Hall 9, Stockholm Exhibition, 1930. Architects: Gunnar Asplund and Nils Einar Eriksson

Acceptera

Acceptera is a contemporary sans-serif typeface designed with a balance of functionality and restraint. Its clarity and ease of reading make it highly effective for text use, while its versatility ensures it suits a wide range of design purposes. Inspired by Swedish functionalism, the typeface reflects the modernist ideals that shaped early 20th-century Swedish architecture and design.

Entrance to the exhibition hall. Stockholm Exhibition, 1930

The design draws heavily from the Swedish functionalist movement, particularly the modernist principles showcased at the groundbreaking 1930 Stockholm Exhibition. The name Acceptera is a nod to Acceptera!, the influential manifesto by Swedish architects Gunnar Asplund, Wolter Gahn, Sven Markelius, Eskil Sundahl, Uno Åhrén, and art historian Gregor Paulsson. The manifesto advocated for functionalism in architecture and design—an ethos echoed in the typeface’s clean, practical forms.

Gunnar Asplund
Wolter Gahn
Sven Markelius
Eskil Sunhal
Uno Åhrén
Gregor Paulsson

Floating bench in the chapel of Hope, Woodland Cemetery. Architect: Erik Gunnar Asplund, 1940

Together, the Stockholm Exhibition and publication of Acceptera! marked a pivotal moment in connecting architecture and ideology, propelling functionalism into the mainstream. At the fair itself, the collective vision of this group of avant-garde architects was embodied through rows of model houses designed to let the visitors see how the new kitchen designs, large new windows, outdoor spaces and simplified furnishings could improve the quality of their lifestyles. Based on functional, affordable and comfortable living spaces for the masses, the exhibition offered a compelling prototype for Sweden’s future welfare society. 

Buildings like the Paradise Café and Entry Pavilion—with their exposed steel frames, expansive glass surfaces, and dramatic nighttime lighting—exemplified the stripped-down elegance of functionalism. Above the fair, a towering advertising mast displayed Sigurd Lewerentz’s “Flying V” logo, a symbol of modernity and innovation. Alvar Aalto, de­scrib­ing the ex­hi­bi­tion for the Finnish press, wrote, “The exhibition speaks out for joyful and spontaneous everyday life. And consistently propagates a healthy and unpretentious lifestyle based on economic realities.” 

Dagens Nyheter’s terrace. Stockholm Exhibition, 1930

Acceptera translates the functionalist ethos of purpose-driven design into the realm of typography. Just as functionalist architects prioritized usability and clarity, the typeface is designed with features that enhance legibility and versatility. It presents moderate contrast, open forms, short ascenders and descenders, and a generous x-height, making it especially effective for body copy. The family offers seven weights—from Light to Black—each with matching italics, making it a comprehensive tool for diverse design needs.

The development of Acceptera began with a question: what would a modernist Swedish typeface from the early 20th century look like? Early sketches were inspired by a lettering piece designed by Anders Beckman for Arbetet magazine. Though these initial versions were more condensed, they laid the foundation for the typeface’s wider and more balanced proportions. Through extensive research, it became clear that no specific typeface was historically tied to Swedish modernism. Acceptera was created to fill this gap, reflecting the understated elegance of Swedish graphic design from that era.

Several key principles guided the design process: slightly wider proportions to enhance clarity—particularly in longer words—generous white space to aid readability by emphasizing word shapes rather than individual letters, and simplicity over ornamentation. For example, the simpler, single-story lowercase ‘g’ was chosen for its clarity in long words and alignment with the functionalist principle of avoiding unnecessary embellishments. Rounded dots and punctuation were selected to harmonize with the ring diacritic unique to the Swedish language, ensuring visual cohesion. These design decisions were complemented by careful attention to the x-height, ascenders, descenders, and the relationship between uppercase and lowercase letters, ensuring a balanced and harmonious design.

Acceptera is a modernist sans-serif that embodies the spirit of Swedish functionalism—clear, efficient, and timeless. Built for everyday use in both print and digital formats, it offers designers a versatile tool for precise and stylish communication.

First edition of Acceptera. Publisher: Tidens förlag, 1931

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