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 a2-type.co.uk.
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: www.a2swhk.co.uk.
Custom stencil font in 2 grades with Italics – Crafted exclusively for CNN STYLE.
View the fonts in full effect on the CNN STYLE's beautifully designed RIBA, Royal Institute of British Architects International Prize website: RIBA, International Prize showcasing 6 spectacular buildings from 6 countries...
Masthead design and custom cut of our Register* typeface for The Sunday Times Magazine, UK.
The magazine expertly mixes the delicate serif font, used for headlines and text matter, with another of our fonts; the robust and friendly-looking New Grotesk Round fonts.
Commissioned by Esterson Associates and The Sunday Times Magazine as part of their extensive redesign and editorial reimagining of the title in the summer of 2016.
Custom font in 2 weights – based on our Boing Boing typeface - for the world's largest domain name registrar; with 14+ million customers, and more than 5,000 employees...
Commissioned by TBWA\Chiat\Day, New York.
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.
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.
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.
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.
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.
Custom fonts.
andyou
andthem
andwhynot
andtwins
androadtrips
andhugs
andweekends
andsamsung
andaudi
android
be together. not the same
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.
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.
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.
Custom typefaces: Serif and Typewriter fonts in multiple weights for academic arts Journal Afterall including their book series One Work, 2006.
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.
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.
Custom Display typeface (India) in two weights in collaboration with Geetika Alok, 2011.
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.
Read about the project in detail at the Creative Review blog.
