CoType is the London based type foundry of Mark Bloom and Co.

They design contemporary typefaces for use in digital and print applications. In addition to their retail offerings, they also offer design of bespoke typefaces and modifications of their existing font library.



Altform from @cotypefoundry is a solid and deceptively simple sans serif family with an alter-ego. Resulting from the marriage between a geometric sans and a grotesque, this typeface has a universally neutral appeal.

Upon closer inspection, the reader will notice tiny exquisite curves in some characters like R, t, and k, which give Altform a subtle sophistication and recognisable character.

Altform is available in seven weights, each with italics, ranging from Thin to Black. The extensive language support allows type setting in most European languages written with the Latin script.

CoType™ Foundry offer a FREE 88pp, A5 type specimen book with exposed red stitched spine and printed in Pantone Red throughout on all Altform Essential and Full Family purchases.

Try, Trial or Buy at:

Printed by @identityprint. Photography by @garysmithphoto


Alex Valentina is a graphic designer from Italy graduated at ISIA Urbino (Italy) and at KHIB Bergen (Norway). He believes in the importance of combining multiple disciplines in visual communication. Besides the obsession for typefaces, Alex is also a musician, music producer and video director.




Alex says 

“I’ve studied graphic design at KHIB in Norway and at ISIA in Italy. During my school years I was always very busy with my musical project and spent most of my time in studio producing. During those years I was freelancing as graphic designer for music labels or other music projects.


I still continue to alternate these two worlds, because each gives me a different type of energy and allows me to oxygenate the mind when I spend too much time on the same projects. Nice thing when I do graphics is the possibility to actually listen to other people’s music something I can’t do when I spend entire days just mixing frequencies and abstract sounds.



Lately I’ve been dedicating a little more time to personal graphic projects, searching for my own dimension and trying to understand if I actually have something to say and if I can say it in an innovative way. In any case, throughout my life typography has always been a constant obsession, to which, however, I had never actually committed. but collecting and cataloging special fonts on my computer has always been one of my main late late night pastimes 🤓




When the graphics becomes too formal, rigid, and “geometric” is when i generally tend to get bored. I’ve spent years loving that style but at this moment I feel this approach belongs to another historical period, or at least that is not stimulating enough compared to what is required of graphics at this moment in time.





I feel that in addition to all the rules, we should be able to add more soul to the things, to be able to infuse more meaning. Authenticity is the hardest thing to achieve these days. for me, visual communication does not only mean regularising but just as much creating quality products that can generate true communication, allowing life, ideas and a vision to shine through as much as possible. opening a dialogue is the first step to being 100% honest with ourselves, with our creative process and with the end user, whether it’s a customer or anyone else that has contacts with what we do.






An authentic design has to be sincere, human and alive. Being honest with yourself and with your own process shows results in the outcome, people feel it and this helps to establish a direct form of communication with fewer filters. 


Graphic design is less about selling and more about saying: “this is me, this is what I stand for, what are your thoughts on this? what’s your reaction?




Supernulla Creative Studio is born from the friendship between Marcello Raffo, Nicolò Tromben and Marco Venturi.

They met each other in Ferrara, Italy, where they graduated in product design at the local university. After a few years of experiences in graphic design between Porto, Venezia and Ravenna, they decided to run their own graphic design studio in January 2020. They were smart working before it was cool, working together from their homes in Thiene, Vicenza and Lugo. Supernulla creative studio is specialised in Brand Identity, Editorial Design, Motion Design and Illustration.


The studio took the name Supernulla (literally “super-nothing”, in English) for the fascination of the members for the contrast between everything and nothing, absolute and relative.

The concept of the studio identity couldn’t step away from these ideas. Typography with minimal attitude aside flat surfaces in black or white (all and nothing), contrast and harmony. Finally, a wireframe black hole, as an icon of the meaning of the name.


Inspired by the very specific context of  Fabbrica Altra and the people the artist has met, Marie Lelouche develops a set of works all assembled in an exhibition named “Failed to Synchronise”.

Fabbrica Saccardo, with the help of Saverio Bonato, commissioned us to design the identity of the exhibition.

We developed two different poster formats and the explanatory papers, playing with images and typography recreating the message given by the exhibition title.


Music event identity for SUBPHONICS Collective based in London, specialised in experimental electronic music.


The prolific collaboration with the Bronson universe led us to design different outputs for any of the fields of the entertaining company. Here’s a selection of posters we made for different music artists during the last two years.

