Commission Type

If you are interested in commissioning typefaces of any kind; display faces, text faces, typewriters, signage faces or hand drawn lettering for an advertising campaign, a corporate font for your client, or any other bespoke type design for your project, then please contact us: info at

No project is too small, or too large.

If you would like to commission our graphic design studio, or to see more examples of our work then please visit:

The New York Times Magazine

Custom fonts.

Behind the Relaunch of The New York Times Magazine.

Sans, Slab & Serif – Each category of fonts have a different starting point, set of references and sub categories. The starting point forthe Serif font is the Stephenson Blake Garamond-ish metal typeface Mazarin also known as ‘Astree’ from French foundry Deberny & Peignot and also The New York Times Magazine masthead, although this is a Black letter / Gothic type, its sharpness and contrast have translated into the design, most noticeable in the Display and Headline fonts. The Serif fonts designed for text matter share some of these features although proportions, contrast and details have been crafted anew to aid legibility in smaller point sizes. The Slab fonts used for pull quotes and headlines are a continuation of the magazines existing Stymiefont but in a condensed format and with added typographic personality. The Sans fonts are linked to the Industrial Grotesque types, with metal type specimen versions of Futura and Akzidenz fonts as loose models for inspiration, all re interpreted and designed to suit the magazine.

​Moscow Sans

A custom font in four grades plus a set of 40+ unique pictograms created exclusively for Moscow Department of Transport.

Art directed and designed by A2–TYPE, Scott Williams & Henrik Kubel with Margaret Calvert as type and pictogram consultant. Cyrillic script designed in collaboration with Ilya Ruderman. Commissioned by City ID and Moscow Department of Transport, DOT.

The full wayfinding system is to be rolled out across the network in 2015.


Custom fonts.


be together. not the same

More soon!


Magazine masthead + custom Stencil font. Commissioned by Matt Willey.

Avaunt is dedicated to adventure – in the broadest possible sense. Avaunt will feature acts of endeavour and endurance from the wildest, highest, deepest, coldest and hottest corners of Earth. The magazine will bring you stories from respected writers and thinkers, concerning adventures in technology, music, science, style and culture, alongside insights from the pioneers and innovators who are shaping our new world.

Read more here.

​Paul Davis

Custom font based on Paul’s unique handwriting mostly / always featured in his work.

The font was created in 2 weights and commissioned by mxm, madebymany as part of their identity tool kit.

See Paul’s work here.

​The Independent Newspaper

Bespoke fonts. A series of fourteen interconnected fonts based on the same structure. All fonts have large character sets, several number systems and stylistic features to serve all aspects of the newspaper and associated magazines and publications. Read about the project in detail at the Creative Review blog.

Winner! Yellow Pencil in this years D&AD Global Awards Scheme, 2014.

​A23D Letterpress Alphabet

Commissioned by New North Press in London as part of their existing collection of wood and metaltype.

A23D will be available for use at New North Press's letterpress workshops. Filmmaker Adrian Harrison has also made a film about the project, which was premiering at the V&A September 13, as part of the London Design Festival.

Watch the movie here.

Read about the project in detail at the Creative Review blog.

​Steensen Varming

A leading and independent consultancy with unrivalled expertise in mechanical and electrical building services, lighting design and sustainable design. Steensen Varming was founded in 1933 by Jørgen Varming and Niels Steensen. The grandson of the founder, Søren Varming, Punktum Design in Copenhagen commissioned us to co-develop a new brand identity across offices and in specific to design a suite of fonts exclusively available to the client.

Read more here.

​Expedia Worldwide

Custom fonts – ‘Expedia Sans’ was commissioned by 180LA. The new set of brand fonts will be rolled out on all communications, print and web, globally.


Royal Institute of British Architects Members Magazine. Design of condensed version of our Grot10 font family + delivery of additional suite of fonts – all customised in detail to suit the client.

The title(s) were superbly redesigned by magazine art director Matt Willey, who also commissioned the bespoke fonts.

Motorola Worldwide

A2 Regular fonts are now part of the new Motorola brand.


New Transport typeface in 2 weights, Light + Bold developed in close collaboration with Margaret Calvert for use on all UK Government websites. The November issue of Creative Review, out on October 24, will include an extensive feature on the GDS and their work. Read more here: Creative Review Blog feature.


We were commissioned by COLLINS in New York to customise our typeface Regular for their rebrand of the biggest broadband provider in NYC. Our Regular typeface was also chosen as their brand typeface and feature in all communication. MOTHER NEW YORK was commissioned to introduce the rebrand to the public with a series of short TV stings.

​Oak – The Nordic Journal

Custom font in 2 styles. A condensed industrial Sans for text matter with a matching high contrast Serif for headlines.

Oak – The Nordic Journal is a biannual magazine with an international reach. Oak covers Nordic culture, food and design with a focus on the lifestyle and the people involved, presenting a mix of design, lifestyle, experiential travel writing, food stories, and notable Nordic figures.

Read more.

​SHOW RCA 2012

Custom alphabet for Royal College of Art Annual Show 2012. Art directed and originated by Studio Oswald in London. Designed and crafted in collaboration with A2-TYPE.

​I Can’t Draw Animals

Specially developed for Typo London 2012 … shows type designer Henrik Kubel hand lettering his own narration, explaining why he draws type. The video was produced as a final piece of work for his presentation. Reviewed by FontFeed. Read more.

The film was selected for the prestigious TDC NYC Annual 2013 in New York and also for the Tokyo Type Directors Club in Japan.


Amplify, a new business dedicated to reimagining K-12 education by creating digital products and services that empower teachers, students and parents in new ways. A2-TYPE were commissioned to customise our ‘Outsiders’ typeface and have added rounded corners plus revised a number of characters under the direction of Graham Clifford Design + Co Collective in New York.

The fonts were accepted into the prestigeous Communication Arts 2014 Typography Annual.

The fonts were also awarded a typeface design award from TDC, Type Directors Club, 2014.

​Friends of the Earth

Friends of the Earth custom Display typeface for all communications. The font has been coded and designed with automatic glyph substitution (3 different versions of each letter) to evoke hand drawn quality. The typeface is based on our Aveny-T font.


Custom Display typeface (India) in two weights in collaboration with Geetika Alok, 2011.

​Design Museum, London

Custom typeface (Ergonomics), identity and publication design, 2010.

Faber & Faber, London

Custom typeface (A2 Beckett) and cover design across 18 titles, 2009/10.

Awarded D&AD ‘in Book’, 2009.

​Afterall Publishing

Custom typefaces: Serif and Typewriter fonts in multiple weights for academic arts Journal Afterall including their book series One Work, 2006.

​FaulknerBrowns Architects

Custom typefaces and brand identity, 2007.

Penguin Press, NYC

Custom typeface (Zadie) and cover design, 2005 for hardback and paperback.

Selected for AIGA, American Institute of Graphic Arts, 50 best covers of 2006.

​Nørrebro Bryghus

Custom display stencil font including text fonts for branding across all products including signs and interiors in Danish mini-brewery.

Brand Identity designed in collaboration with Punktum Design in Copenhagen, 2004.

The project was awarded the prestigeous Danish Design Prize in the identity category the same year it was launched.