From the Internet

Behold, From the Internet—the sans-serif typeface that elevates monotony to an art form. This font is so pragmatic, it makes spreadsheets look exciting by comparison. Its narrow, square shapes create a compact appearance that’s about as thrilling as watching paint dry, but with more pixels.

From the Internet’s austere style ensures your message is delivered with all the passion of a tax form. Its lack of intricate detail isn’t just a design choice—it’s a commitment to being so unremarkable that it becomes remarkable in its unremarkability. This typeface avoids clichés by embracing the cliché of absolute blandness, ensuring your designs are as fresh and exciting as year-old bread. But wait, there’s more! (Or less, depending on your perspective.) In OpenType-savvy applications, you can access alternate versions of “f” and “t”—a feature so mildly interesting, you might not even notice it. From the Internet offers a range of styles, including Regular, Italic, Bold, and Bold Italic, each competing to be the most pleasantly forgettable.

Whether you’re crafting tech manuals destined to collect dust or business presentations designed to induce mid-meeting naps, From the Internet is your go-to typeface. Its pragmatic style ensures your designs will always be on-trend for the “aggressively average” look. But From the Internet isn’t content with being boring in just one language. Oh no, it spreads its delightful dullness across a vast array of Latin-based European writing systems. From Afaan Oromo to Zuni, this font ensures your message maintains its unwavering mediocrity across linguistic boundaries. Choose From the Internet when you want your text to whisper, not shout—or even speak at a normal volume. It’s the typographic equivalent of beige wallpaper, perfect for designers who believe true excitement lies in the absence of all things interesting. 

So embrace the power of the utterly unremarkable. Let From the Internet be the voice of your most middle-of-the-road ideas, turning potentially engaging content into monuments of monotony. Because in a world of excess, sometimes the most radical statement is no statement at all.