Die Grotesk was shaped in the long shadow of Helvetica, a typeface both revered and resented in equal measure. Graphic designers love it. Type designers hate it. Endlessly revived and resold, simultaneously banal and sublime, its forms feel inevitable. A typeface so familiar it feels like air.

Family is an everyday typeface based on Clearface. As an extension of its lineage, Family keeps Clearface’s easy-going curves and idiosyncrasies, while updating it for modern use.

American Grotesk® is a reprisal of Franklin Gothic, which has staked its place as a key part of American graphic vernacular history, notably in persuasive communication. American Grotesk® appears in a time when truths, half-truths, lies, fiction, or entertainment seem interchangeable, resulting in a culture of personal truths.

The Future is a homage to Futura, Paul Renner’s progressive classic. Working from original production drawings, The Future is a careful observation of Futura’s geometric architecture and avant-garde alternates.

Martina Plantijn is a better Plantin. Informed by the workhorse qualities of Frank Hinman Pierpont’s typeface and expanding upon his research of 16th century type at the Plantin-Moretus Museum in Antwerp, Martina Plantijn makes decisive digital updates across its roman and italic cuts.

A summary of our new EULAs for advertising, broadcasting and OEM and changes to the desktop EULA to include sharing.