The simplicity of Prix borders on the absurd. With just the roman and italic, the tiny family is low on contrast and full of tension and surprise. The recipe lists circular segments and straight lines, organized around a central axis that threathen to overpower conventional text alignments.

Prix combines a number of disparate influences: The geometric ball-and-stick sans serifs of Jakob Erbar and Paul Renner, the off-balance accentuated crossbars – equal parts Art Nouveau and Deco – with detailing straight out of mid-century Switzerland. Added to the mix are logic-defying proportions, extreme reduction of form and a highly experimental italic.

Prix is not old. No, it is decicedly new. And it exemplifies what Monokrom does best: Enthusiastically nudging Latin letterforms into uncharted territory.