In the world of typography, few typefaces manage to strike the perfect balance between corporate authority and approachable warmth. The , designed by the renowned British typographer Jeremy Tankard, is one of those rare exceptions.
The is a testament to the idea that practicality and beauty do not have to be mutually exclusive. Jeremy Tankard took a beloved British classic and rebuilt it for the multi-screen, multi-device, globalized world of the 2020s. Whether you are designing the UI for a million-user app, a rebrand for a coffee shop, or the annual report for a non-profit, Bliss 2 provides the tonal range to say exactly what you mean—clearly, warmly, and memorably. Bliss 2 Font Family
Lena tried to warn the world. She wrote a memo in Times New Roman—the font was still neutral, still dumb, still safe. But her agency had switched to Bliss 2 for all internal documents. Her memo auto-converted. The words “DANGER: THE FONT IS ALIVE” rendered as “DANGER: YOU ARE ALIVE. FINALLY.” In the world of typography, few typefaces manage
See why Frieze, Tate, and Pentagram have used Bliss — and why Bliss 2 will become your new workhorse. Jeremy Tankard took a beloved British classic and
: Unlike rigid geometric sans-serifs, Bliss 2 features subtle calligraphic touches that give it a warm, approachable personality. High Legibility
To understand Bliss 2, one must first acknowledge its predecessor: the original Bliss (released in 1996). The original Bliss was conceived as a reaction against the cold, geometric rigidity of neo-grotesque typefaces like Helvetica. While Helvetica prided itself on objectivity, Tankard found it austere. Bliss introduced a gentle humanist touch—subtle variations in stroke width, slightly open apertures, and a distinctive, almost cheeky curve to the lowercase ‘l’. Bliss 2 builds upon this foundation not by reinventing the wheel, but by optimizing every single spoke.