Jingo
This is the digital makeover and major expansion of a one-of-a-kind melting pot experiment done by VGC and released under the name Mardi Gras in the early 1960s. It is an unexpected jambalaya of...
font_designer: Patrick Griffin
Latex
Latex was initially a single multi-script all-cap font commissioned in 2012 by a company we can’t name, to market a billion-dollar superhero movie we also can’t name. A year later the commission grew to...
Leo
Leo is an economic magazine and book face meant for use in sizes suitable for immersive reading, with different cuts optimized for different body copy size ranges, like footnotes and legal text. Designed with...
Gala
Gala is a digitization, correction, and major expansion of a typeface called Neon, designed by Giulio da Milano and published by the Nebiolo foundry in 1935. Neon came in two weights, along with a...
Colville
The Colville fonts began their existence in 2015 as a project-specific typeface, made to be used on a custom-made headstone commemorating Canadian artist Alex Colville (1920-2013) and his wife Rhoda Wright. For that purpose,...
Davis Sans
Over the past couple of decades, the many applications that joined print as media requiring design solutions have combined to necessitate a visual evolution that favours controlled optical geometry and careful counter-space consideration over…
Bananas
In the history of 20th century graphic arts, the evolution of the informal sans serif has been a uniquely American phenomenon. The ongoing saga of this (still as popular as ever) sub-genre dates back...
Lincoln Electric
Lincoln Electric started its life as an in-house experimental film type Thomas Lincoln drew shortly after concluding his work as part of Herb Lubalin’s famed crew in the late 1960s,. The master alphabet was...
Salden
The Salden fonts are our tribute to the man who was dubbed the face of the Dutch book, and whose work is considered essential in 20th century Dutch design history. Helmut Salden’s exquisite book...
P22 Counter
Canadian designer Patrick Griffin made P22 Counter as an exercise in exploring the limits of counter-space and interchangeability between extremely geometric and standard calligraphic forms. Within a field of solid stems and horizontal strokes…