Beautiful Web Type

DM Serif Display

Regular

Italic

400

Characters

Aa
Bb
Cc
Dd
Ee
Ff
Gg
Hh
Ii
Jj
Kk
Ll
Mm
Nn
Oo
Pp
Qq
Rr
Ss
Tt
Uu
Vv
Ww
Xx
Yy
Zz
Åå
Ææ
Çç
Éé
Øø
Ññ
Üü
Žž
1234567890
‘¿?’
“!”
- – —
(&)
[*]
{@}
€£¥$¢
:;,.
<>+÷×=

DM Serif Display was developed by Colophon Foundry for DeepMind under the creative direction of MultiAdaptor and released through Google Fonts in 2019. While DM Sans began with Jonny Pinhorn’s Poppins, the serif families drew on the Latin portion of Frank Grießhammer’s Source Serif Pro for Adobe. Colophon reworked that design’s transitional structure, rooted in the eighteenth-century types of Pierre-Simon Fournier, into a higher-contrast face for large headlines and poster typography.

Pronounced stroke modulation sets heavy vertical stems against fine crossbars and hairlines. Bracketed serifs establish a firm horizontal baseline, while rounded terminals on letters such as c, f, and r soften the otherwise upright structure. Close spacing gives short titles a dense rhythm, with the contrast between thick strokes and delicate joins becoming more visible as the size increases. The companion italic introduces cursive forms, single-storey constructions, and flowing strokes that provide a distinct second voice within the same display setting.

DM Serif Display suits editorial mastheads, prominent web headings, book jackets, packaging, and exhibition graphics, where scale gives its fine details a clear presence. Within the DM suite, it can provide the display tier, with subheadings and shorter passages set in DM Serif Text and functional information in DM Sans. Its regular weight and companion italic offer contrast through size and posture.

Words

Questography

difficult waffles

Havana Plywood

Château d’Yquem

Högertrafikomläggningen

hamburgevontpids

Headlines

Regular · 400

Brawny gods just flocked up to quiz and vex him

Regular Italic · 400

Brawny gods just flocked up to quiz and vex him

Website hero

Reframe.

New life forold buildings.

We give empty shops, tired offices, and forgotten warehouses a reason to open their doors again.

01 / Peckham, London

Almond Yard

A tiled shopfront becomes a neighbourhood kitchen, with a shared table where the counter used to be and a courtyard open for Sunday lunch.

Almond Yard project data
Existing area128 m²
Added area24 m²
Structure kept86%
On site26 weeks

02 / Kelham Island, Sheffield

Rutland Works

A former cutlery workshop makes room for a ceramicist, a frame maker, and a bicycle repair shop. New partitions stop below the original roof trusses.

Rutland Works project data
Existing area640 m²
Added area48 m²
Structure kept94%
On site38 weeks

03 / Stokes Croft, Bristol

Picton House

Two empty floors above a corner shop become six compact homes. A new stair brings daylight into the centre; the shop keeps trading throughout.

Picton House project data
Existing area312 m²
Added area0 m²
Structure kept91%
On site32 weeks

04 / Cliftonville, Margate

The Westbury

An empty cinema finds its second act as a rehearsal room and evening venue. The curved balcony remains, along with the ticket window on the street.

The Westbury project data
Existing area875 m²
Added area36 m²
Structure kept97%
On site44 weeks

Software interfaces

ALMKJS
PRJ–024

Website redesign

Refresh the studio website for our summer launch. Four tasks, one shared direction.

In progressDue May 24
MKMorgan Kim2h ago

First concepts are ready for review. Let’s focus on navigation and the mobile layout.

First concepts.pdf 2.4 MB
Tasks completed2 / 4

Website traffic

studio.example

Last 7 days
24,608Increase of 12.8%

Unique visitors · compared with the previous 7 days

May 18May 20May 22May 24

Jump to…

Find something in your workspace.

Project tasksWebsite redesign
Shared files3 project documents
Design reviewMay 24 · 10:30

Shared files

Website redesign / Resources

3 files
NameUpdated
Brand guidelinesPDF · 2.4 MB
Just now
Website explorationFIG · 18.6 MB
2 hours ago
Notes on a new directionDOC · 48 KB
Yesterday
MAY
24

Design review

10:30–11:15

Walk through the first website concepts with the team.

