“I’ve recently purchased Expo Serif, just the Regular and the Italic.
I can’t tell you how pleased I am with this type. It is very simply among the most readable (not to mention versatile) workhorse serifs I’ve encountered. It’s a massage for the eyes. Generous in proportions, Expo Serif exhibits an understated warmth and elegance that makes for ridiculously easy reading. It’s a pleasure to use.
I’ll be purchasing the rest of the set. The value is obvious.”
– Christian R. Szabo, University of Toronto, Ontario, Canada
“…Mark Jamra […] specializes in designing contemporary, utilitarian classics. From signage to footnotes, from bookplates to billboards, these typefaces are simple, elegant, and functional.”
– Sam McMillan, Communication Arts magazine, May/June 2007
“I’ve used TypeCulture fonts in several books, a quarterly magazine, and numerous shortrun and signage applications. I’m amazed at how well they work in a variety of situations. I used the Expo Sans family in all three editions of a large technical book, and it met every need, from fractions, to charts, to complicated captions.”
– Tim McCreight, Art Director, Brynmorgen Press
“I was looking for a complementary typeface to a logotype I was developing. After choosing Expo Sans as my secondary face, I was very happy with how it supported the overall identity system. It worked well both as 8 point type in printed bus schedules, as well as in 1 foot-high letters on road signage. It was clear, direct and distinct, while not being over stylized and disruptive to the information it was conveying.
What I was not prepared for is how much I grew to respect and enjoy working with Expo Sans. Contained within its clarity is a unique personality which keeps it from becoming generic like so many other sans serif faces. I have come to think of Expo Sans in much the same way as I have always thought of Gill Sans. It has the same ability to project a quirk of personality without becoming obtrusive and cloying. I have started using Expo Sans as my studio face on my own materials and continue to discover subtle pleasures in its forms.”
– David Puelle, Principal, Puelle Design
“Expo Sans is elegant and reads well both large and small – very useful.”
– Jeremy Moser, architect
“Congratulations on the TDC award [for Expo Sans]. It is very hard these days to design a Sans that is not just another of the same, but you’ve done some clever work.”
– Victor Gaultney, designer of the Gentium typeface family (Thanks, Victor!)
“My publishing company used Tacitus for our debut publication. Tacitus elevated it from an ordinary art book to an elegant and sophisticated art object.”
– Abby Johnston, publisher, Upala Press
More reasons to buy TypeCulture® fonts
Why buy TypeCulture fonts? Because they’re different. It seems that the people who use TypeCulture fonts do not have much of a “herd mentality.” They’re not inclined to run with the pack and chase the latest style. They’re comfortable with their own visual voices and insist on fonts that look great and work well. And they know:
TypeCulture fonts are a good investment. The glyph shapes, spacing and kerning in TypeCulture fonts are meticulously attended to and provide you with a tool that you can use and not have to worry about. You won’t experience the loss of valuable time and additional labor typically caused by poorly produced fonts.
TypeCulture fonts are extremely well crafted. They look as good four feet tall on a building as they do in 6 point footnotes. And the production quality doesn’t stop at the letter z: every glyph stands up to scrutiny – right down to the fractions, special characters and alternate currency symbols.
TypeCulture fonts add uniqueness to your work. These are not the overused revivals from the huge font libraries or the trendy fonts from the fad-font boutiques that simply everyone is using.
TypeCulture fonts are all OpenType, the format that works on both the Windows and Macintosh platforms. TypeCulture text faces contain large character sets and extensive code for OpenType typographic features which make them powerful tools in programs like Quark XPress or Adobe’s applications (InDesign, Illustrator & Photoshop). You’ll find them easier to use and better at fulfilling complex typographic tasks than the limited character sets of the old font formats.
The support doesn’t end when you’ve made your purchase. I’ll do my best to answer any questions you may have about using the fonts. Should a typeface receive an upgrade (e.g. additional glyphs), you’ll be eligible to receive the new files for small upgrades or be alerted to special purchase options for large upgrades.