A successful agate predicts the spread of ink on paper and effectively keeps legibility under less than ideal conditions. Fascinated by the visual aspects of these entirely functional compensations, Christian Schwartz designed Amplitude, an extensive sanserif series for text and display that turns function into style: deep angled cuts keep small sizes readable, while adding character at display sizes.

Were it not for Stanley Morison, the Gill Sans® would never have seen printer’s ink. During the early twentieth century, Morison’s commanding personality, lofty scholarship, and control over which fonts were developed at Monotype made him one of the most powerful forces in modern typeface development. After reviving several classical type styles to serve as the foundation of the new Monotype typeface library, Morison wanted to develop a truly modern face, one that could compete with the deluge of sans serif designs being released by German foundries as a result of the overwhelming success of the Futura design.

A historical revivals and completions of 30 styles from the late seventeenth and early eighteenth centuries. Reminiscent of a time in history when customary rigid black letter forms were being softened and creatively transformed into an explosion of styles that have now become associated with different eras of history.

I've always liked diagrams and mechanical-looking drawings because they're so pure and their intention is to be clear and to communicate in a literal, practical way. I like to mimic that style but use it to make nonsense - images that are cryptic and ambiguous.

Engel has a large X-height to make it work better in small sizes. The italic face is a true italic. It means that a number of characters are different from the roman version (a, e, f, k, l, v, w, x, y and K, R, V, W, Y). The characters of the Italic faces are more condensed than the roman faces and slightly lighter in weight.