MK

Morgan Kim

Meeting organizer

Paragraphs

With matted beard, and swathed in a bristling shark-skin apron, about mid-day, Perth was standing between his forge and anvil, the latter placed upon an iron-wood log, with one hand holding a pike-head in the coals, and with the other at his forge’s lungs, when Captain Ahab came along, carrying in his hand a small rusty-looking leathern bag. While yet a little distance from the forge, moody Ahab paused; till at last, Perth, withdrawing his iron from the fire, began hammering it upon the anvil—the red mass sending off the sparks in thick hovering flights, some of which flew close to Ahab. “Are these thy Mother Carey’s chickens, Perth? they are always flying in thy wake; birds of good omen, too, but not to all;—look here, they burn; but thou—thou liv’st among them without a scorch.” “Because I am scorched all over, Captain Ahab,” answered Perth, resting for a moment on his hammer; “I am past scorching; not easily can’st thou scorch a scar.” “Well, well; no more. Thy shrunk voice sounds too calmly, sanely woeful to me. In no Paradise myself, I am impatient of all misery in others that is not mad. Thou should’st go mad, blacksmith; say, why dost thou not go mad? How can’st thou endure without being mad? Do the heavens yet hate thee, that thou can’st not go mad?—What wert thou making there?”

With matted beard, and swathed in a bristling shark-skin apron, about mid-day, Perth was standing between his forge and anvil, the latter placed upon an iron-wood log, with one hand holding a pike-head in the coals, and with the other at his forge’s lungs, when Captain Ahab came along, carrying in his hand a small rusty-looking leathern bag. While yet a little distance from the forge, moody Ahab paused; till at last, Perth, withdrawing his iron from the fire, began hammering it upon the anvil—the red mass sending off the sparks in thick hovering flights, some of which flew close to Ahab. “Are these thy Mother Carey’s chickens, Perth? they are always flying in thy wake; birds of good omen, too, but not to all;—look here, they burn; but thou—thou liv’st among them without a scorch.” “Because I am scorched all over, Captain Ahab,” answered Perth, resting for a moment on his hammer; “I am past scorching; not easily can’st thou scorch a scar.” “Well, well; no more. Thy shrunk voice sounds too calmly, sanely woeful to me. In no Paradise myself, I am impatient of all misery in others that is not mad. Thou should’st go mad, blacksmith; say, why dost thou not go mad? How can’st thou endure without being mad? Do the heavens yet hate thee, that thou can’st not go mad?—What wert thou making there?”

With matted beard, and swathed in a bristling shark-skin apron, about mid-day, Perth was standing between his forge and anvil, the latter placed upon an iron-wood log, with one hand holding a pike-head in the coals, and with the other at his forge’s lungs, when Captain Ahab came along, carrying in his hand a small rusty-looking leathern bag. While yet a little distance from the forge, moody Ahab paused; till at last, Perth, withdrawing his iron from the fire, began hammering it upon the anvil—the red mass sending off the sparks in thick hovering flights, some of which flew close to Ahab. “Are these thy Mother Carey’s chickens, Perth? they are always flying in thy wake; birds of good omen, too, but not to all;—look here, they burn; but thou—thou liv’st among them without a scorch.” “Because I am scorched all over, Captain Ahab,” answered Perth, resting for a moment on his hammer; “I am past scorching; not easily can’st thou scorch a scar.” “Well, well; no more. Thy shrunk voice sounds too calmly, sanely woeful to me. In no Paradise myself, I am impatient of all misery in others that is not mad. Thou should’st go mad, blacksmith; say, why dost thou not go mad? How can’st thou endure without being mad? Do the heavens yet hate thee, that thou can’st not go mad?—What wert thou making there?”

Size128

Standard Ligatures

font-feature-settings: 'liga';

ffff
fifi
flfl

Discretionary Ligatures

font-feature-settings: 'dlig';

fbfb
fhfh
fjfj
fkfk

Figures

1234567890

Proportional Lining (default)

1/2 3/4

Fractions: 'frac'

H1234

Superscripts: 'sups'

Ordinals

font-feature-settings: 'ordn';

3a3a
4o4o

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