Die Grotesk was shaped in the long shadow of Helvetica, a typeface both revered and resented in equal measure. Graphic designers love it. Type designers hate it. Endlessly revived and resold, simultaneously banal and sublime, its forms feel inevitable. A typeface so familiar it feels like air.

American Grotesk® is a reprisal of Franklin Gothic, which has staked its place as a key part of American graphic vernacular history, notably in persuasive communication. American Grotesk® appears in a time when truths, half-truths, lies, fiction, or entertainment seem interchangeable, resulting in a culture of personal truths.

Martina Plantijn is a better Plantin. Informed by the workhorse qualities of Frank Hinman Pierpont’s typeface and expanding upon his research of 16th century type at the Plantin-Moretus Museum in Antwerp, Martina Plantijn makes decisive digital updates across its roman and italic cuts.

Family is an everyday typeface based on Clearface. As an extension of its lineage, Family keeps Clearface’s easy-going curves and idiosyncrasies, while updating it for modern use.

The Future is a homage to Futura, Paul Renner’s progressive classic. Working from original production drawings, The Future is a careful observation of Futura’s geometric architecture and avant-garde alternates.

A summary of our new EULAs for advertising, broadcasting and OEM and changes to the desktop EULA to include sharing.