Futura

Yeah.

We will start with the whole promotion machine, I think in September, October, when we getting rid of our second phase of the Futura 100 project.

I was going to ask you a little bit about that in a sec, but first of all, you know, how did you start it? I mean, type together is all you and Jose, Jose Scalioni, and you met at Reading, University of Reading there, but why did you decide to start a type foundry and why the two of you?

You have to remember that back in 2004, 5, 6, the whole type world and the type industry was rather different from today.

I hope it continues that way.

Thank you so much for your time.

It's been fascinating to talk to you here about Futura 100 and how things work at TypeTogether.

Yeah.

That copy of the New York Times is set in the old-school charm of Cheltenham and Georgia.

And the billboards on your way to work might feature Futura or Arial Black.

Behind each and every one of these fonts, there are hundreds of little design choices made by someone like Lucas Sharp.

You look at some typefaces and it's like, dang, she's a brick house.