Buslingthorpe
What intrigued me about Buslingthorpe was the virtuoso challenge it presented, of designing a typeface that would, despite a ridiculously tiny x-height, still possess a coherent harmony betwen upper and lower case, and read...
font_foundry: ShinnType
Aptly
The concept is “Geo-Soft”: characters are constructed from arcs of circle connected by orthogonal straight lines, with few diagonals and nary a sharp corner. The effect has an engaging tension, as soft edges are...
Bodoni Egyptian Mono
As an ironic gloss on the unsophisticated “typewriter” genre, the Bodoni Egyptian Mono typeface channels the classic dignity of early 19th century letter forms, presenting a quite proper family of OpenType fonts, with a...
Phiz
Phiz is a diverse suite of 28 decorative fonts based on Figgins Sans Extra Bold. Classic (10 fonts), Rounded (7 fonts), Rough (4 fonts) and Particles (7 fonts). The Rough and Particles styles emerge...
Goodchild Pro
Goodchild Pro is a pragmatic text face, equipped for sophisticated academic typography. The face has a large x-height, as there is little point in adding to the stock of rangy “book” Jensons. Despite this...
Gambado
‘Bounced’ is the technical (!) term for a higgledy-piggledy style of lettering in which characters are shaken up by a combination of rotation and vertical displacement from the presumed norm of upright stance on...
Brown Pro
At text size, Brown is a classic grotesque, distinguished by its semi-condensed proportions—especially in the capitals, which harmonize well with the lining figures—and an exceptional clarity in certain high-resolution media, such as offset…
Boxley
The original superellipse typefaces coincided with the emergence of the CRT (cathode ray tube) TV screen, but there is more than this visual analogy of high-tech in play, as the pumped up angularity of...
Neology
To see the “auto-mix” effect, go to the Webfont page. This typeface has been designed to demonstrate a hypothesis: consistency in letter form and style is not essential to fluent reading. The Neology fonts...
Figgins Standard
To meet the burgeoning demands of commerce, type founders in 1830s London introduced a plethora of new fonts which abandoned the traditional nib-informed model. Most radical were bold, capital-only designs with almost no stroke...