The fifteenth Device Fonts collection, released in 2014, featured 112 numbers-only fonts. In isolation, numbers present very different design opportunities from the full alphabet – more curves, repeated S-shapes, old-style ascenders and descenders, for example – and many ideas that might not work as full fonts can be explored. 112 Hours began as a small-scale design exercise and grew into an eclectic and broad-ranging collection which includes numbers from many sources: stencils, Parisian house numbers, steam engines, meters, train and raffle tickets, digital displays, watches and stamps. Some of the examples shown here were faithfully digitised, idiosyncrasies kept intact; others provided a more general form or direction, which was then developed further. More background information and sample settings are available in the Device book 112 Hours that was released to accompany this collection.

The fifteenth Device Fonts collection, released in 2014, featured 112 numbers-only fonts.
In isolation, numbers present very different design opportunities from the full alphabet – more curves, repeated S-shapes, old-style ascenders and descenders, for example – and many ideas that might not work as full fonts can be explored. 112 Hours began as a small-scale design exercise and grew into an eclectic and broad-ranging collection which includes numbers from many sources: stencils, Parisian house numbers, steam engines, meters, train and raffle tickets, digital displays, watches and stamps. Some of the examples shown here were faithfully digitised, idiosyncrasies kept intact; others provided a more general form or direction, which was then developed further.
More background information and sample settings are available in the Device book 112 Hours that was released to accompany this collection.

112 Hours

Absinthe explores forms based on a truncated ellipse and eschews straight lines to give an entirely modern take on some of the forms more closely associated with Art Nouveau.

Absinthe explores forms based on a truncated ellipse and eschews straight lines to give an entirely modern take on some of the forms more closely associated with Art Nouveau.

Absinthe

Acton is a deceptively simple, grid-based design. Though derived from a 2 by 3 arrangement of blocks, it uses white spaces to allow for more complex shapes – for example as the R – where the underlying 3 by 5 arrangement is apparent. It also departs from this strict grid-based logic for characters such as the the T, L, f and r, whose cross-bars are shorter than they would otherwise be in order to promote optical evenness. No elegant solution could be found for the V, which in geometric fonts can appear very similar to the U, lacking as it does the cross-bar that can differentiate a square A from the capital form of the n. However, the resultant diagonal retroactively proved useful on the lower-case e and a, characters that otherwise would have more uninteresting design solutions.

Acton is a deceptively simple, grid-based design. Though derived from a 2 by 3 arrangement of blocks, it uses white spaces to allow for more complex shapes – for example as the R – where the underlying 3 by 5 arrangement is apparent. It also departs from this strict grid-based logic for characters such as the the T, L, f and r, whose cross-bars are shorter than they would otherwise be in order to promote optical evenness. No elegant solution could be found for the V, which in geometric fonts can appear very similar to the U, lacking as it does the cross-bar that can differentiate a square A from the capital form of the n. However, the resultant diagonal retroactively proved useful on the lower-case e and a, characters that otherwise would have more uninteresting design solutions.

Acton

Agent of the Uncanny is a loose flat-brush titling font that is relatively formal in its construction. It forms part of a series inspired by Hughes’ researches into hand-drawn headline type for the Custom Lettering of the 60s and 70s book. Upper and lower case provide alternate versions that can be freely mixed. It has been widely used by DC Comics’ art director Steve Cook on their Jack Kirby reprints, where it resembles 1960s comic book lettering styles.

Agent of the Uncanny is a loose flat-brush titling font that is relatively formal in its construction. It forms part of a series inspired by Hughes’ researches into hand-drawn headline type for the Custom Lettering of the 60s and 70s book. Upper and lower case provide alternate versions that can be freely mixed. It has been widely used by DC Comics’ art director Steve Cook on their Jack Kirby reprints, where it resembles 1960s comic book lettering styles.

Agent of the Uncanny

Ainsdale is an early Device design produced using Fontographer. It has unusual dropped-crossbars on the lower-case f and t that are reminiscent of Joseph Binder’s 1959 Binder Style for D. Stempel AG, Germany, but placed even lower. It also shares features with G. de Milano’s 1935 all-caps Neon family for Nebiolo, Italy. The dropped-crossbar motif is taken across to all the mid-horizontals, in both the capitals and lower-case. The i- and j-dots are slightly oversized, and the f and r loop around and down, echoing the c or the s. More compact forms of these characters have been added using the optional alternate character functionality of Opentype as part of a 2013 update, along with remodelled unicase versions of some of the capitals and an extended European character set.

Ainsdale is an early Device design produced using Fontographer. It has unusual dropped-crossbars on the lower-case f and t that are reminiscent of Joseph Binder’s 1959 Binder Style for D. Stempel AG, Germany, but placed even lower. It also shares features with G. de Milano’s 1935 all-caps Neon family for Nebiolo, Italy. The dropped-crossbar motif is taken across to all the mid-horizontals, in both the capitals and lower-case. The i- and j-dots are slightly oversized, and the f and r loop around and down, echoing the c or the s. More compact forms of these characters have been added using the optional alternate character functionality of Opentype as part of a 2013 update, along with remodelled unicase versions of some of the capitals and an extended European character set.

