection with it. The husband was a teetotaler, there was no other woman, and the conduct complained of was that he had drifted into the habit of winding up every meal by taking out his false teeth and hurling them at his wife, which, you will allow, is not an action likely to occur to the imagination of the average story-teller. Take a pinch of snuff, Doctor, and acknowledge that I have scored over you in your example.” He held out his snuffbox of old gold, with a great amethyst in the centre of the lid. Its splendour was in such contrast to his homely ways and simple life that I could not help commenting upon it. “Ah,” said he, “I forgot that I had not seen you for some weeks. It is a little souvenir from the King of Bohemia in return for my assistance in the case of the Irene Adler papers.” “And the ring?” I asked, glancing at a remarkable brilliant which sparkled upon his finger. “It was from the reigning family of Holland, though the matter in which I served them was of such delicacy that I cannot confide it even to you, who have been good enough to chronicle one or two of my little problems.” “And have you any on hand just now?” I asked with interest. “Some ten or twelve, but none which present any feature of interest. They are important, you understand, without being interesting. Indeed, I have found that it is usually in unimportant matters that there is a field for the observation, and for the quick analysis of cause and effect which gives the charm to an investigation. The larger crimes are apt to be the simpler, for the bigger the crime the more obvious, as a rule, is the motive. In these cases, save for one rather intricate matter which has been referred to me from Marseilles, there is nothing which presents any features of interest. It is possible, however, that I may have something better before very many minutes are over, for this is one of my clients, or I am much mistaken.”

You need a typeface which is suitable for microscopic text sizes? Try Case Micro.
Available in 4 weights and Italic styles, of course.
Text is taken from Sherlock Holmes “A Case of Identity” by Arthur Conan Doyle, first published in 1891.
In case (c a s e, haha) you’re still reading, here’s a little secret for you: Pssst, Micro’s also hot in large sizes.

A macro


Ultra Thin Weights




Aligned terminals
for typographic experiments
+ optimized “Gendersternchen”:


case [issue, affair, cause] [also ling., law, med.]

“Case” is a linguistics term regarding a manner of categorizing nouns, pronouns, adjectives, participles, and numerals according to their traditionally corresponding grammatical functions within a given phrase, clause, or sentence. In some languages, nouns, pronouns, adjectives, determiners, participles, prepositions, numerals, articles and their modifiers take different inflected forms, depending on their case. As a language evolves, cases can merge (for instance, in Ancient Greek, the locative case merged with the dative case), a phenomenon formally called syncretism.

English has largely lost its inflected case system although personal pronouns still have three cases, which are simplified forms of the nominative, accusative and genitive cases. They are used with personal pronouns: subjective case (I, you, he, she, it, we, they, who, whoever), objective case (me, you, him, her, it, us, them, whom, whomever) and possessive case (my, mine; your, yours; his; her, hers; its; our, ours; their, theirs; whose; whosever). Forms such as I, he and we are used for the subject („I kicked the ball”), and forms such as me, him and us are used for the object („John kicked me“)

A suitcase is a form of luggage.

In a typographic sense: initial capital or small letter

Corporate Branding

Die Grotesk, auch Serifenlose Linear-Antiqua (DIN 16518) oder Sans Serif (französisch für „ohne Serife“, „serifenlos“) ist eine aus der Antiqua abgeleitete Schriftartenfamilie, die sich dadurch auszeichnet, dass sie keine Serifen besitzt. Außerdem ist bei Groteskschriften die Strichstärke der Buchstaben (nahezu) gleichmäßig, ein Strichkontrast ist also nicht vorhanden oder sehr gering. Durch das Fehlen der Serifen unterscheiden sich Groteskschriften von den Serifenbetonten Linear-Antiqua. Die Bezeichnung Grotesk ist in der Fachwelt sehr geläufig. Sie bezieht sich darauf, dass die ersten Schriften dieses Typs als Groteske, also eine sonderbare, aber durchaus reizvolle Entstellung angesehen wurden, weil die Nichtvariation der Strichstärke und das Weglassen der Serifen allen Lesegewohnheiten widersprach. Grotesk-Schriften weisen einfach geformte, auf Bildschirmen gut darstellbare Glyphen auf und sind daher heute die Standardschriftart auf Computersystemen; die Bezeichnung Grotesk wirkt daher befremdlich, weswegen die Bezeichnungen Serifenlose oder Sans Serif in der Desktop-Publishing-Branche üblich sind.


Please move along! There isn’t another Helvetica® to see here.

Corporate type designers know this situation all too well: Your client wants something new, something to call their own, something that stands out from the competition. However, in reality, they often end up wanting the same thing: their own version of a Neo-Grotesque in the style of one of the usual suspects.

Anja Meiners, Ralph du Carrois and Erik Spiekermann have sat in client briefings like these. Case is the essence of these experiences. They left out everything that they felt was unnecessary in the world’s most popular typeface genre but they made sure to keep all the best bits. Building on the concentrate of the best bits, they added new ideas and conceptual solutions for a modern static grotesque. The result is the missing element in an otherwise strained and bloated genre: A typeface whose clear basic personality looks familiar and creates trust, but at the same time is novel and individual and is therefore perfect for strong brand building. An ideal font for complex branding projects born out of years of working on such complex branding projects.

Case is currently available in three optical sizes: the core family is suitable for the vast majority of applications, especially larger applications such as logos, wordmarks and headlines, the Text family for longer reads and the Micro version for – surprise, surprise – small text. Depending on the area of use, it can guarantee readability of 5pt, in some cases, even less.

Bitte gehen Sie weiter! Hier gibt es keine weitere Helvetica® zu sehen.

Corporate-Typedesigner kennen die Situation. Ihre Auftraggeber möchten Neues, Eigenständiges. Etwas, womit sie sich klar von ihren Konkurrenten abheben können. Oft wollen sie dann aber doch das immer Gleiche: die eigene Version einer Neo-Grotesk im Stile der üblichen Verdächtigen.

Auch Anja Meiners, Ralph du Carrois und Erik Spiekermann erlebten Briefings dieser Art. Die Case ist die Essenz aus diesen Arbeiten. Alles, was sie am Genre der populärsten Schriftart der Welt für verzichtbar halten, ließen sie weg. Alles, was sie an ihr lieben, ist drin. Diesem Konzentrat fügten sie neue Ideen und konzeptionelle Lösungen für eine moderne statische Grotesk hinzu. So entstand das fehlende Element einer strapazierten Fontkategorie: eine Schrift, deren klarer Grundcharakter vertraut wirkt und Vertrauen schafft, aber gleichzeitig neuartig und individuell ist und damit wie geschaffen für eine starke Markenbildung. Eine Schrift, die aus der Praxis komplexer Branding-Projekte für die Praxis solcher Branding-Projekte entstand.

Vorerst gibt es die Case in drei optischen Größen: die Kernfamilie für die allermeisten Anwendungsfälle, insbesondere größeren Gebrauch wie Logos, Wortmarken und Headlines, die Text für umfangreicheren Content und die Micro für klein gesetzte Textbereiche. Je nach Einsatzgebiet kann man mit ihr noch Leserlichkeit bei 5pt Schriftgröße garantieren, in manchen Fällen funktioniert die Micro sogar noch gut unter diesem Wert.

2020 by Anja Meiners, Ralph du Carrois, Erik Spiekermann

8 weights

 | 3 styles

 | 1 width

Language Support:



OpenType Features:

















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