font_designer: Rian Hughes
A 14-weight sans family based on the original British ‘M.O.T.’ (Ministry of Transport) alphabet. A capitals-only, single-weight design was drawn up around 1933 for use on Britain’s road network, and remained in use until...
An isometric grid of a font, Gridlock takes an italicised modular approach to its letterforms. It is, however, not willfully strict about the application of that grid – the W and V and S,...
With its strong diagonal emphasis, Gentry is a humanised techno face that manages to also incorporate some strong calligraphic touches. Powerful in short and single-word settings.
Playful and funky. The ideal choice for candy wrapping, teen magazines, toy packaging and the like. The reweighted condensed is useful where space is at a premium, and mixing the two weights freely leads...
A casual sans that harks back to the very English style of book jacket and poster art of the late 50’s and early 60’s. The turned-in terminals are reminicent of Stephenson Blake’s Grotesque 9,...
Designed originally for the BBC’s listings magazine “Radio Times”, this dingbat font has been extended to include the US rating as well as the UK ones and a selection of symbols for use on...
Designed as a companion to Autofont, this dingbat set was originally developed for What Car? magazine, the UK’s leading automotive consumer title. Use in charts and reviews to indicate metallic paint, shatterproof glass, number...
Reminicent of mid-19th century antique type and Victorian cast-iron signage, Coldharbour Gothic lovingly preserves all the eroded and rusted textures in digital form. Characters have been selected to have cleaner and rougher counterparts –...
A condensed serif that’s been through the ravages of reproduction but has now been digitized for modern use. Elegantly wasted.
Type that preserves the over- and under-inked textures of true old-fashioned wood faces, now available without ink on your fingers straight from your keyboard. Based on samples taken from early and mid Nineteenth century...