Ainsdale

A contemporary slab-serif which revisits aspects of Robert Besley’s all-time classic Clarendon, designed around 1842 for Thorowgood and Co. and named after the Clarendon Press in Oxford. The original design was subsequently extended by Sheffield foundry Stephenson Blake in the 1950s into a widely-used, robust workhorse family. Albiona uses the inwardly curved stroke terminals of the same foundry’s Grotesque series, while rationalising or removing entirely Clarendon’s ball serifs, flicked tails and other eccentricities to make it more functional in contemporary settings. The family consists of five weights plus italics and a stencil, and includes oldstyle and tabular numerals. Its clean readable style suits both text and headline setting.

A contemporary slab-serif which revisits aspects of Robert Besley’s all-time classic Clarendon, designed around 1842 for Thorowgood and Co. and named after the Clarendon Press in Oxford. The original design was subsequently extended by Sheffield foundry Stephenson Blake in the 1950s into a widely-used, robust workhorse family.
Albiona uses the inwardly curved stroke terminals of the same foundry’s Grotesque series, while rationalising or removing entirely Clarendon’s ball serifs, flicked tails and other eccentricities to make it more functional in
contemporary settings. The family consists of five weights plus italics and a stencil, and includes oldstyle and tabular numerals. Its clean readable style suits both text and headline setting.

Albiona

Albiona Inked is a vintage distressed version of Albiona that evokes the urgency of teletext printers, typewriter ribbons and authentic hot-metal type on rougher paper. A contemporary slab-serif, it revisits aspects of Robert Besley’s classic Clarendon, designed around 1842 for Thorowgood and Co. and named after the Clarendon Press in Oxford. Subsequently extended by Stephenson Blake in the 1950s, Albiona adds the inwardly-curved stroke terminals of the same foundry ’s Grotesque series, and includes italics and old-style and tabular numerals. The original Clarendon’s ball serifs and calligraphic eccentricities have been rationalised and streamlined for functional contemporary uses. The family consists of five weights plus italics and a stencil, and its clean readable style is perfect for both extended text as well as headline setting. A rounded “soft” version is also available.

Albiona Inked is a vintage distressed version of Albiona that evokes the urgency of teletext printers, typewriter ribbons and authentic hot-metal type on rougher paper. A contemporary slab-serif, it revisits aspects of Robert Besley’s classic Clarendon, designed around 1842 for Thorowgood and Co. and named after the Clarendon Press in Oxford. Subsequently extended by Stephenson Blake in the 1950s, Albiona adds the inwardly-curved stroke terminals of the same foundry ’s Grotesque series, and includes italics and old-style and tabular numerals. The original Clarendon’s ball serifs and calligraphic eccentricities have been rationalised and streamlined for functional contemporary uses. The family consists of five weights plus italics and a stencil, and its clean readable style is perfect for both extended text as well as headline setting. A rounded “soft” version is also available.

Albiona Inked

A rounded version of Albiona, a contemporary slab-serif which revisits aspects of Robert Besley’s classic Clarendon. Originally named after the Clarendon Press in Oxford, the type family was subsequently extended by Stephenson Blake in the 1950s. Albiona adds the inwardly-curved stroke terminals of the same foundry’s Grotesque series, and includes italics and old-style and tabular numerals. The original Clarendon’s ball serifs and calligraphic eccentricities have been rationalised for functional contemporary uses. The family consists of five weights plus italics and a stencil, and its clean readable style is perfect for both extended text as well as headline setting.

A rounded version of Albiona, a contemporary slab-serif which revisits aspects of Robert Besley’s classic Clarendon. Originally named after the Clarendon Press in Oxford, the type family was subsequently extended by Stephenson Blake in the 1950s. Albiona adds the inwardly-curved stroke terminals of the same foundry’s Grotesque series, and includes italics and old-style and tabular numerals. The original Clarendon’s ball serifs and calligraphic eccentricities have been rationalised for functional contemporary uses. The family consists of five weights plus italics and a stencil, and its clean readable style is perfect for both extended text as well as headline setting.

Albiona Soft

Horizontally-weighted and built around an elliptical counter, Amorpheus was adopted by the burgeoning UK trance music scene and used extensively on the Transient Records releases Hughes designed in the early 2000s. One of the first characters to take form was the A, and this dictated the design direction for the rest of the alphabet. Amorpheus Alternates provides more bounce, and can be freely mixed with Amorpheus for effect. The extended “crossbars” of the C, E, F and Z are intended to only be used at the end or beginning of words. Third versions of the & and the G are also provided.

Horizontally-weighted and built around an elliptical counter, Amorpheus was adopted by the burgeoning UK trance music scene and used extensively on the Transient Records releases Hughes designed in the early 2000s. One of the first characters to take form was the A, and this dictated the design direction for the rest of the alphabet. Amorpheus Alternates provides more bounce, and can be freely mixed with Amorpheus for effect. The extended “crossbars” of the C, E, F and Z are intended to only be used at the end or beginning of words. Third versions of the &amp; and the G are also provided.

