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Pastiche Grotesque, designed by @btuttle, in use for the exhibition “Craft-itarianism: Community Action Through Craft” @centerforcraft. Gallery guide and exhibition identity designed by @historyofsalad.

On view 27 February – 27 September 2026 in the Bresler Family Gallery at Center for Craft. Curated by @velazquezalyssa and featuring @ambosproject, @blackcraftspeopleda, @center4creativeworks, @firebirdcommunityarts, @peoplespotteryproject, & @makwa_studio.

Try Pastiche Grotesque for free or buy the license via link in bio. by @ordertypefoundry

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Sita Sans and Sita Serif, designed by @edouard.berard, are featured in ODDA magazine, designed by @tiquismiquis.club.

From the design team: “Issue 29, titled “The Way We Are”, highlights culture as a living identity: how we live, the values we uphold, and how the past influences our present. Through figures from film, music, art, and fashion, the magazine reflects on empathy, creativity, and generational change, understanding fashion as a direct mirror of our society.

For this, we used typefaces with strong personality for the section openers, such as Aether Mono and Tombstone Blues. We also combined Sita Sans and Sita Serif for body text and for the headers of certain sections. These combinations give the magazine a clear identity and make it instantly recognizable.”

The Sita Family is available via link in bio ↗ by @ordertypefoundry

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Stringer is a bracketed slab-serif revived from Ionics of the early 20th century and adapted for modern day typesetting.

Its namesake is a testament to the frequent use of Ionic styles in newspaper publications, with “stringer” being a slang term used to refer to a freelance journalist. Designed by @emklaebe

Stringer is available via link in bio ↗ by @ordertypefoundry

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Vanity is an octic unicase typeface that captures the printed effect of letterforms on New Jersey license plates from the 1930s to the 1990s. The two-width family draws inspiration from the visual remnants of how embossed and painted plates were produced.

Engineer-constructed letterforms and rounded corners form the foundation of the typeface. By embracing material ‘flaws’ in individual characters — such as paint bleeding over the edges of specific letters — the family finds rhythm in its irregularity. Designed by @emklaebe under direction of @jrfo.

Vanity is available via link in bio ↗ by @ordertypefoundry

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Plebeian is used as the cover typeface for @fsgoriginals ‘All Flesh’ by Ananda Devi, translated from the French by Jeffrey Zuckerman.
 From the publisher: “Bullied at school with near-hellish doggedness by cold-hearted classmates and fattened at home with increasingly extravagant feasts by an overindulgent father, the voracious narrator of All Flesh trudges through her teen years certain that her heft is because she has absorbed her twin sister in utero and is now eating, and living, for two.  As those around her look down on her corpulence, she struggles to see who she might be beyond such narrow-mindedness. When a near-fatal incident unexpectedly brings a man and a heady experience of the body’s other pleasures into her life, she gets a decadent taste of a future she had never dared to imagine. But she is beset once more by sharp tongues and beady eyes until, finally, she devises a drastic way to turn the tables on her tormentors and the whole unjust world. But will her coup de grâce prove self-possessed, or self-destructive?”

Designed by @chargrimm
Art direction by @na_son
Artwork by @georgerouy
Plebeian designed by @btuttle

Plebeian is available via link in bio ↗ by @ordertypefoundry

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Type designer @saschahopson builds a visual relationship between the shape of the Rococo style scalloped serifs of the 18th century and contemporary inktraps with the Spades family. Hopson found that the juxtaposition of the inktraps’ inner-counter to the scalloped serifs almost represents a mirror of the serif shape itself.

Spades is available via link in bio ↗ by @ordertypefoundry

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Vanity Condensed is used by @metmuseum for the titles of exhibition, “Man Ray: When Objects Dream”.

From The Metropolitan Museum:

Man Ray: When Objects Dream at The Metropolitan Museum of Art is the first major exhibition to examine the radical experimentation of American artist Man Ray (1890–1976) through one of his most significant bodies of work, the rayograph. Man Ray coined the term rayograph to name his version of the 19th-century technique of making photographs without a camera.

Featuring 160 rayographs, paintings, objects, prints, drawings, films, and photographs, Man Ray: When Objects Dream highlights the principal place of the rayograph—a type of cameraless photograph—within the context of many of the artist’s most important works. This exhibition includes thirty-five works by Man Ray which are part of the major promised gift of nearly 200.

Photo credits:
Slide 1, The Met Museum
Slide 2, Vickery Art
Slide 3, The Met Wanderer
Slide 4, 5, and 6 The Met Museum

Vanity is available via link in bio ↗ by @ordertypefoundry

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Inspired by the study of type design and experimental music techniques, the name “Etude” comes from the French verb “étudier” rooted in the meaning of “study.” True to the name, Etude is a study of the broad nib pen, the history of handwritten music notation, and the influence of Jean-Pierre Rousselet’s constructed stencil forms into three distinct weights. Designed by @the_em_dash.

Etude is available via link in bio ↗ by @ordertypefoundry

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