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.

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.

Although the notion of serif/sans serif doesnʼt exist in Arabic typography, we created two different packages for Fedra Sans and Serif. Obviously only the Latin characters are serifed or not; the Arabic glyphs were then designed to match the typographic ʻcolourʼ of the text, so the Sans is slightly heavier than the Serif because...