Amorpheus

Anytime Now

Inspired by an example of eroded Portuguese cast-iron ecclesiastical lettering mounted on marble, Apocrypha has been designed to evoke an age-worn imperfection; once elegant, but now eroded and distorted by time. Mix the characters in the upper and lower-case keystrokes for authentically uneven results.

Inspired by an example of eroded Portuguese cast-iron ecclesiastical lettering mounted on marble, Apocrypha has been designed to evoke an age-worn imperfection; once elegant, but now eroded and distorted by time. Mix the characters in the upper and lower-case keystrokes for authentically uneven results.

Apocrypha

Appointment with Danger is a rough condensed sans that forms part of a series inspired by Hughes’ researches into hand-drawn headline type for the Custom Lettering of the 60s and 70s collection. Its hand-drawn forms have a comic-book vitality; to enhance this effect, upper and lower case provide alternate versions that can be freely mixed.

Appointment with Danger is a rough condensed sans that forms part of a series inspired by Hughes’ researches into hand-drawn headline type for the Custom Lettering of the 60s and 70s collection. Its hand-drawn forms have a comic-book vitality; to enhance this effect, upper and lower case provide alternate versions that can be freely mixed.

Appointment With Danger

An elegant sans with a low lower-case x-height, diamond-shaped dots and a reweighed complimentary italic with subtle calligraphic touches. With its generous spacing and leading, Argent is very readable in extended text settings, appearing warm and open. The wide range of weights, from thin to heavy, provide all the necessary options for headline and text, the basis of any comprehensive design system. Perfect for brochures and magazines.

An elegant sans with a low lower-case x-height, diamond-shaped dots and a reweighed complimentary italic with subtle calligraphic touches. With its generous spacing and leading, Argent is very readable in extended text settings, appearing warm and open. The wide range of weights, from thin to heavy, provide all the necessary options for headline and text, the basis of any comprehensive design system. Perfect for brochures and magazines.

Argent Sans

An elegant geometric linking script that uses OpenType programming to intelligently substitute "beginning" and "ending" characters with uniquely designed variants. The family also includes swash alternates that can be toggled on or off in the Opentype panel. (Note: Please view the image above for correct end and beginning letters as they will appear in Indesign, Illustrator, etc. The Myfonts previews below are not Opentype savvy, and so these specially designed versions do not substitute themselves.)

An elegant geometric linking script that uses OpenType programming to intelligently substitute "beginning" and "ending" characters with uniquely designed variants. The family also includes swash alternates that can be toggled on or off in the Opentype panel. (Note: Please view the image above for correct end and beginning letters as they will appear in Indesign, Illustrator, etc. The Myfonts previews below are not Opentype savvy, and so these specially designed versions do not substitute themselves.)

Armstrong

Atomette is a bouncy sans that is friendly without being flippant, warm yet still stylish. The upper case and lower case options provide letters with less or more animation. Five weights plus an inline provide a neat mini-family to cover all your requirements. Suitable for snack packaging, comic books, toys, celebratory banners, book covers and games. Contains two or three options for each letter, including automatically-substituting letter-pairs to prevent repetition, plus an alternate set of numbers in circles. These can be chosen from the Glyphs palette or toggled on and off in the Opentype panel.

Atomette is a bouncy sans that is friendly without being flippant, warm yet still stylish. The upper case and lower case options provide letters with less or more animation. Five weights plus an inline provide a neat mini-family to cover all your requirements. Suitable for snack packaging, comic books, toys, celebratory banners, book covers and games. Contains two or three options for each letter, including automatically-substituting letter-pairs to prevent repetition, plus an alternate set of numbers in circles. These can be chosen from the Glyphs palette or toggled on and off in the Opentype panel.

Atomette

Aurore Grotesque is an elegant, robust geometric sans for both text and headline. It has a classic European heritage that references the posters of Cassandre and the modern sans of Paul Renner or Karl Gustav Möhring, but is entirely new and does not slavishly follow any historical reference. The low lower-case x-height gives it character and definition in running text, while the capitals-only Titling variant lends weight and punch to headlines. The full range of weights, each with matching italics, make it perfect for brochures, magazines, advertising, web, app and corporate uses. Includes lining, old-style and tabular numerals, arrows, stylised geometric alternates, and a full international character set.

Aurore Grotesque is an elegant, robust geometric sans for both text and headline. It has a classic European heritage that references the posters of Cassandre and the modern sans of Paul Renner or Karl Gustav Möhring, but is entirely new and does not slavishly follow any historical reference. The low lower-case x-height gives it character and definition in running text, while the capitals-only Titling variant lends weight and punch to headlines. The full range of weights, each with matching italics, make it perfect for brochures, magazines, advertising, web, app and corporate uses. Includes lining, old-style and tabular numerals, arrows, stylised geometric alternates, and a full international character set.

Aurore Grotesque

Autofont

Automoto

Autospec

This stencil font, inspired by a fleeting glimpse of a Bronx plumber’s van seen through the rain-spattered window of a New York taxi, is evocative of urban grit, knock-down warehouse bargains and military supplies labeling.

