Elephant
A contemporary interpretation of grotesque (historic) typestyle, relying on geometric shapes applied to a grid. Idiosyncrasies within the typeface are based on how this grid is constructed and applied rather than those inherent in...
font_designer: Gareth Hague
Harbour
Harbour is a clash of Latin and Germanic typestyles – two conflicting letterforms, culturally, politically and aesthetically. Latin letterforms have a geometric base, blackletter types are calligraphic. Harbour takes calligraphic forms that derive…
Intimo
A two version type family, Intimo One is a serif dot matrix typeface, letterforms made up of grid-based dots. Intimo Two is also made up of dots, but in this case the lines are...
August
Almost a straightened italic typeface, August explores the idea of taking italic and script letterforms out of context and creating a typeface with a mix of references that does not look like too soft...
Aminta
Aminta is an eclectic and expressive take on the Courier aesthetic. Aminta mixes the utility aesthetic of Courier, the default computer typeface and subversive piece of non-design graphic designers are presented with in the...
Asphalt
Asperity, Asphalt and Aspic, were designed for Another magazine issues 18 and 19, A typeface in three versions, Hard, Soft and Script, three typefaces with the same character shape, where hard is angular, Soft...
Lily
As with all our typefaces, we are searching for a point of difference, something that separates them from their surroundings. The idea of a seriffed script typeface is interesting, as the two are very...
Capo
The intention with Capo was to make a typeface with a pinched, angled connection between curves and verticals. We have explored this incised, cut motif previously on typefaces, most notably Noah, Sabre and Harbour....
Sabre
I generally refer to our typefaces as ‘graphic’ rather than typographic. By that I mean their starting points are usually ways of constructing shapes and systems of shapes. As with other Alias typefaces, Sabre...