A behind the scenes look at Stornoway and what sets it apart from the high contrast sans serifs. Rooted in the elegance of Scotch Roman typefaces and named after a Scottish town, Stornoway is a sans-serif that merges historical inspiration with modern design.

As use cases for fonts have grown and changed, traditional licensing methods have become increasingly complex, requiring customers to navigate various metrics like page views or user counts. In response, some foundries, including us, are adopting employee-based licensing.

A log of all the changes to the Tofino typeface over the years including addition of styles, improvements, and extension of language support.

A log of all the changes to the Kyoshi typeface over the years including improvements, renaming issues, and color palette updates.

When you ‘buy’ a font, you are actually purchasing a licence document that explains what you can and can’t do with the font files. This document is usually called the End User Licensing Agreement or EULA for short.

Type designers love books for two reasons, they are full of beautiful specimens of typography and are a great source of knowledge. These are some of my most opened and referenced books while I am drawing letters.

Amberwood began as a concept for a brewery logo and after a number of false starts, eventually became the font it is today. Amberwood is a blending of blackletter and sans serif.

Where do I find good typefaces and how can I choose which ones to use in my projects? This is a question I hear all the time not only from my typography students but also professional graphic designers.

Modern fonts can do so much more than display static letters on a page. Type designers have taken the humble font software and pushed it further to make letters fight cyberbullying, enable those with low vision to read easier, and bring awareness to melting ice caps.

The most popular reason for commissioning a custom typeface is to create a bespoke brand typeface, but there are many much more practical reasons to commission a custom font. The font format is a powerful tool for your design work.

This typeface has been hanging out in my brain for a very long time just waiting for an opportunity to surface. I hope this font finds its way to the people who need it and maybe surprises some others by adding some happy, round, educational shapes to their design work when they didn’t know they needed it.

One of my long term goals as a type designer is to continue making my fonts more accessible and inclusive. North American Indigenous languages are not often supported in Latin Language fonts because they either require characters not typically included or have their own script.

The Avona family of fonts are heavily influenced by calligraphy and the broad nib pen, and were originally created to create a fantasy visual tone. Dive into the thought process behind what made these letterforms as unique and charismatic as they are.

Typefaces with extensive Latin Language support should include currency symbols from countries that speak or use the Latin Languages it supports. I have no practical evidence of this but instead made the logical leap that if a language is used in a country, they might need to write down monetary values.

I have often referred to Tofino as my “playground” typeface. It’s the first typeface I ever started working on and has become the space where I can try out new type design ideas and skills.

On December 12, 2015 I took the stage with two other audience members to speak at Creative Mornings on the topic of Time. I used my time to try to convince the audience to buy modern typefaces from living designers because the letterforms we are creating now are a better expression of the time we live in.