This stencil font, inspired by a fleeting glimpse of a Bronx plumber’s van seen through the rain-spattered window of a New York taxi, is evocative of urban grit, knock-down warehouse bargains and military supplies labeling.

Battery Park

Bingo has rectangular counters and a square, unicase design that was influenced by Ad Lib, Freeman Craw’s popular 1961 design for American Type Founders (ATF).

Bingo has rectangular counters and a square, unicase design that was influenced by Ad Lib, Freeman Craw’s popular 1961 design for American Type Founders (ATF).

Bingo

Lively, friendly and fun. Blackcurrant is derived from a poster campaign Rian Hughes designed for the youthful Japanese woman's outfitters, Yellow Boots. The original logo formed the basis of the Black version; the narrower Squash version was added fro the commercial release. The lower case was added two years later due to popular demand. In 2010 the font was further accessorised with extensive ligatures, made possible with the then-new Opentype technology.

Lively, friendly and fun. Blackcurrant is derived from a poster campaign Rian Hughes designed for the youthful Japanese woman's outfitters, Yellow Boots. The original logo formed the basis of the Black version; the narrower Squash version was added fro the commercial release. The lower case was added two years later due to popular demand. In 2010 the font was further accessorised with extensive ligatures, made possible with the then-new Opentype technology.

Blackcurrant

Bordello

Box Office

A stylish cartoon sans reminiscent of lettering by Harvey Kurtzman on early issues of Mad, or other casual mid-century types. The three widths give full versatility for expressive, customised headlines and layouts, while the lighter weights can be used for text. Conveys an approachable, light touch with style and finesse.

A stylish cartoon sans reminiscent of lettering by Harvey Kurtzman on early issues of Mad, or other casual mid-century types.
The three widths give full versatility for expressive, customised headlines and layouts, while the lighter weights can be used for text. 
Conveys an approachable, light touch with style and finesse.

Bradbury Five

Beach is a geometric stencil font in two variants. Powerful, futuristic and unique.

Beach is a geometric stencil font in two variants. Powerful, futuristic and unique.

Breach

Broadside Text is a companion to Broadside, and is optimised for use at smaller sizes. More open counters, more generous letter-spacing and additional fractions increase legibility. The original Broadside family is suitable for headlines and larger sizes, and also comes with condensed and extended versions. Broadside is a versatile, authoritative and functional family inspired by the sans serifs seen on ’40s and ’50s patriotic posters and period advertising. It is available in seven weights across condensed, normal and extended widths, each with reweighed italics. The type from this period was very often hand-drawn, and so differs considerably from poster to poster. Many American examples of this period use a Photo-Lettering style called Murray Hill and its derivatives, although their UK counterparts, designed by such luminaries as Abram Games or Tom Eckersley, are more stylistically diverse. Even though no single model is available to base a digitisation on, there are certain recurring stylistic quirks that give the type its unique flavour, and so the most interesting examples from several sources were be combined for the final family. Alternate short descenders, allowing for tighter line spacing, can be toggled on or off in the Opentype panel of Indesign or Illustrator. Tabular and lining numerals and a single-story ‘a’ are also available in all weights and styles.

Broadside Text is a companion to Broadside, and is optimised for use at smaller sizes. More open counters, more generous letter-spacing and additional fractions increase legibility. The original Broadside family is suitable for headlines and larger sizes, and also comes with condensed and extended versions. Broadside is a versatile, authoritative and functional family inspired by the sans serifs seen on ’40s and ’50s patriotic posters and period advertising. It is available in seven weights across condensed, normal and extended widths, each with reweighed italics. The type from this period was very often hand-drawn, and so differs considerably from poster to poster. Many American examples of this period use a Photo-Lettering style called Murray Hill and its derivatives, although their UK counterparts, designed by such luminaries as Abram Games or Tom Eckersley, are more stylistically diverse. Even though no single model is available to base a digitisation on, there are certain recurring stylistic quirks that give the type its unique flavour, and so the most interesting examples from several sources were be combined for the final family. Alternate short descenders, allowing for tighter line spacing, can be toggled on or off in the Opentype panel of Indesign or Illustrator. Tabular and lining numerals and a single-story ‘a’ are also available in all weights and styles.

Broadside

Broadside Text

A funky balloon type in three variants, Highlight, Shadow and plain old Vanilla. Guaranteed to bring a sense of playful fun to packaging, comic magazines, and merchandise.

A funky balloon type in three variants, Highlight, Shadow and plain old Vanilla. Guaranteed to bring a sense of playful fun to packaging, comic magazines, and merchandise.

Bubblegum Pop

Bullroller evolved from a T-shirt design produced for Fred Deakin of Airside’s T-shirt Club. Without seeing the designs beforehand, punters would sign up for four T-shirts a season, each by a well-known designer or illustrator. Hughes' design combined outré Matchboxlike car models on an imagined pit crew shirt from a film like Death Race 2000, and owes a tip-of-the-hat to Bob Peak’s classic Rollerball poster. “Keep Your Pistons Oiled” featured on the back.

