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.
While attentive to history, Epicene is not a revival typeface. It is an experiment in modernising Baroque letterforms without muzzling their ornamental idiosyncrasy nor falling into the trap of gender codifications.
Mānuka is new growth from old wood. With deviant details pilfered from Teutonic timber type, Mānuka grafts a contemporary antipodean aesthetic onto 19th century German root-stock.
Signifier is a Brutalist response to 17th century typefaces. Acknowledging the processes and tools of digital form-making, Signifier’s digital immateriality draws on a deeply material past.
Söhne is the memory of Akzidenz-Grotesk framed through the reality of Helvetica. It captures the analogue materiality of “Standard Medium” used in Unimark’s wayfinding system for the NYC Subway.
Maelstrom & Maelstrom Sans are reversed-stress typefaces. They’re “perverse”, to be sure, but that’s exactly their charm. They belong to a genre destined to be a perpetual typographic outsider — never fashionable yet never abandoned.
Heldane is a contemporary serif family inspired by a range of masterful renaissance typefaces. Rather than emulating a specific font, Heldane amalgamates the best details into a cohesive whole.
Geograph is a contemporary, geometric sans serif originally designed for National Geographic. We drew upon idealism of Futura and the pragmatism of Super Grotesk.
The inspiration, history and development of the National 2 typeface family. A total of 64 fonts over 4 widths, National 2 is a comprehensive expansion of National’s original aesthetic concept.
Story Sans is a screen-first sans serif designed for Trade Me. Based on Akzidenz-Grotesk it’s unpretentious and hardworking, aligned the brand’s values and tone of voice.
The Untitled Collection is quotidian. Validated by Morrison and Fukasawa’s Super Normal project, they have a deliberate aesthetic of not being designed.
Financier is an elegant, authoritative serif with an undeniable British heritage. Drawn for the redesign of the Financial Times, Financier is inspired by Eric Gill’s classic letterforms.
PayPal Sans is a mobile-first typeface designed for PayPal Inc. It’s aligned with humanist design principles, numeral-centric, and performs excellently across all screen resolutions.
Pure Pākati was designed exclusively for Tourism New Zealand. Hand-carved from kauri, the niho pattern speaks to a kaupapa of “embracing visitors as whānau”.
Domaine was an exploration into the unpopular Latin typeface genre; Domaine Sans delves into another unpopular genre: sans serifs with contrast.
Domaine is a sharp, elegant serif that blends traditional French and British genres into a contemporary aesthetic. Curvaceous Latin detailing complements its distinctive hooked terminals.
Founders Grotesk is not a strict revival. Instead it resolves the best details from last centuries grotesks into a large family designed for modern typography.
Bula was designed for Fiji Airways. It is inspired by Makereta Matemosi’s traditional Masi crafted for the airline, an ancient art form that embodies Fiji’s traditions and spirit.
Pitch is a love letter to the typewriter. It’s a synthesis of digital and analogue that evokes — not emulates — typewritten text.
Darling was designed for The Darling Hotel. Inspired by a 1920’s French typeface, the design process gently updated Darling via the 1974 classic ITC American Typewriter.
Metric & Calibre are a pair of typefaces that share a fundamental geometry but differ in the finish of key letterforms. They were conceived as a pair but function independently.
The Tiempos Collection is a hardworking, modern serif family for editorial typography. Tiempos updates the functionality of Plantin and Times for contemporary use.