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    • A

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz & (Ää Éé Øø) {@©®} [!?“”«»*] ←
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz & (Ää Éé Øø) {@©®} [!?“”«»*] ←
Alena Thin Italic
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz & (Ää Éé Øø) {@©®} [!?“”«»*] ←
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz & (Ää Éé Øø) {@©®} [!?“”«»*] ←
Alena Light Italic
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz & (Ää Éé Øø) {@©®} [!?“”«»*] ←
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz & (Ää Éé Øø) {@©®} [!?“”«»*] ←
Alena Regular Italic
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz & (Ää Éé Øø) {@©®} [!?“”«»*] ←
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz & (Ää Éé Øø) {@©®} [!?“”«»*] ←
Alena Medium Italic
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz & (Ää Éé Øø) {@©®} [!?“”«»*] ←
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz & (Ää Éé Øø) {@©®} [!?“”«»*] ←
Alena Semibold Italic
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz & (Ää Éé Øø) {@©®} [!?“”«»*] ←
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz & (Ää Éé Øø) {@©®} [!?“”«»*] ←
Alena Bold Italic
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz & (Ää Éé Øø) {@©®} [!?“”«»*] ←
Alena Extrabold
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz & (Ää Éé Øø) {@©®} [!?“”«»*] ←
Alena Extrabold Italic
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz & (Ää Éé Øø) {@©®} [!?“”«»*] ←
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz & (Ää Éé Øø) {@©®} [!?“”«»*] ←
Alena Black Italic
Designer:

Roland Stieger

Development:

Roland Stieger
Jonas Niedermann

Release:

2019

Version:

1.0

Awards:

Joseph Binder Award, 2017
German Design Award, 2018

Specimen:

Detailed character sets, language support, Opentype features and additional information can be found here.

The starting point for Alena was a woodcut by Jost Hochuli, which he published in 1980. The letterforms of the capital letters are based on the proportions of the Roman Capitals of the first and second century A.D. The lower case letters are based on a late form of the humanistic minuscule.
In contrast to the original, the font has optical constant line widths. This gives the text a calm and unobtrusive effect. Roland Stieger attached great importance to the fact that the typeface is also legible in small sizes.
Matching italics for all the eight weights have a narrow ductus, as it was the case with the first italic typefaces, which were intentionally cut in this manner to save space. The italics have a slight inclination of 5 degrees, so they fit well into the body text and differentiate well from the uprights.
The font is suitable for complex typographic demands and also performs greatly on web-based applications.