Bullroller evolved from a T-shirt design produced for Fred Deakin of Airside’s T-shirt Club. Without seeing the designs beforehand, punters would sign up for four T-shirts a season, each by a well-known designer or illustrator. Hughes' design combined outré Matchboxlike car models on an imagined pit crew shirt from a film like Death Race 2000, and owes a tip-of-the-hat to Bob Peak’s classic Rollerball poster. “Keep Your Pistons Oiled” featured on the back.

Bullroller

A freeform linking script that uses OpenType programming to replace beginning and ending characters with uniquely designed variants. Also includes ligatures and an extended t-bar carefully designed to not collide with ascenders. (Note: Please view the image above for correct versions of the end and beginning letters, as they will appear in Indesign, Illustrator, etc. The Myfonts previews below are not Opentype savvy, and so these specially designed versions do not substitute themselves.)

A freeform linking script that uses OpenType programming to replace beginning and ending characters with uniquely designed variants. Also includes ligatures and an extended t-bar carefully designed to not collide with ascenders. (Note: Please view the image above for correct versions of the end and beginning letters, as they will appear in Indesign, Illustrator, etc. The Myfonts previews below are not Opentype savvy, and so these specially designed versions do not substitute themselves.)

Cadogan

Cantaloupe

Capitol features two faces, Capitol Skyline and Capitol Capitals (a multi-weight all-caps compliment) that epitomise Streamline Moderne. Strong geometry and large, open counters with heavily condensed verticals and a succession of contextual alternates and discretionary ligatures. Capitol Skyline presents a nice companion in two weights. Both contain full support for Eastern and Central European languages.

Capitol features two faces, Capitol Skyline and Capitol Capitals (a multi-weight all-caps compliment) that epitomise Streamline Moderne.
Strong geometry and large, open counters with heavily condensed verticals and a succession of contextual alternates and discretionary ligatures. 
Capitol Skyline presents a nice companion in two weights. Both contain full support for Eastern and Central European languages.

Capitol

Carbak Stamp

Carilliantine updates the organic curves of Art Nouveau typefaces typified by John F. Cumming's Desdemona, designed around 1886. A contemporary monoline sans reinterpretation rather than a more traditional serif, its high-waisted emphasis lends it an elegance and class. Carilliantine is replete with hundreds of two- and three-letter ligatures that bring a customised uniqueness to any headline. These are on by default, and can be toggled on or off in the Opentype palette of Adobe apps, or chosen individually according to taste from the Glyphs menu. Suitable for upmarket food packaging, wine labels, restaurants, folk bands, sword and sorcery trilogies, cosmetics and fashion brands that nod to the refinement of yesteryear, but are very much of today.

Carilliantine updates the organic curves of Art Nouveau typefaces typified by John F. Cumming's Desdemona, designed around 1886. A contemporary monoline sans reinterpretation rather than a more traditional serif, its high-waisted emphasis lends it an elegance and class. Carilliantine is replete with hundreds of two- and three-letter ligatures that bring a customised uniqueness to any headline. These are on by default, and can be toggled on or off in the Opentype palette of Adobe apps, or chosen individually according to taste from the Glyphs menu. Suitable for upmarket food packaging, wine labels, restaurants, folk bands, sword and sorcery trilogies, cosmetics and fashion brands that nod to the refinement of yesteryear, but are very much of today.

Carilliantine

Catseye is a casual sans that harks back to English book jacket design and poster art of the late 1950s and early 1960s. The turned-in terminals are reminiscent of Sheffield-based foundry StephensonBlake’s Grotesque 9 from 1907. Available in two standard weights and a narrow variant, the italic provides unique cursive versions of the lower-case characters. All weights and styles are also available inCyrillic.

Catseye is a casual sans that harks back to English book jacket design and poster art of the late 1950s and early 1960s. The turned-in terminals are reminiscent of Sheffield-based foundry Stephenson Blake’s Grotesque 9 from 1907. Available in two standard weights and a narrow variant, the italic provides unique cursive versions of the lower-case characters. All weights and styles are also available in Cyrillic.

Catseye

Catseye Cyrillic

Championship

A loose, casual felt-pen script, Chantal comes in three weights plus italics, and a Cyrillic version too. Alternate versions are available in the upper and lower case keys, so settings can be customised according to taste. Originally designed to letter the RoboHunter series that Peter Hogan and Rian Hughes produced for the comic 2000AD, Chantal communicates a hand-drawn light touch with character.

A loose, casual felt-pen script, Chantal comes in three weights plus italics, and a Cyrillic version too. Alternate versions are available in the upper and lower case keys, so settings can be customised according to taste.
Originally designed to letter the RoboHunter series that Peter Hogan and Rian Hughes produced for the comic 2000AD, Chantal communicates a hand-drawn light touch with character.

Chantal

Chantal Cyrillic

Charger

A heavy obround sans with a high x-height and unusual lower-case spurs that flow up and into the bowl. This curve is mirrored in the ascenders. The alternates provide for closer, denser setting.

