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New Foundry: The TypeTrust


Founded by Silas Dilworth and Neil Summerour less than five years ago, TheTypeTrust is fast becoming one of the most sought-after contemporary font collections. We’re proud to offer their originals at FontShop. Over 20 of our favorite TypeTrust faces are featured below, but our newsletter can only contain so much goodness. We highly recommend exploring each family in detail.



Silas Dilworth’s Breuer Text is part geometric, part grotesque — a clean, contemporary sans with relaxed curves and slightly condensed proportions suitable for moderate lengths of body copy. The italics are optically adjusted obliques with a selection of augmented lowercase glyphs for a warmer read. The typeface offers the distinct aura of technical precision in a personable tone, ideal for instructional copy or safety warnings. Its basic structure and conservative letterforms maintain a level voice without turning robotic or sterile.

Pair with the two-font Breuer Headline family for a simple and complete editorial type system. The heavy, compact Headline face differs from the Text in the inside curvature of the lowercase arms and a simplified oblique as opposed to the Text Italics.

Every style of Breuer has small caps and figures for text, tables, and headlines. They also all include a set of figures at small caps height, a very useful feature that is all too uncommon.



What began as a typographic exercise to produce the TypeTrust logotype turned out to be the product of Neil Summerour’s obsession. Epic is the culmination of two years of work that has yielded a versatile and respectful contemporary garalde in the spirit of Garamond. With a full complement of six weights and italics, the family is a true workhorse. Numerous standard and discretionary ligatures, stylistic alternates, and swashes expand its use as an effective headline face.



For Akagi, designer Neil Summerour sought to develop a sans that was a complete departure from his successful Aaux family. Whereas Aaux and its siblings are rather unforgiving and stark in their presentation, he wanted this new sans serif to “smile” at you from the page. To be truly satisfied with it personally, a great deal of time was spent to create forms that demonstrate crisp, clean legibility, yet maintain some personality.

Each member of the large 20-font family includes small caps, ligatures, alternate characters, Central European diacritics, and a complete set of figures.

Black Monday

Recovery and Black MondayOpenType

Recovery is a reinterpretation of Charles Coiner’s lettering for the National Recovery Administration of 1933 and Morris Fuller Benton’s Eagle Bold.

If Recovery represents hope, its cousin, Black Monday, goes down a darker road. The core of the Black Monday type family is a single OpenType font containing three full character sets of varying degrees of distressing treatment. Every glyph in each of the subsets is unique to provide an organically weathered look and feel. Individual fonts for each of the three distinct glyph sets are included for use in applications that do not yet support the Stylistic Sets OpenType feature. These styles are identified as Subset 1, Subset 2, and Subset 3, while the full version is simply “Black Monday Regular”.

Reservation Wide

Reservation WideOpenType

This family joins the popular genre of extended grotesques but beats them all in versatility with its upper- and lowercase in three weights and italics. Alternate forms for ‘a’, ‘g’, ‘t’ make Reservation Wide even more flexible.

The hand-drawn curves and angled stroke endings temper the otherwise rigid proportions of the family. This painterly tendency becomes more apparent in the heavier weights keeping them from looking too imposing. The design first took shape as a custom font named Majestos for the cable channel The Food Network. It can be found in their growing online and printed presence in addition to their broadcast identity for which it was developed.



A no-nonsense block serif display typeface with hard geometry and minimal negative space, Facebuster is ideal for making a strong yet playful statement. It comes equipped with OpenType Small Caps.

Do Gothic

Do GothicOpenType

Anuthin Wongsunkakon has always been fascinated in OCR (machine-readable) typefaces and their distinctive texture when set as text. Do Gothic is his latest OCR-inspired face, but moves furthest from its roots, performing as a modern, usable sans serif.



There are no straight lines in Everafter. The vectors were all drawn and tweaked by hand (and mouse) for a softened, wobbly appearance. The result is a naive serif type that doesn’t take itself too seriously. The large x-height and occasional brushy flair read like an illustrated children’s fairytale compendium — rich in verbal tradition and playfully illuminated.

OpenType features include Old Style Figures, Fractions, Ornaments and Contextual Alternates.

Cooter Deuce

Cooter DeuceOpenType

A delightfully fresh take on the extra black type trend, Cooter Deuce feels hand made, drawn by sharpie pen or cut from paper. It consists of two feature-rich fonts: Cooter Deuce Regular and Cooter Deuce Plugged. Taking advantage of the OpenType format, Cooter Deuce was fleshed out with a bevy of alternate glyphs, dingbats, and nifty decorative ligatures.





   Baka Too

Baka Too



   Angel Script

Angel ScriptOpenType







   Heroic Condensed

Heroic CondensedOpenType








Fonts used in title graphic: Breuer Headline, Facebuster.


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