Chiswick follows the path taken by John Baskerville (1706–1775) in taking the handmade letter and fixing it in type. The single surviving example of Baskerville’s lettering, cut in the 1730s, shows the vernacular letter that would be the model for his later adventure in printing. As a modern serif design, Chiswick has high contrast between thick and thin, yet its freewheeling shapes make it quite distinct from other members of the genre, such as Didot, Bodoni or a Scotch Roman. At the same time, its crisp contrast makes it different from a transitional design such as Baskerville or the types cut by Richard Austin for John Bell, which are more formal in style. Chiswick Headline is designed for situations where Chiswick Poster is too delicate and Chiswick Deck too heavy in its thins and serifs; perfect for sizes from 30 point to 60 point.

When designer Stuart de Rozario surveyed the fonts used in signage on London’s public transport systems, he reached a dead end. They seemed staid, sterile, lacking in personality, and ill-suited to use by modern brands. He was pointed in another direction entirely. ‘The driving force behind my thoughts was to design something more current and fresh without compromising legibility and clarity. A font with both personality and function, that’s versatile and large and small sizes, and effortless to read, but which also says something new.

Rondka is a sentimental reminder for those who have forgotten what is a pen with a rounded, flat nib. Inspired by a brochure of letter patterns for teachers and clerks, published between the world wars. It is most appropriate for books of folk songs. Swashed upper-case elements are deliberately mixed among plain shapes to resemble certain amateurish feel. When adding lines to your page, have the ends rounded.