Cassette Collection: 3 Families
Total: 14 Stylistic Sets, 10 Figure Sets, 5 Others
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Afrikaans, Albanian, Bosnian, Catalan, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Filipino, Finnish, French, German, Hungarian, Icelandic, Indonesian, Irish, Italian, Latvian, Lithuanian, Luxembourgish, Polish, Portuguese, Romanian, Scottish Gaelic, Slovak, Slovenian, Spanish, Swedish, Swiss German, Turkish, Welsh
Whenever a design idea didn’t find its place in projects like Saans, Roobert, or Haffer, it was put in a drawer for a while and later found a new life in Cassette. If you’re wondering where the differences are, you can explore them now. (Sketch of the letter “a, Q” for Roobert, September 2016.)
The design is one of our least human sans-serifs, with a strong technical vibe and cold, no contrast, no angles in ink–trap parts, constructed forms typical of a grotesk typeface.
Cassette uses tighter spacing and wider proportions compared to the other projects. Saans and Haffer also follow a more lively terminal concept, while Roobert and Cassette have a more technical approach.
Cassette “a” was one of unused version for Roobert and Saans. So here the last piece of puzzle ended. Finally this design of “a” found his place.
The connections to the stems are highly constructed, with only slight tapering. This keeps the design clear and legible at smaller sizes, even in bolder styles.
Compared to the other projects, Cassette uses wider proportions for its circular letters.
The project pushes internal study of our sans-serif typefaces to its limits, exploring the last remaining possibilities.
Letters like “f, J, j, r, t” share sharper, more technical angles compared to their ancestors. Cassette also follows Roobert’s approach to terminals, without the more lively endings found in Saans and Haffer.
The Cassette typeface is a compilation of letterforms developed during other projects – shapes that remained only as sketches in the lower drawer, along with new, original forms. Some of the shapes included in Cassette are even older than the typefaces they were originally meant for, such as some of the rock stars of Displaay’s library: Haffer, Roobert and Saans.
Over the years, this collection of all these unused but worthwhile ideas slowly grew into its own project. Cassette became a mixtape of hidden gems, unreleased tracks and favourite hits.
Being a neutral grotesk, Cassette is allegedly the last sans-serif typeface designed by Martin Vácha in this category. The design features: wide proportions – such as using almost exact circles for circular letters – monolinear character and pure geometric constructivism. All of this is packed into tight typesetting, creating a nice tension between the shapes in headlines. Cassette is also perfectly suitable for longer texts, but in display use, it knows how to put your headlines in the spotlight.
| Design | Martin Vácha |
| Assistance | Andrea Biggio, Marek Čuban |
| Spacing & Kerning | Igino Marini |
| Range | 21 Weights, 42 Styles 3 VF Axes: Weight, Slant, Mono |
| First Sketch | Jan 2023 |
| Released | Sep 2026 |
| Update | Sep 2026 |
| Version | 1.000 |