Tenebra is an example of a combination of the Baroque inscriptional majuscule with decorative calligraphic elements and alchemistic symbols. The widespread forms of the letters allows for the use of the old German manner of writing of the „umlaut“ when, in place of two dots above the letter, there is a reduced E. In our case it is inserted in the open letters. This concerns only the decorative upper-case letters in the position of the lower case. The upper-case letters of the basic design are a monumental alphabet without any embellishments, having a classic, two-dotted „Umlaut“. Tenebra Shaded and Old Face decorate, but do not refine.

Antipasto is a geometric sans serif font designed by Cosimo Lorenzo Pancini. The original family of three weights has been revised and expanded in 2017 with Antipasto Pro that now includes Cyrillic and greek characters, open type features (small caps and old style numerals) and six new weights from the hairline to the extrabold.

This new typeface by Francois Rappo explores the visual grammar of constructivism through a modernist lense. Thanks to a rigorous and systematic design, Apax reveals a strong constructivist identity. Its geometric architecture develops radical shapes through many distinctive letters. Still, this uncompromising approach is combined with the tradition of modern grotesques based on functionalism. Therefore Apax is drawn with the unique optical balance that characterizes Francois Rappo’s typefaces. The fluidity of the typesetting surface allows Apax to be used in a wide range of contexts, from body text to visual identities. Each style proposes alternate glyphs that allow to adapt the typeface to its application context. The family is designed with an optimized contrast gradient available in six styles and their matching italics.

Styrene, a new sans serif by Berton Hasebe, is his latest exploration of proportion and simplicity in type design. The initial inspiration for the family was a charmingly awkward sans serif called Breede Schreeflooze shown in an early 20th century type specimen published by the Enschede Typefoundry in the Netherlands. However, Styrene has an ahistorical attitude. Its name was inspired by the purposefully synthetic feeling to its curves and geometry. Styrene is characterized by its proportions: typically narrow characters like f j r and t are hyperextended and flattened, adding openness in unexpected places. Styrene’s two widths offer different textures in text: version A is dogmatically geometric, with a stronger overall personality, while version B is narrower for more reasonable copyfit, though not truly condensed.

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.