Just as a sampler, Here are a few selections from The Foundry’s extensive body of work.
Originally drawn by Wim Crouwel for a special line of proportionally spaced typewriters made by Olivetti, the typeface that would later become Foundry Gridnik was shelved before entering production. David Quay and Freda Sack saw its virtues and digitized the functionalist and chock-full-of-quirks typeface from the original drawings, later adding the Light, Medium, and Bold weights.
At nine styles each, Foundry Form Sans and its companion Foundry Form Serif offer a strong and flexible structure for the creation of sophisticated typographic systems. Both the sans and serif, which by the way were drawn contemporarily, follow the internal brief of maximizing the effects of its horizontal strokes, with high shoulders, low stroke-to-stem joins, and throughout with an emphatic flick to the right.
Foundry Context aims to be a versatile face that performs well in a number of applications (or contexts), including display work, and to a limited extent, text (but not too much text). The contemporary sans covers five weights, with a single companion italic to work opposite Regular.
Baskerville contemporary, astronomer, mathematician, surgeon, and typefounder Alexander Wilson produced these forms after opening a type shop in St. Andrews, Scotland in 1742. Together David Quay and Freda Sack revived the typeface 250 years later from photographic enlargements of the originals.