Our work is not limited to poster design, but it also involves the complete package a live club, record label, bar and restaurant needs for the promotion of its image.

Thanks to this collaboration we have the occasion to get in touch with several international music artist and personalities.


Sandro Grottesco is a semi extended typeface family with three different weights (Light, Regular and Bold) and the relative italic versions. All the glyphs are designed with a big contrast between rigid and soft shapes to obtain a funny and dynamic personality. As others sans serif typefaces, Sandro is perfect to create artworks with big titles and strong hierarchy.



Giorgio and Ivana are a couple. They have a very strong passion about nature and environmental issues that involve people in everyday life.

Together, they started to create nice terrariums, to bring the passion they have in common in their own house. Soon the passion became a mission: to bring their message to all the people that needs to feel closer to the nature, to restore a contact with it, even without leaving home.

Palme di Montagna is born.

They got us into this project asking to design the visual identity of this new brand, an identity that could pop out from the standards of the usual nature-centered brands.

Certain Magazine is an independent curatorial platform that chronicles contemporary graphic design and celebrates handpicked design projects from around the world.




1. Decay White by Due studio

Designers: Massimiliano Vitti  / Alessio Pompadura 

Decay is a modern serif that brings the idiosyncratic philosophy of Decadent Movement into our darkest future mixing sinuous curves with eccentric pointed serifs and drastic ligatures between multiple and single letters. A typeface on the border between irrational aesthetics and rational function. The first release (Decay White, v1.0) comes in one weight and two different serif cut styles (Std, Alt) plus a variable font based on serif axis in which you can move and control the serif angles. Its contrasts make it ideal for display texts but it also works well for medium to small texts. With 450+ glyphs Decay was developed to support Latin Extended-A block.

Due Studio on

Facebook Instagram Behance

Perugia, Italy






2. NB International Pro by Neubau Berlin

Designer: Stefan Gandl

NB International™ pays tribute to popular Grotesk typefaces of the ‘international style’ era. With a focus to detail and reference to traditional letterpress printing each glyph was designed with precise five units radius corners. The result is a softedged and warm characteristics that translates beautifully both in print and on screen. NB International™ comes in 7 styles Bold Bold Italic Regular Italic Light Light Italic and Mono

Neubau Berlin on

Instagram Behance Twitter

Berlin, Germany






3. Gatwick by Pangram Pangram

Designer Morula Type by Valerio Monopoli

Gatwick is a wide incise sans that grows in funkiness as it gains weight.Vaguely vintage and fiercely syncopated it is the perfect choice when it comesto displaying names of kung fu movie stars pretentious yachts and sci-fi convention speakers.

Pangram Pangram Foundry on

Facebook Instagram Behance Twitter

Montreal, Quebec, Canada






4. Good Sans by Good Type Foundry

Designed by Good Type Foundry

Good Sans is a contemporary sans serif typeface inspired by mid-century neo-grotesques. It is available in 6 weights from Thin to Black with corresponding italics and geometric alternate characters/stylistic set.

Good Type Foundry on

Facebook  Instagram Behance Twitter

Oslo, Norway






5. Domaine by Klim Type Foundry

Designer: Kris Sowersby

Domaine is a sharp elegant serif that blends traditional French and British genres into a contemporary aesthetic. Its curvaceous Latin detailing centres upon gently bracketed triangular serifs complemented by distinctive hooked terminals. Horizontal head serifs provide a calm stable ground for the figurative detailing to shine. Domaine’s italics are inspired by Deberny & Peignot’s Labeurs Ordinaires Série a subtle and assured complement to the romans.

Klim Type Foundry on

Facebook  Instagram Twitter

Te Whanganui-a-Tara, Wellington / Aotearoa, New Zealand






6. Sangblue Versailles by Swiss Typefaces

Designers: Ian Party / Swiss Typefaces


SangBleu Versailles could be described as an alternative Republic – a softer rounder sibling with wider capitals (see e.g. ‘P’ or ‘S’) and a gracefully curved leg for ‘R’ returning to the crescent-shaped bowls for ‘bdpq’. It caters to a similar set of applications but is distinguished by flatter less spikey top serifs and introduces lachrymal terminals for ‘acfry’ (but not ‘g’ or ‘s’). Most other glyphs are virtually identical in both collections – a kindredship that is particularly evident in the italics. The difference in rhythm and feel is nevertheless immense. Just like with Republic the four-weight span of Versailles includes a Book indicating that these two collections are made with text sizes in mind. A notch bolder than the Regular this weight can be employed to finetune the typographic color.

