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...
font_foundry: Alias
Ano
A typeface designed for Another Man magazine. A simple geometric, monoline framework allowed for a stylistic consistency over three variations. Regular – a ‘standard’ alphabet; Upper Lower – where upper case characters are replaced...
Quair
The typeface that became Quair was originally planned as an extension of our Oban typeface. As it developed it became different enough to be a stand-alone, but connected typeface. Quair mixes typographic and graphic...
High
High is defined by a set of simple ideas, or constraints. A non-geometric, humanist shape. A monoline weight. Stencilled, with a horizontal or vertical cut only, the stencil gap consistent — so positioned where...
AnoStencil
Stencil typefaces are popular because they are striking and decorative, and their associations – whether Utility, Travel, Vernacular, etc – are evocative. Anostencil is developed from, but not exactly like, our Ano typeface. Ano’s...
Ano Angular
Ano Angular was originally designed for a fashion company. It was to be used as a headline type, half way between the logo we had designed — made up of straight lines only —...
Schism Two
Schism is a modulated sans-serif, originally developed from our Alias Didot typeface, as a serif-less version of the same design. It was expanded to three sub-families, with the thin stroke getting progressively heavier from...
Schism One
Schism is a modulated sans-serif, originally developed from our Alias Didot typeface, as a serif-less version of the same design. It was expanded to three sub-families, with the thin stroke getting progressively heavier from...