A heavy obround sans with a high x-height and unusual lower-case spurs that flow up and into the bowl. This curve is mirrored in the ascenders. The alternates provide for closer, denser setting.

Charterhouse Black

Chascarillo

Chase

A hefty, powerful geometric sans with weight and presence. The unusual counters are defined by lines which cut into the letter shapes.

A hefty, powerful geometric sans with weight and presence. The unusual counters are defined by lines which cut into the letter shapes.

Chassis

Cheapside

Originally designed for the Body Shop’s Street Scents campaign, Citrus gives out retro summer vibes.

Originally designed for the Body Shop’s Street Scents campaign, Citrus gives out retro summer vibes.

Citrus

A clean elegant subtly flared serif in three weights suitable for high-fashion and luxury brand use.

A clean elegant subtly flared serif in three weights suitable for high-fashion and luxury brand use.

Clique

Coldharbour Gothic

Conquera is an extended caps-only font in five weights plus an inline. It is refined and masculine without being heavy-handed - the angled stokes and pointed vertices lend it a stylish, upmarket Moderne poise. Suitable for man's grooming products, supercar showroom brochures, high-end developments, space vehicles and home technology. Letterspacing at small sizes adds extra sophistication. Includes an alternative A with a triangular crossbar and full international character set.

Conquera is an extended caps-only font in five weights plus an inline. It is refined and masculine without being heavy-handed - the angled stokes and pointed vertices lend it a stylish, upmarket Moderne poise.
Suitable for man's grooming products, supercar showroom brochures, high-end developments, space vehicles and home technology.
Letterspacing at small sizes adds extra sophistication. Includes an alternative A with a triangular crossbar and full international character set.

Conquera

Conselheiro

Contour

Cordite

Cordoba

Cottingley is an unusual backslanted script in lower-case only. The three variants provide ending and beginning characters without the redundant connecting strokes, and the ‘capital letter’ characters are not intended to be used on their own, but provide an extended t-bar for use with the lower-case t.

Cottingley is an unusual backslanted script in lower-case only. The three variants provide ending and beginning characters without the redundant connecting strokes, and the ‘capital letter’ characters are not intended to be used on their own, but provide an extended t-bar for use with the lower-case t.

Cottingley

A bold and arresting geometric font built from parallel stripes. Most effective in short headings or logos at larger, display sizes.

A bold and arresting geometric font built from parallel stripes. Most effective in short headings or logos at larger, display sizes.

Craska

Playful and funky. The ideal choice for candy wrapping, teen magazines, toy packaging and the like. The reweighted condensed is useful where space is at a premium, and mixing the two weights freely leads to intriguing results. Use with bright fresh colors for added "bounce".

Playful and funky. The ideal choice for candy wrapping, teen magazines, toy packaging and the like. The reweighted condensed is useful where space is at a premium, and mixing the two weights freely leads to intriguing results. Use with bright fresh colors for added "bounce".

Custard

Cyberdelic

Cynosure is a humanist sans with a subtle thick/thin stress. This gives it a clean, sharp elegance and precision that can be missing in some more familiar monoline sans faces. The wide range of weights and the matching reweighed italics make it a versatile solution where a consistent appearance across a broad range of applications is required. Its clear and inarguable design make it suitable for a wide variety of uses, from corporate to entertainment, text to headline, signage, logotypes, magazines and reports. The italics retain the design of the upright across all characters, again ensuring consistency. Includes tabular, lining and old-style numerals.

Cynosure is a humanist sans with a subtle thick/thin stress. This gives it a clean, sharp elegance and precision that can be missing in some more familiar monoline sans faces.
The wide range of weights and the matching reweighed italics make it a versatile solution where a consistent appearance across a broad range of applications is required. Its clear and inarguable design make it suitable for a wide variety of uses, from corporate to entertainment, text to headline, signage, logotypes, magazines and reports.
The italics retain the design of the upright across all characters, again ensuring consistency. Includes tabular, lining and old-style numerals.

Cynosure

Cynosure Soft is a rounded, friendly version of Cynosure, a humanist sans with a subtle thick/thin stress. This gives it a clean, sharp elegance and precision that can be missing in some more familiar monoline sans faces. The wide range of weights and the matching reweighed italics make it a versatile solution where a consistent appearance across a broad range of applications is required. Its clear and inarguable design make it suitable for a wide variety of uses, from corporate to entertainment, text to headline, signage, logotypes, magazines and reports. The italics retain the design of the upright across all characters, again ensuring consistency. Includes tabular, lining and old-style numerals.

Cynosure Soft is a rounded, friendly version of Cynosure, a humanist sans with a subtle thick/thin stress. This gives it a clean, sharp elegance and precision that can be missing in some more familiar monoline sans faces.
The wide range of weights and the matching reweighed italics make it a versatile solution where a consistent appearance across a broad range of applications is required. Its clear and inarguable design make it suitable for a wide variety of uses, from corporate to entertainment, text to headline, signage, logotypes, magazines and reports.
The italics retain the design of the upright across all characters, again ensuring consistency. Includes tabular, lining and old-style numerals.

