New Foundries: Dalton Maag and Samuelstype


Our endless summer of fresh fonts rolls on. Today we announce FontShop’s newest foundry addition, Dalton Maag. Since 1991, the studio of Swiss designer Bruno Maag (recently featured in STEP magazine) has built an impressive portfolio of original corporate typefaces and transferred that experience to their retail library. All Dalton Maag fonts support approximately 50 languages, many include OpenType features, and you can’t find them at any worldwide reseller but FontShop.

We also welcome the Stockholm-based Samuelstype to the fold. Hans Samuelson’s training as a calligrapher gives his carefully drawn typefaces a unique character. Finally, we’re pleased to announce that all our exclusive Porchez Typofonderie fonts are now available in the premium format they deserve: OpenType.

Dalton Maag

Co Logo

Co Headline & Co Text OpenTypeFontShop Exclusive

The two members of the Co family come from the same tree, but each branch has its own evolutionary details and purpose. Co Headline has modern, fashionable leanings, but as it is with nature, there is nothing superfluous in the typeface. The geometric (yet organic) curves combine to create only the most basic shape required for each letter. Co Text replaces some of its relative’s stylized glyphs with more familiar and readable forms.

Kings Caslon

King’s Caslon OpenTypeFontShop Exclusive

“When in doubt, use Caslon” went the old book publisher adage. These days there are many digital interpretations of the classic face, but most are anemic at text sizes, the very setting where Caslon is supposed to shine. King’s College London approached Dalton Maag to address this problem with their house face Caslon 540. Ron Carpenter went back to William Caslon’s original drawings to create a new set of text and display faces fit for a king. The family comes in a Standard package, but we recommend the Typographic set with small caps and historic ligatures.


Tondo OpenTypeFontShop Exclusive

Tondo is a professionally produced round face. Always soft, never blobby. Consider it a gentler VAG with more sophistication and text setting possibilities. Tondo’s base family of three weights adds a friendly touch to any design. A fourth, condensed style with slightly tighter spacing is optimized for signs and headlines.


InterFace OpenTypeFontShop Exclusive

A softer Grotesque—InterFace combines a slightly taller x-height with humanist details to create a space-efficient and ultimately legible typeface. InterFace’s primary concern of legibility makes it prime for text setting; however, its meticulous details also allow it to stand up well at display sizes. InterFace pairs perfectly with Lexia, another typeface perfect for corporate branding with unexpected humanist tendencies. InterFace is available in six upright weights, with italics for each.


Lexia OpenTypeFontShop Exclusive

Most slab serifs (Lubalin Graph, Memphis, Rockwell) come from a geometric or grotesque tradition. Conversely, Lexia is a contemporary font family with open character shapes hinting at a humanist design structure. There are no superfluous design details — every curve, every line is carefully considered and contributes to an aesthetic and functional whole. Offering six weights, each with italics, Lexia is an ideal family for modern corporate communication.


Andrew Samuels

Andrew Samuels OpenType

Andrew’s lines travel unexpected paths and angles for a text typeface, but that’s to be expected from Hans Samuelson who looks up to another designer for his bravery, Gerard Unger. Like Unger, Samuelson managed to create a clear and readable sans serif in spite of its idiosyncracies. Words set in this highly original face will turn heads and be remembered. Small caps are included in the Light and Regular OpenType fonts.

Corpid iii

Rebecca Samuels OpenType

In Rebecca, minimalist wedge serifs modernize what would otherwise be a classic serif design. Its mechanical details lend this face a simplicity and lack of pretention well-suited for contemporary subject matter and screen-resolution environments.

Maya Samuels

Maya Samuels OpenType

As one of Samuelson’s latest designs, Maya represents years of experience, a bold manifestation of what he has learned about what works and what doesn’t. Maya has a nearly monolinear, humanist lowercase paired with an uppercase that is almost inscriptional, with angled terminals and chiseled cross-strokes. It’s a novel combination and it works beatifully, giving the face an unusual flexibility: use it for contemporary, readable text; or set it in all caps for a more courtly, elegant feel that says premium beer or luxury brand.

Choco Bar

Victoria Samuels OpenType

Victoria’s luscious swashes and delicate overtones were drawn for a chocolate label, but its flavor are equally well suited for any kind of fancy fare, edible or not. Don’t miss the alternate caps in the OpenType Swash slots.

Rosemary Samuels

Rosemary Samuels OpenType

The smooth, clear contours of Rosemary date back to a holiday drive in Scotland, where Samuelson was inspired by road sign type. With a set of weights ranging from a delicate Thin to a hefty Bold, Rosemary presents an appealing palette for headlines.



Parisine OpenTypeFontShop Exclusive

Parisine is Porchez’s design for RATP (Public Transport of France). Signage needs to be immediately legible and Parisine succeeds. It’s a Frutiger for the new century. Parisine Plus is the playful sister to Parisine, strolling along the page in a more casual gait. American design magazine HOW used it beautifully in their recent redesign. Now OpenType makes the lining and oldstyle figures easier to access.


Ambroise OpenTypeFontShop Exclusive

There are hundreds of Bodonis but there is nothing quite like Porchez’s take on the 19th century style originated by Firmin Didot. Ambroise, and its condensed variants Firmin and François, include Didot’s original forms of ‘g’, ‘k’, and ‘y’. Porchez has tossed in a corps of alternates, making Ambroise the most versatile

   Le Monde

Le Monde OpenType
FontShop Exclusive
Porchez’s custom suite for French newspaper Le Monde is now a more efficient family thanks to OpenType’s ability to wrap all figure styles into a single font for each style.

   P22 Peanuti

Apolline OpenTypeFontShop Exclusive
Apolline received a Morisawa award in 1993 for its asymmetrical approach and horizontal emphasis. Its calligraphic strokes reinforce the rhythm of writing by hand and impart an elegance to the page.



Fonts used in title graphic: Victoria Samuels & InterFace.


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