Typotheque offers hundreds of retail fonts, but sometimes that is not enough. Clients may request just something else — entirely new design, or different version of the existing one, or extension of a typeface. Typotheque provides high-quality custom type solutions for a variety of languages and applications. We provide tailor-made solutions for clients of all sizes, enhancing brands, supporting visual identities, providing localisation and creation of special language sets, customisation, and typographic consultation.
Custom fonts may be modified from existing retail fonts (extending the character sets, modifying the design of characters), or entirely new fonts developed from scratch. With custom type we offer custom licensing arrangements of the fonts as well. This may include exclusive (not sold to anyone else) or non-exclusive licenses, licenses for third parties, or multiple-user licenses.
Contact us to request our portfolio of corporate type projects.
Pentagram’s Paula Scher has designed a new identity for The New School, progressive university in New York, commissioning Typotheque to create bespoke typeface called Neue. The typeface is based on Irma and combined regular, extended and very extended widths of the same font controlled by a pseudo-random algorithm written by Karsten Luecke.
Typotheque was approached by Mozilla to define the typography of the new wordmark. We were thrilled to work on this project, as Firefox pioneered typography on the web, by being the first browser to support WOFF webfont format, which allowed the boom of webfonts. A few months later, in October 2009, Typotheque became the first foundry to launch a webfont service, and license its entire collection for both print and web. The project was art-directed by Johnson Banks, the London-based brand identity agency. Besides designing the new word mark, we designed also a complementary typeface Zilla that matches the personality of the new logo.
Buccellati, an Italian jewellery and watches company, looked to reinvigorate and modernize its image, while still respecting its rich and prestigious heritage. The elegant Milanese brand also sought to attract a younger luxury customer. Commissioned and art-directed by Out There, Typotheque created a bespoke typeface for Buccellati. It is based on History 2, creating lower case set, and more sophisticated set of capitals.
Bibliothèque nationale de France adopted the Fedra typeface family because of its versatility, advanced typographic features, and extensive language support. For its specialised editions BnF commissioned Typotheque to extend all Fedra fonts to support Sanskrit transliteration.
German Chess publisher Schachzentrale Rattmann commissioned Typotheque to develop a set of chess symbols which match the proportions of Fedra typefaces. Both Fedra Sans and Serif A were used.
In June 2012 Vienna International Airport opened a new terminal which more than doubled the size of the airport. The new terminal was designed by architectural venture Itten-Brechbühl/Baumschlager-Eberle, with signage by Intégral Ruedi Baur. Typotheque developed a custom version of Fedra Sans for the Airport.
Avataq Cultural Institute, the Inuit cultural organisation of Nunavik (Northern Québec, Canada), commissioned Typotheque to create an Inuktitut version of Fedra Sans for the organisation’s purposes. Fedra Sans Inuktitut is now available for standard font licensing.
Because of using highly generic name, World Press Photo, can’t register trademark for its name. Typotheque was commissioned to develop a unique typeface that is recognisable, yet using same proportions as the old logo set in Futura.