Swiss Typefaces on

Facebook  Instagram Twitter

Vevey, Switzerland






7. Garnett by Sharp Type

Designer: Connor Davenport

Garnett is the first typeface designed by Connor Davenport. The evolution of it’s design has tracked the development of his craft, beginning as an incredibly ambitious and comprehensive drawing exercise, and culminating in a typeface both rooted in history and imbued with the perfectionism and eccentric personality of its creator. Garnett is a sturdy, contemporary grotesk that glows with the affable quirkiness of 19th-century metal type.

Sharp Type on

Facebook  Instagram Twitter

New York, United States of America






8. Ambit by CoType Foundry

Designer: Mark Bloom 

Ambit is an eccentric and unique sans serif font inspired by early grotesques but adapted for the 21st century. Its most striking details are the curly “f” and “r” (don’t worry, there are simple alternate versions available via Stylistic Set 02). Shapes like “c” “C” “s” and “S” seem to curl in onto themselves giving this type family a very distinctive look. Also noteworthy are the “R” and “K” which feature curly legs.

Ambit features 7 weights (from Thin to Black) each with oblique italics. Featuring a Latin Extended character set Ambit covers most languages written with the Latin script.

OpenType features include ligatures and a full range of lining and old-style numerals each with tabular versions. Each weight also comes with case-sensitive punctuation and three stylistic sets giving access to alternate letter shapes. The first set includes single-storey “a” ”g” and an alternate “y” the second set gives access to less curly versions of “f” and “r” which might be more appropriate for setting text at small sizes the third set features an alternate “Q” design.

CoType Foundry on

Facebook Instagram Twitter

London, United Kingdom






9. Radial by Gradient

Designer: Milos Mitrovic

Radial is an emotionally charged geometric-turned-humanist sans serif of 5 weights and infinite variable sub-instances. It’s informal geometry and wide span of tonal variety spreads over conventional barriers of traditional sans-serif typography. It resonates in dramatic personality range that performs flawlessly on both muscular display and small font sizes. The variable font support comes naturally to it as it’s fundamental geometry principles are built upon motion in mind. Weight and slant are two variation axes that can be controlled simultaneously in the variable version.

Gradient on

Facebook Instagram Twitter Behance

Bergen, Norway






10. BT Brick by BurnType

Designed by BurnType

BT Brik is a zero bullshit type family available in three weights and two styles. Its blatant brick-like construction is honest coarse and unapologetic. The family is littered with hard angles chunky corners and exaggerated ink traps for maximum weight and impact at any scale. BT Brik was crafted with love and a New Yawk attitude by BurnType 2018.

BurnType on


New York, United States of America






11. Monument Grotesk by Dinamo

Designers: Kasper-Florio / Larissa Kasper / Rosario Florio

Monument Grotesk owes its point de départ to a few contours Kasper-Florio stumbled upon online in 2013 in Palmer & Rey’s New Specimen Book 1884 on page 81. It relied on a sturdy and compact skeleton high vertical contrast and surprisingly sharp end strokes. The “o” “c” and “e” with their squarish inner counters pressing against their outer parts or the elongated “r” in particular gave reason for a couple of screenshots and later a digitisation.

Since founding their studio in 2013 Kasper-Florio have masterfully worked on commissions from the Swiss cultural design landscape and been awarded the prestigious Most Beautiful Swiss Books prize in 2013 2016 and 2017. Their output is conceptually to the point awfully consistent and print-fetishistic – with Monument Grotesk serving as their house typeface almost exclusively.

Dinamo on

Facebook Instagram Twitter







12. FK Grotesk by Florian Karsten

Designer: Florian Karsten

FK Grotesk is a universal yet distinctive type family. Completely redrawn in 2019, it now ranges from thin to black weight and corresponding italic and mono styles. FK Grotesk was originally designed in 2014 when we were lacking a typeface we could easily modify and use within our projects. Since then it was persistently tested in various media outputs and eventually released as a first-ever FK typeface. Together with FK Roman, it is a universal tool that is usable across various media applications.

FK Grotesk supports Latin Extended-A character set (i.e. Western European, Central European and Southeastern European languages) as well as Vietnamese language and several OpenType features.

