Anna Pizzey

FS Split is a contrasting typeface.

An in-vogue but unpolished, distinctive and

eclectic design. The fresh, modern sans and

serif type families can bring so much variety

to everything from magazines and packaging,

to websites and branding. The conflicting

yet harmonising nature of sans and serif give

designers the tools they need to be both bold

and subtle, eclectic and ordinary, contemporary

and classic.

FS Matthew is a multi-talented typeface.

A clear, stylish and structured sans serif with swooping curves of openness which create a lively, flavourful character. Unexpected drama in details such as the reaching curve of the g and y, the shape of the u, and the off-kilter k, v and w all

build-up the fonts character. Generous counters and a slightly condensed aspect come together to make it very legible and space-saving in text or title sizes. A structured system for solid corporate identities, signage systems, logotypes, screens, websites and billboard ads. An all round multi-talented font with a feel-good factor – radiant, efficient and sound.

FS Olivia is a poetic typeface. A surprising and cheery face that captures the twist and turns of pen and ink on paper. Finely balancing typographic conventions with unexpected irregularities, Olivia's design delivers texture rich text with plenty of personality.

FS Shepton is a natural typeface.

100% hand-drawn and purposely imperfect, with the kind of inconsistent, organic shapes and textures of signs used in a delicatessen or greengrocers. A series of display fonts for packagaing, advertising and point-of-sale.

FS Shepton offers up three alphabets that are similar in character but each with their own texture and style.

FS Dillon is a rational typeface. Its inspiration came from our exploration of the work and philosophy of the Bauhaus movement of the 1920s and 30s, their pursuit of simple, practical forms. To this we’ve added a thoroughly modern flavour, stark yet warm, imbued with the quirky individuality that has become a Fontsmith signature. The letterforms are simple and direct. Compact, with a large x height, they are built for maximum clarity, economy of space, and impact. But that’s not all. The Bauhaus sought beauty through function – we think we’ve achieved that too.