Neutraface
Architect Richard Neutra specified lettering for his buildings that was open and unobtrusive, the same characteristics which typified his progressive architecture. House Industries brings the same linear geometry to Neutraface without sacrificing an unmistakably warm and human feel.

With limited source imagery, Christian Schwartz composed an entire alphabet and added a complementary lowercase which previously did not exist. The font family's architectural origins lent to its initial creation as a headline typeface. In the spirit of Richard Neutra's approach, a text version of Neutraface was also conceived. True to the International Style, Neutraface supports over two dozen languages including Central European writing systems.

Neutraface No. 2 is a completely reconceptualized, redrawn and re-engineered version which complements the original Neutraface by satisfying a broader range of typographic needs.

Burbank
Tal Leming plotted, planned, deliberated and developed for nearly a decade this coordinated collection of 20 fonts, hand hewn to handle tasks from big to small, wide to condensed, light to black and countless styles in between. Burbank is ready for anything from hyperbolic headlines on outdoor billboards and in major magazines to miniscule matters in tiny classified advertisements.

Burbank’s many features include the power to automatically insert alternates in an effort to eliminate shape repetition, proportional and tabular figures, and broad language support.

Chalet
This collection of ten typefaces was originally conceptualized by House Industries type designer Ken Barber under the ruse of fictional Swiss clothing designer René Albert Chalet. Chalet's distinctive air allows for a variety of uses ranging from text to display applications and adds a modern panache to any layout.

Chalet is available in 3 different sets: the original collection of display styles; Chalet Book, optimized for text with OpenType features; and the compact Chalet Comprimé. Or, for the best value, get the entire collection with a bonus gift of over 200 eps silhouette images invoking Chalet’s mod era.

Luxury
Living luxuriously is full of priceless privileges such as vintage wines, precious jewels, haute couture and eaux de toilette. In 2000, the careful analysis of designers Christian Schwartz and Dino Sanchez showed that the aesthetics of sybaritic brands held the following common ground: ample width, implying a lack of concern with economy; and intricate detailing, implying a high level of craftsmanship. Luxury Display was born. Six years later they refined the collection, adding a text face. The look of luxury is now within the reach of any graphic arts professional who desires it.

Paperback
Paperback is a resurrection of the practice of designing different typefaces for use at specific sizes. This process of mastering has largely fallen by the wayside since the demise of cut metal type. Designers have attempted a “one font size fits all” paradigm, but this strategy nearly always results in inflexible typefaces that lack the sturdiness needed for text and the sophistication desired for display. John Downer ingeniously solved this problem in the Paperback family by drawing fonts that are optimized for use in specific size ranges, allowing the family to prosper in a wide range of situations.

Ed Benguiat Collection
After seeking endless inspiration from the work of Ed Benguiat, House Industries type designer Ken Barber wanted to return the favor by recreating five of his typefaces in digital form. From svelte and sophisticated to loose and lively, the Ed Benguiat fonts are a timeless ensemble of unique display typefaces. The collection includes the incomparable Ed Interlock, an engineering triumph that uses "smart" OpenType features to create uniquely flowing headlines.

United
Like most military actions, United started out as a simple typographical incursion that became entrenched in the House Industries quagmire of creative projects. After House Industries used early versions in a clothing company logo, the family drew national attention as it was selected to appear in the Smithsonian’s Cooper-Hewitt National Design Museum 2003 Triennial show. Tal Leming toiled for the next three years to build on the original concept and develop one of the most extensive font families available anywhere.

United boasts three different styles (Sans, Serif, and Italic), each with seven weights and five widths. Or get the entire collection of 105 fonts — you’ll appreciate the ability to switch from an athletic logo to an emo-band spread without changing font families or shopping around for new typefaces.