Florian Karsten on

Instagram Twitter

Brno, Czech Republic






13. Surt by Blaze Type

Designer: Matthieu Salvaggio

This typeface family inspired by Norse mythology and Scandiavian Architecture draws a bridge between a geometric sans and a human process in the whole shape design.As such each glyph has been designed based on a similar structure. Circles ovals rectangles and squares compose the basic ground on which the font is built.

Blaze Type on

Facebook  Instagram Behance

Lyon, France






14. Sporting Grotesque by Velvetyne Type Foundry

Designer: Lucas Le Bihan

This typeface family inspired by Norse mythology and Scandiavian Architecture draws a bridge between a geometric sans and a human process in the whole shape design.As such each glyph has been designed based on a similar structure. Circles ovals rectangles and squares compose the basic ground on which the font is built.


Velvetyne Type Foundry on

Facebook  Instagram Twitter







15. Labil Grotesk by Kometa Typefaces

Designer: Christian Jánský

The juxtaposition of the balance inherent in sans-serif letterforms and the notion of text being affected by the laws of gravity is a central theme for KOMETA’s first release. Labil Grotesk, an enfant terrible of the contemporary neo-grotesque genre with its subtly, yet comically exaggerated proportions.

Kometa Typefaces on

Facebook  Instagram

Czech Republic






16. Sprat by Collletttivo

Designer: Ethan Nakache 

Sprat is a sharp serif variable font, developed on two axes: width and weight. Inspired by an old lettering from Eric Gill, it features long sharps serifs, high contrast and round curves. Its appearance changes a lot between styles, the thin ones have more of a hard and aggressive look, the blacks are smoother but keep their attitude. Its use is mainly suitable for titling, posters and logos but depending on the weight Sprat could also work in a mid-sized body text.

Collletttivo on


Milan, Italy






17. Typefesse by Velvetyne Type Foundry

Designer: Océane Juvin

Typefesse is a playful butt-shaped typeface in which the letters are rendered in such a way that the reading is done through the folds of the body

The design of Typefesse is motivated by the surprising combination of two vocabularies that of the body and that of the alphabet. The drawn alphabet reveals contortionist and playful creatures that either hide inside of it or that expose themselves to it. Is it the letter that defines the bodies’ shapes or is it the other way around?

These creatures play with the viewer’s gaze and fight against the lettershapes by disturbing their readability with their exuberance. The alphabet is laid bare and readers become spectator-voyeurs in spite of themselves. Typefesse is a typeface that generates a confusion between reading seeing and spying. It’s a titling font although it has a surprising readability at small body sizes. Its three styles have been named in reference to the moon and its mysteries.

Velvetyne Type Foundry on

Facebook  Instagram Twitter







18. Güggeli by Fabio Biesel

Designer: Fabio Biesel

Güggeli is a slightly slanted sans-serif typeface. The goal was to create a contemporary typeface with some unique and slanted letterforms based on the principle of unawares. Güggeli is available in four styles: Regular bold regular-round and bold-round. Each style has 500 glyphs with latin language support accents and a row of alternates.

Fabio Biesel on

Instagram Behance

Ravensburg, Germany






19. Tactic Regular by Antoine Elsensohn

Designer: Antoine Elsensohn

Tactic was designed between 2016 and 2017 as a single cut by Antoine Elsensohn. The general shapes are inspired by classical geometric fonts. The idea was also to find some grotesque feelings, with a generous x-height. The drawing is quite basic but has details that appear in large and are forgotten in small. Thanks to this, the Tactic can be easily used for visual identities, from a gigantic poster to the text of a program/book.

Antoine Elsensohn on

Instagram Behance

Paris, France






20. Archivo by Omnibus-Type Foundry

Designers: Héctor Gatti & The Omnibus-Type team

Archivo was designed to be used simultaneously in print and digital platforms. The technical and aesthetic characteristics of the font are both crafted for high performance typography. It was designed by Héctor Gatti to be used simultaneously in print and online platforms and supports over 200 world languages. Archivo is a grotesque sans serif typeface family from Omnibus-Type. It was originally designed for highlights and headlines. This family is reminiscent of late nineteenth century American typefaces. It includes single Black weight and Narrow styles and was derived from Chivo.

Omnibus-Type Foundry on

Facebook  Instagram Behance  Twitter

Buenos Aires, Argentina






Curated by Filippos Fragkogiannis

Founder and curator of Certain Magazine