__FF Milo Serif™, 2003–2008. Developed as a companion to the FF Milo Sans, it is also perfectly suitable as a stand alone typeface or with other sans serifs. Although rooted with historical attributes it is truly a contemporary face. FF Milo Serif comes with small caps, tabular figures, oldstyle figures, lining figures, as well as a wealth of ligatures. Interpolations, Kerning and letterspacing by Paul van der Laan.

__Deuno Sans™, 2008. Saffron Consultants, New York. Bespoke typeface for El Banco Deuno (One’s Bank) in Mexico. The lettering was based both on mayan hieroglyphics for their shape and grid-like structure and the hand painted lettering found on signs all over Mexico. Designed with Paul van der Laan.

__BY:AMT Typeface, 2006. DistlerAbbink, New York. Bespoke typeface for Alissia Melka-Teichroew, founder and creative director for BY:AMT. The letter forms are constructed by a grid of small pixel based X’s. Designed with Joshua Distler.

__FF Milo™, 2001–2006. Designed as a workhorse typeface suitable for magazine and newspaper typography. With modern bones and a touch of detail for distinction (particularly in the italics). Milo’s other distinguishing characteristics are its very short ascenders and descenders. FF Milo comes in 9 weights (Thin, Extra Light, Light, Regular, Text, Medium, Bold, Extrabold and Black). The recently released Milo Serif is an excellent companion or stand alone.

__GE Inspira, 2005. Wolff Olins, New York. Bespoke corporate typeface for GE. The initial designs in regular and italic were created by myself and Patrick Giasson. I then worked closely with the Monotype design team who created additional weights, condensed versions, and greek and cyrillic. The Monotype team consisted of Jim Wasco and Carl Crossgrove.

__Frisco ReMix, Holland Fonts, 2003. Max Kisman asked a handful of designers from the Bay Area contribute to a font assignment for Tribe magazine 03: Republic of Type. The theme for this issue was “space.” My letters where upper and lowerecase “A”. The second version is the final design that is in the ReMix Font.

__FF Kievit™, 1995–2001. This project started in my digital font design class with Leah Hoffmitz. It’s sole purpose is to be an extremely legible and functional text face. The openness of the characters and their proportions makes it an ideal typeface for use in editorial and book design. The FF Kievit family includes nine weights, true italics, old style figures and small caps. The addition of Kievit 3 and Pro were created by Paul van der Laan.