From the single-style, monolingual fonts of the metal-type era to the complex, sprawling, multi-script families of the digital present, typography and type design have evolved, not only to embrace developments in print and communication technology, but also to support a world where unity and diversity must meet if we are to survive.

This article by the designer of Scala and Seria is as much a typographic guide and history lesson as it is a personal account of his approach to type design.

Nocturno, a popular typeface for long reading, now has a stencil version. With a little twist.

William, a contemporary interpretation of Caslon, is a truly international font in which English, Dutch and Russian influences come together to create one complete, modern type family.

Lava font was designed for magazine use, but far transcends its original application. It’s a no-nonsense workhorse typeface that can handle large quantities of text with ease.

Lumin is an extensive type family designed by our longtime collaborator Nikola Djurek and intended especially for editorial use.

Nara explores gaps in traditional type classification. It exhibits characteristics of humanist typefaces, such as an oblique axis of contrast between the thick and thin strokes, but also characteristics of modern typefaces.

A collection of international multilingual Unicode global fonts for all world languages for local and global audiences, and international brands. Latin, non-Latin and CJK fonts.