The Riant (Text) collection draws inspiration from historical concepts of geometric sans serif typefaces from the early 20th century, new to the world. During this era, basic shapes such as circles, squares, and triangles were increasingly ubiquitous in architecture, industrial design, and typography. Letterforms based on these fundamental shapes reflected the spirit of a new age. Historical geometrically constructed typefaces from the metal type era, often based on a stringent mathematical grid, lacked careful modulation that helps produce a poignant reading experience. The gestalt of Riant grew out of countless iterations to render unwieldy geometrical forms, diametrically opposed to humanist legibility beliefs, pleasant to read. Reconciling the two—constructed versus optical—the family is further referenced by 1920s geometric typefaces, such as Super Buchgrotesk, originally designed by Arno Drescher and adapted in the 1950s for Linotype matrices by VEB Typoart; Neuzeit Grotesk (1928–1929), a design by Wilhelm C. Pischner for the Stempel type foundry; and some, a couple of generations removed, such as Avenir by Adrian Frutiger, released in 1988 by Linotype, among others. The Riant family is firmly rooted in the now, reconciling a contemporary aesthetic with contemporary use in mind. OpenType features offer alternative lowercase a, b, d, g, p, and q, resulting collectively in a more rounded personality. For small text sizes, lowercase h, m, n, and r squared-off defaults can be replaced with stem-to-curve junctured ones following the classic canon. An angled lowercase e renders yet a different text texture, one that aligns with Riant Display. The Riant suite offers a typographic system suitable for continuous text sizes and scales beautifully for optically balanced headlines in both print and digital media.