Cynosure Soft

Dare is a bold, single-weight titling font in capitals only. It is built from flat-pen strokes, with looping bowls and sharp, incised darts. It borrows a pinch of the hand-drawn swagger of Bauer's Cartoon (designed in 1936 by H. A. Trafton), used as Dan Dare's signature logo in the British boy's comic Eagle, and also the upward-pointing serifs of machine-moderne typefaces such as Dynamo (designed by K. Sommer for Ludwig & Mayer in 1930). Suitable for book covers, magazines, branding, packaging – any place where an impactful, contemporary statement is required, but still with an undertone of 20th century tradition.

Dare is a bold, single-weight titling font in capitals only. It is built from flat-pen strokes, with looping bowls and sharp, incised darts. It borrows a pinch of the hand-drawn swagger of Bauer's Cartoon (designed in 1936 by H. A. Trafton), used as Dan Dare's signature logo in the British boy's comic Eagle, and also the upward-pointing serifs of machine-moderne typefaces such as Dynamo (designed by K. Sommer for Ludwig &amp; Mayer in 1930). Suitable for book covers, magazines, branding, packaging – any place where an impactful, contemporary statement is required, but still with an undertone of 20th century tradition.

Dare

Darkside

Data90

Dauphine

Op-art never looked so good. Taking a cue from the popularity in the 1970s of deco Prismas and their related contemporary interpretations, this geometric font updates the trend. Overlap text in different colours or black and white for eye-teasing moiré combinations. An image above illustrates the use of Dazzle Underprint, a uniform-width version of the font that is placed under Dazzle and used to create two-colour effects simply and easily. Dazzle Underprint is not intended for solo use, only as an underprint — please see Dazzle Unicase for a range of undecorated weights.

Op-art never looked so good. Taking a cue from the popularity in the 1970s of deco Prismas and their related contemporary interpretations, this geometric font updates the trend. Overlap text in different colours or black and white for eye-teasing moiré combinations. An image above illustrates the use of Dazzle Underprint, a uniform-width version of the font that is placed under Dazzle and used to create two-colour effects simply and easily. Dazzle Underprint is not intended for solo use, only as an underprint — please see <a href="https://www.devicefonts.co.uk/catalogue/dazzle-unicase">Dazzle Unicase </a>for a range of undecorated weights.

Dazzle

An elegant, stylish unicase font with alternative lower-case letter-forms designed to fit the capital’s X-height. The lower-case forms are available in many of the lower-case keystrokes, with even more available as “stylistic alternates” or a “stylistic set”, which can be activated in Adobe apps. Eye-catching, sophisticated and contemporary. Available in five weights. A more sober companion to the original op-art version of 'Dazzle'.

An elegant, stylish unicase font with alternative lower-case letter-forms designed to fit the capital’s X-height. The lower-case forms are available in many of the lower-case keystrokes, with even more available as “stylistic alternates” or a “stylistic set”, which can be activated in Adobe apps.
Eye-catching, sophisticated and contemporary. Available in five weights. A more sober companion to the original op-art version of <a href="https://www.devicefonts.co.uk/catalogue/dazzle">'Dazzle'.</a>

Dazzle Unicase

Degradation

Design

Destination Unknown

Diecast

Digital Goods VAT Tax

Disclosure is suggestive of low-grade digital output, screen displays, fax machines, or high-speed data transfer. It is missing vertical sections, perhaps due to a faulty print head or signal degradation. It is intentionally monospaced — each letter has the same width, like a typewriter — and unkerned. Suitable for uses where an unfussy urgency and drama is required. Developed from the 112 Hours numbers-only font, Throughput.

Disclosure is suggestive of low-grade digital output, screen displays, fax machines, or high-speed data transfer. It is missing vertical sections, perhaps due to a faulty print head or signal degradation. It is intentionally monospaced — each letter has the same width, like a typewriter — and unkerned. Suitable for uses where an unfussy urgency and drama is required. Developed from the 112 Hours numbers-only font, Throughput.

Disclosure

Doom Platoon

Drexler

Droog

Dukane

Dynasty is an extensive and versatile family that explores and modernises many of the typographic quirks associated with the 'American Gothic' type school (in much the same way as English Grotesque was an exploration of Gill/Johnston idea-space). Dynasty adds chamfered elements to dots and tails to emphasise and extend the early machine-made aesthetic. Elegantly clean and readable at headline and small text settings, where (as with all fonts in small sizes) the introduction of tracking will improve legibility.

Dynasty is an extensive and versatile family that explores and modernises many of the typographic quirks associated with the 'American Gothic' type school (in much the same way as English Grotesque was an exploration of Gill/Johnston idea-space). Dynasty adds chamfered elements to dots and tails to emphasise and extend the early machine-made aesthetic. Elegantly clean and readable at headline and small text settings, where (as with all fonts in small sizes) the introduction of tracking will improve legibility.

