An exploration into the work of William Morris' Golden Type (1899) and its close relatives, The Doves Type (1910) by Emery Walker and T. J Cobden-Sanderson. This exploration goes further back and examines the roots of these two typefaces, Nicholas Jenson's Venetian Type (1475).

This typeface was developed alongside reading William Morris’ writings and left wing ideologies. Albis tries to encapsulate these ideas.

Available in Thin, Thin Italic, Light, Light Italic, Regular, Regular Italic, Heavy, Heavy Italic, Bold & Bold Italic.
Basans is a custom typeface built on contrasting ideas of seriousness and playfulness.  The typeface references the fun-loving, playful nature of Basa Estudio, whilst remaining serious in moments, when it needs to be. Furthermore, the typeface comes with multiple alternates, to exaggerate the playfulness of Basa, which reference Futura’s original drawings (1904).


Developed with Studio Lowrie, for Basa Estudio.
Climpson Broadway
Interpreting the Art Deco movement for Climpson & Sons. The finished typeface is a single-case, font file used throughout the identity of Climpson & Sons.


Developed with Studio Dapple, for Climpson & Sons.
Interpreting old European Grotesk’s, designing a typeface to be utilitarian. Akzidenz-Grotesk is often translated into English as "jobbing sans-serif", "jobbing" in the sense of "used for jobs".

This comes from the notion that a sans-serif is essential to a type designers livelihood and income, every type foundry needs a sans-serif that sells and allows the type designer to work on more experimental typefaces.

Available in Thin, Light, Regular,  Medium, Semibold, Bold.
Also available in a Mono cut.
Built from British vernacular and signage, referencing the works of Edward Johnston and his drawings for the original Transport. The typeface exaggerates the softness found within the painted stroke.


Developed with Studio Lowrie, for Paint The Town Green.
Sharpner builds from Trajans Inscription, one of the earliest examples of letterforms as we know them today. The sharpness comes from the chisel used to carve the individual letterforms found on the statue. The problem with the inscription is the lack of lowercase forms, so, the next challenge was to find lowercase forms that work. For this I paired the inscription with transitional typefaces such as Times 327 and Monotype Plantin.


PDF & licensing options available, send me an email: