When you’ve been making and collecting type for over 100 years like we have, you accumulate a lot of typefaces. We combed through our libraries to highlight beautiful, useful, but lesser-known typefaces to give you practical yet adventurous alternatives to commonly used options.
Quench doesn't fit neatly into any one category. It’s surely decorative and perfect for logos, splashy magazine headlines, advertising, and branding. Quench combines multiple elements to create a unique typeface with energy and personality. The strong contrast between inside and outside forms gives it structure and weight. But those right angles and heavy lines are contrasted by smooth, round curves drawn with a hint of brushwork. Quench dares you to think of it as more than a display typeface. While it would overwhelm large blocks of text, Quench balances its quirks, like the flat-bottomed lowercase ‘v’ and deconstructed uppercase ‘Q,’ with good legibility, making it useful in short applications.
Heavily influenced by the Baskerville typeface by John Baskerville, Bulmer is a lively, elegant transitional serif that can be traced back to types cut in the late 1700s. Letterforms such a the ‘R,’ with its swishy curved tail, and the distinctive, offset lowercase ‘g’ give Bulmer a more decorative look than similar typefaces. Bulmer is an excellent choice for body text, though some may find it a little too condensed for long blocks of copy. Still, it brings a bit of flair along with its regal, traditional structure, thanks to those handful of subtle flourishes.
Klint is a design that stands out, and fits in. It’s not cool and aloof like many sans serif designs. It’s individualistic—maybe even a little quirky around the edges—and yet it’s every bit as versatile as other sans serifs. That ability to successfully manage the line between distinctiveness and versatility is just one of many things to like about it. While Klint is a modern square sans and its characters are based on common and familiar forms, it lacks the rigidity we often see in this typeface category. What initially appear to be squared-off shapes are actually comprised of gently curved entry and exit strokes. This softens the angles of many of its characters, and the lowercase ‘s’ is a perfect example of this careful design intonation.
Big and smooth, flowing and silky, Greyton Script is a dress-casual typeface. The taller lowercase r and s forms bounce off the x-height, giving it a feeling of untucked freedom. It would steal the show at a wedding or elegant affair. It is quite bold for a script, with a generous x-height, but it features a delicate inline. A simple white stripe confidently increases the luxury
and volume. Greyton Script has DNA from all 3 disciplines: calligraphy, lettering and type design. You can’t really make all of these shapes with just pointed-pen calligraphy though. The basic forms, yes, but the inline is drawn in. Thus, it becomes lettering—drawn not written. The alternates found in s, r, y and others mimics lettering as well, adding variety and panache.
Neuzeit is a classic mid-century sans serif, and literally translates as “new time.” Modern, clean, and dynamic, Neuzeit holds its own alongside its more ubiquitous contemporaries like Helvetica. Neuzeit Office is a retooled version of the original design. The updated Neuzeit retained a lot of the original character while utilizing letterforms that are more open and legible. This results in a more optimal reading experience on modern displays, allowing Neuzeit to be used for body text as it was always intended.