For example, in Symphonie Grotesk’s upright fonts, the ‘a’ is double-storey, while the ‘g’ is single-storey (just what one would expect for a typeface of this genre). But in the italics, the ‘a’ becomes single-storey, and the ‘f’and ‘ß’ get descending tails, too. Symphonie Grotesk’s numerals are tabular lining figures; the ‘1’ always has a nice, wide base-stroke at its bottom. The middle-two diagonal-strokes of the ‘M’ remain visibly above the baseline in all of the family’s styles. The fonts’ ascenders rise quite a bit above the tops of the capital letters, but the capitals and the numerals both share the same height. Symphonie Grotesque is an excellent selection for use in branding or in other kinds of corporate identity design. It will surely also come into good use in design for galleries and publications about contemporary art. Symphonie Grotesk is the work of Frode Helland, a type designer from Norway.