Dynasty

Egret

Electrasonic

Elektron

Elle

Ember

English Grotesque is based on the proportions of an early 20th century signwriter’s sans, emphasising the characteristic idiosyncrasies of type of the period. Sharing a similar Roman circle-and-square construction as Gill Sans or Johnston Railway, it has a wide T and W, a narrow S, and a long-tailed R. The Roman alphabet did not include a lower-case, and therefore early sans-serifs tended to base theirs on handwritten or cursive models, resulting in more even character widths. English Grotesque, by contrast, carries the more characterful proportions of the capitals through to the lower case. Available in six weights, with optional alternative versions for the Q, &, £ and J.

English Grotesque is based on the proportions of an early 20th century signwriter’s sans, emphasising the characteristic idiosyncrasies of type of the period. Sharing a similar Roman circle-and-square construction as Gill Sans or Johnston Railway, it has a wide T and W, a narrow S, and a long-tailed R.
The Roman alphabet did not include a lower-case, and therefore early sans-serifs tended to base theirs on handwritten or cursive models, resulting in more even character widths. English Grotesque, by contrast, carries the more characterful proportions of the capitals through to the lower case.
Available in six weights, with optional alternative versions for the Q, &amp;, £ and J.

English Grotesque

Epiphany is an elegant serif with wide proportions and an unusual stencil effect, communicating honesty with understated refinement. The design uses several repeated forms that give it a forward-moving rhythm; for example the small ‘flicks’ on the lower-case letters and the tails on g and y. Ideal for headlines and shorter paragraphs of text.

Epiphany is an elegant serif with wide proportions and an unusual stencil effect, communicating honesty with understated refinement.
The design uses several repeated forms that give it a forward-moving rhythm; for example the small ‘flicks’ on the lower-case letters and the tails on g and y.
Ideal for headlines and shorter paragraphs of text.

Epiphany

Faction

Faculty is a robust, warm and rational sans, with a large x-height that lends clarity in text and headline. Functional, clear and authoritative, it still has character. Stroke terminals are cut vertically or horizontally, minimising inter-letter gaps and lending it an even 'colour' in extended settings. Suitable for both headlines and text, the family has extensive language support, alternative characters, lining, tabular and old style numerals, making it a versatile all-purpose type system.

Faculty is a robust, warm and rational sans, with a large x-height that lends clarity in text and headline. Functional, clear and authoritative, it still has character. Stroke terminals are cut vertically or horizontally, minimising inter-letter gaps and lending it an even 'colour' in extended settings. Suitable for both headlines and text, the family has extensive language support, alternative characters, lining, tabular and old style numerals, making it a versatile all-purpose type system.

Faculty

Fairtrade

Classy eccentricity. Farthing is a serif face in five weights, with alternate characters and both lining and old style numerals. Farthing evokes elegant traditional serif styles, playful but poised. Suitable for both headline and short paragraphs of text.

Classy eccentricity. Farthing is a serif face in five weights, with alternate characters and both lining and old style numerals. Farthing evokes elegant traditional serif styles, playful but poised. Suitable for both headline and short paragraphs of text.

Farthing

Fathom is a refined flared-serif face that is elegant and robust, modern yet suggests a legacy. The generous lower-case x-height make it worm and readable. Seven weights, plus matching italics, cover all headline and text requirements. The addition of old-style numerals and tabular numerals for charts make it a versatile family for brochures, corporations, heritage projects, packaging, book covers, reports, signage, magazines and more.

Fathom is a refined flared-serif face that is elegant and robust, modern yet suggests a legacy. The generous lower-case x-height make it worm and readable. Seven weights, plus matching italics, cover all headline and text requirements. The addition of old-style numerals and tabular numerals for charts make it a versatile family for brochures, corporations, heritage projects, packaging, book covers, reports, signage, magazines and more.

Fathom

Flak

A modern, geometric sans serif display font with a hint of the future and the alien. The familiar letter-shapes are reimagined, with key stokes being placed in unusual positions without impacting the readability. The 'Solid' variants have certain counters filled in, creating a bold and unusual rhythm that is very effective in shorter settings. The different versions can be mixed for effect, while letterspacing adds a sharp, clean sophistication.

A modern, geometric sans serif display font with a hint of the future and the alien.
The familiar letter-shapes are reimagined, with key stokes being placed in unusual positions without impacting the readability. The 'Solid' variants have certain counters filled in, creating a bold and unusual rhythm that is very effective in shorter settings. 
The different versions can be mixed for effect, while letterspacing adds a sharp, clean sophistication.

Urbane Rounded

Urbane

Kallisto

Paralucent

Serenity

Dazzle Unicase

Gravesend Sans

Korolev

English Grotesque

Conquera

Chantal

Sheffield Fiesta

Zipline

Urbane Condensed

Regulator Nova

Quagmire

Korolev Rounded

Cottingley

Capitol

Cadogan

Battery Park

Warminster Condensed

Vertigram Soft

Ministry Condensed

Warminster Shaded

Warminster

Vertigram

Supermarché

Scorch

Remarque

Rapino

Marchmont Tall

Carbak Stamp

Epiphany

Salient

Cynosure Soft

Maximum

Tracker

Bradbury Five

Guildhall

Paralucent Slab

Fomalhaut

Chassis

Grange Text

Valvolina

Wilko

Farthing