Why We Chose These Fonts

Every font has a story. Most political parties ignore that story. They pick whatever looks professional, whatever a design agency recommends, whatever everyone else is using. The result is that every party website in Greece looks the same. That is not an accident. It is a symptom.

AURIO does not look like other parties because it is not like other parties. That starts with the typefaces on the screen in front of you. We chose four fonts. Each one was built by people who believe the same things we believe.

Syne. Built in a banlieue, not a boardroom.

Syne was designed for Synesthésie, a cultural art centre in Saint-Denis. Saint-Denis is a working class commune on the northern edge of Paris. One of the most diverse places in France. One of the most overlooked by the institutions that claim to represent it.

Syne was not commissioned by a corporation. It was made for a community space where art, activism, and lived experience meet. Its geometry is intellectual. Its irregularities are human.

We use Syne for our navigation, buttons, and section titles. The parts of the site that ask you to act. Because action should look like it comes from a movement, not a marketing department.

Alegreya. A typeface for literature, not advertising.

Alegreya was designed by Juan Pablo del Peral as a literature typeface. It was made for books. For sustained reading. For ideas that take more than a headline to explain.

We use Alegreya for our headings. Because our policies are not slogans. They are arguments. They have evidence, case studies, and sources. The heading that introduces a food sovereignty policy or a democracy reform should carry the weight of what follows.

Alegreya supports polytonic Greek. A Greek political party that cannot typeset its own language properly has made a statement about its priorities. We made a different one.

Alegreya Sans. Clarity for the details.

Alegreya Sans is the companion to Alegreya. Same humanist DNA. Cleaner at small sizes. We use it for body text, statistics, and data. The parts of the site where you need to read carefully and the typeface needs to get out of the way.

Vollkorn. Wholegrain.

Vollkorn means “wholegrain” in German. It was designed as a free, honest alternative to the commercial fonts that most publishers pay thousands to license. Sturdy. Unpretentious. No nonsense.

We use Vollkorn for blockquotes. When Vandana Shiva speaks about seed sovereignty or Paulo Freire speaks about education, their words appear in Vollkorn. A typeface named after bread, carrying the words of people who fought so that everyone could eat.

Every font we rejected told us something too.

Space Grotesk. Fraunces. Bricolage Grotesque. Archivo. DM Serif Display. Playfair Display. Cormorant Garamond. All beautiful. None of them support Greek. They were designed for the English speaking world and never looked back.

We know what it feels like to be an afterthought. Evros knows. Northern Greece knows. We were not going to build a party on typefaces that treat our language the way Athens treats our region.

Why we are telling you this.

Because transparency is not a policy position. It is a practice. Most parties do not explain their design decisions. Most parties do not explain much at all. If we expect you to trust our policy papers, we should be willing to explain every choice we make. Including the ones that seem small.

The fonts are not small. They are the first thing you see before you read a single word.