In the 1920s the Danish architect, printer and designer Knud V. Engelhardt made some striking typefaces for signage. The Swedish typeface designer Marten Thavenius used some structural elements from the work of Engelhardt when he designed Skilt Gothic—a typeface to be used for display and text settings in the 21st century. Skilt Gothic comes in nine weights—thin, light, regular, medium, semibold, bold, extrabold, black and ultra—in roman and italic respectively. A wide range of glyph alternatives are accessible through OpenType features. Skilt Gothic has support for more than 50 languages.

First Prize typeface has simple shapes. It is a narrow, heavy sans serif typeface with geometrical logic and quite predictable constructions of characters. The idea behind it was to combine constructed structure of the skeleton and some calligraphic ideas, swashes and cursiveness. At the moment First Prize typeface consists of three narrow styles: bold, upright italic and italic. Cursive weights have beautiful ending swashes and initials. There are few alternative shapes for A&N. As a Display typeface First Prize will work very well with any other typefaces for the good of any project in print or online.

Grind is a big and bold display typeface that oozes strength and toughness. Grind features simple, demolished, halftone and timber styles. It also comes with multilingual support and includes letters, numbers and punctuation.

A clean humanistic sans-serif typeface which complements its serif version Diplomat Serif. It has preserved several of its original characteristics and comes complete with true-italics with a distinct flowing structure. Supports Latin and Greek.

TheSerif is part of the Thesis superfamily which Luc(as) de Groot first published in 1994. It was conceived to be the perfect secondary font within the Thesis system, using it for headlines, subheads, pull quotes, etc. TheSerif has also been used successfully as a text font in its own right. TheSerif is a low-contrast typeface – i.e., the differences between thin and thick strokes are not very pronounced. Yet the reference to writing with the broad-nibbed pen is still present, giving the letters a diagonal stress and a forward flow that facilitates reading. The roman letterforms tend to have some characteristics of an italic or written construction. Yet the italic forms themselves are very distinctive: they were not derived from the upright but were individually designed while perfectly complementing the roman forms.

Christian Schwartz sees his version of Max Miedinger’s seminal Swiss Modern sanserif as “primarily a restoration.” Reclaiming the warmer personality of the Haas original, he reinstated smoother curves and undid the compromises of intervening technologies and a one-size-fits-all approach. In a range of weights tailored to today’s publications, separate fonts for Text and Display now excel at their respective tasks;