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 highlights some major steps in the historical development of lettering tools for drafting.

Ondrej Jób is describing the process of designing Woodkit, a playful fixed-width display series of typefaces inspired by wood type.

Supernova is a new family that combines the spontaneity of a script typeface with the versatility of multiple weights and cuts.

Greta Sans was been planned from the outset as a system of interrelated styles. From the very beginning, work proceeded on multiple styles simultaneously. This text is a reflection on the process of designing large typeface systems.

The veteran and the young blood, a duo of typefaces defined by a generational divide.

Inspired by industrial signage, November Stencil gives a unique flavour to short texts and also provides surprising possibilities for colour typography and motion graphics.

An extensive type system with distinctive members ideal for creating typographic contrasts and inventive layouts.

Typotheque launches a new type design programme, a collection of contemporary text and display fonts for the Hebrew language.

Greta Sans Devanagari is the largest typeface system of interrelated styles produced for any Indic language, suitable for small text and headlines.

Typotheque creates custom fonts and typefaces for corporate branding and identity projects. We offer tailor-made multilingual type solutions for a variety of languages and applications.