Display by Jeshurun Webb

Designers have strong typographic opinions (nature or nurture?). But, when we’re our own client, what do we choose? Spoiler alert: Most of those hard-to-write About Us pages feature a workhorse sans serif typeface. Please enjoy this selection of design firms that we admire and display typefaces they’ve chosen for their very own sites.

  • Akzidenz Grotesk by Berthold


    Used by Work & Co.

    Berthold first published Akzidenz-Grotesk in 1898. Originally named “Accidenz-Grotesk” the design originates from Royal Grotesk light by royal type-cutter Ferdinand Theinhardt. The Theinhardt foundry later merged with Berthold and also supplied the regular, medium and bold weights. -Berthold

  • Whyte by DINAMO ft. Johannes Breyer, Fabian Harb, Erkin Karamemet


    Used by Instrument.

    The first version of Whyte was drawn years ago by Fabian after the find of a type sample from the early days of Grotesks. In the years that followed, Whyte made a few public appearances in small-scale cultural publications and aged so gracefully that we felt it was time to give the existing shapes another push. -DINAMO

  • Surt by Blaze Type ft. Matthieu Salvaggio


    Used by Firebelly.

    This typeface family, inspired by Norse mythology and Scandiavian Architecture, draws a bridge between a geometric sans and a human process in the whole shape design.

    As such, each glyph has been designed based on a similar structure. Circles, ovals, rectangles and squares compose the basic ground on which the font is built. Yet, you can feel there’s a “pinch” in the counterforms’ drawing, offering a less digitized design. -Blaze Type

  • Akkurat by Lineto ft. Laurenz Brunner


    Used by Gretel.

    Akkurat was first released in April 2004, coinciding with the launch of Lineto’s new, groundbreaking website. Since then, Laurenz Brunner’s first typeface has been phenomenally successful – and also influential, as it became standard practice in contemporary type design to revisit neo-modernism in its various local idioms. -Lineto

  • Vremena


    Used by Studio Lin.

    Vremena project is a tribute to two most widespread typefaces of the early millennium — Times New Roman and Arial. The family consists of four regular weights and four italics. -Font Library

  • Sentinel by Hoefler&Co


    Used by IDEO.

    Sentinel was designed to address the many shortcomings of the classical slab serif. Unbound by traditions that deny italics, by technologies that limit its design, or by ornamental details that restrict its range of weights, Sentinel is a fresh take on this useful and lovely style, offering for the first time a complete family that’s serviceable for both text and display. -Hoefler&Co

  • Arnhem by TYPE BY


    Used by Bruce Mau Design.

    Arnhem, by Fred Smeijers, was initially designed for the Nederlandse Staatscourant, the daily newspaper of the Dutch state. This typeface can be classified as a very functional design suitable for setting long text. The family consists of four weights: Blond, Normal, Bold and Black. Each weight is available in a roman and an italic design, and both have matching small caps, lining figures, non-lining figures and small cap figures. -Type By

  • Rand by Optimo ft. François Rappo


    Used by Dia.

    Rand is born from an evolving practice rather than an initial concept. Combining specific references and design features, Rappo achieved a true visual alchemy. Its organic texture and balanced rhythm will enhance any editorial work. The font was fine-tuned through offset proofs, and put to the test in art catalogues such as Giacometti for the Guggenheim Museum before its launch. -Optimo