Releases

Designed by Paul Barnes for the cycling-clothing brand Rapha, Frame comes in four weights with separate versions for text and headlines. It is also available as a variable font, with axes for weight and optical size. The family has a large x-height, reduced extenders, simple serifs with minimal tapering, and an overall crispness most evident in the ball terminals. 

Dark, dense, lovely Feature debuted in February 2018 in T: The New York Times Style Magazine. Originally designed by Christian Schwartz and Berton Hasebe in three optical sizes and two widths, the efficient serif family has been expanded for this release by Hrvoje Živčić, who completed the character sets, added an Ultra weight to the Display version, and drew italics for the whole collection.

Orleans is a crisp and refined headline face by Paul Barnes that effortlessly synthesizes influences from various German and American calligraphic sans serifs into new forms. Though drawn for the redesign of the German edition of frieze, the magazine folded before the redesign was implemented. The typeface lives on, having been expanded into seven weights with accompanying italics.

Berton Hasebe originally drew Review for T: The New York Times Style Magazine, where it debuted in February 2018. Now expanded and available for licensing, Hasebe’s blunt family evokes the plucky, DIY era of phototype and Letraset, minus any nostalgia or grunge. Set tight, Review creates a striking text image while remaining readable.  

First released in 2009, Graphik is now more accessible and cosmopolitan, with freshly drawn families for the Armenian, Georgian, Hebrew, and Thai scripts. The new designs translate the spirit, rather than the letter, of Christian Schwartz’s original “vanilla” sans serif.

Type made for screens needn’t lack personality. Action Text continues the reflections Dutch superstar Erik van Blokland embarked on with Action Condensed. Geared toward interfaces and continuous text onscreen, Action Text comes in a variable version with weight and grade axes, as well as a “flat” version in four weights accompanied by matching italics, with a Bright and Dark grade for each weight.

Darby Serif, is an elegant new contemporary serif typeface, designed by Paul Barnes, with Dan Milne. The companion to Darby Sans, the text version first appeared in 2017 in Francesco Franchi’s redesign of La Repubblica newspaper in Italy.

Ayer is an elegant condensed display typeface designed by Miguel Reyes between 2016 and 2019 for W, a large format fashion magazine. Display typefaces for fashion magazines need flexibility in order to extend their lifespan beyond a couple of seasons. The four different italics in the Poster size is one way Ayer fills this need.

Orientation, a new stencil typeface designed by Sandrine Nugue, makes a striking impression from the first glimpse. Typefaces designed for print are often used for signage, but it is rare for a typeface to go in the other direction, from signage to print and screen. With Orientation, this is exactly how it began.

Ross Milne's script typeface Superette was inspired by non-connecting script lettering he observed on a small island in southern Quebec. With its striking angle and purposefully non-joining letterforms, Superette is a gleeful celebration of what is often considered “bad taste” and an exploration of letterforms typically seen outside the context of graphic design.

Miguel Reyes has further expanded his popular Canela collection with a condensed display family. 

Graphik is an exceptionally complete system of sans serifs designed to be a blank slate, perfectly suited for any style of expression. With the release of Graphik Wide, the rational grid of eight widths from XXXX Condensed to Wide, and nine weights with italics, is now complete.

To expand Canela’s range of usable sizes, Miguel Reyes has drawn two additional optical sizes: Canela Deck and Canela Text. Both families are designed to keep the elegance and beauty of the original display face while giving it the robustness it needs to work at smaller sizes.

Schnyder was designed by Berton Hasebe and Christian Schwartz for the 2013 top-to-bottom redesign of T, the New York Times Style Magazine by creative director Patrick Li and his team. With three weights, four widths, and four optical sizes, Schnyder is a complete system for making beautiful, offbeat, and distinctive headline treatments.

Dala Floda, designed by Paul Barnes, was one of our first releases. Originally inspired by worn gravestone lettering and lettering on shipping crates, the elegance of the forms belies their everyday origins. After three years of work, Ilya Ruderman has completed a Cyrillic extension to the family.

Duplicate now been expanded to five related families with the addition of Duplicate Soft and Round, drawn by Miguel Reyes.

Druk, the singularly bold typeface designed by Berton Hasebe and released by Commercial Type in 2014, has now been expanded to support Cyrillic by the team of Russian designers Ilya Ruderman and Yury Ostromensky.

Graphik was designed to be a blank slate; a “vanilla-flavored” typeface that is perfectly suited for whatever style of expression needed. From the beginning, Schwartz had a master plan to build Graphik into a large, multi-width typeface system with a rational approach to the grid of widths and weights. Ten years later, his plan is finally a reality.

Graphik has been expanded by Lebanese type designers Waël Morcos and Khajag Apelian to support the Arabic script. Rather than simply adapting the Latin forms, Graphik Arabic has adapted the idea of Graphik—a plain, all-purpose sans serif suited both to expressive display use and to extended reading.

Sanomat is a new serif display family designed by Paul Barnes. Both serious and elegant, with an inviting warmth, it was originally commissioned by Sami Valtere in 2013 for his acclaimed redesign of Helsingin Sanomat.