HEX – Fonts

HEX is a typographic company founded by Nick Sherman that makes fonts and websites. This page shows a selection of fonts going back as far as 2005. Most of them are still works in progress, with limited character sets, kerning, etc. Please email for info about font licensing, custom fonts, websites, typographic consulting, or general design services.



Brylski was designed for the Hamilton Wood Type & Printing Museum, to be cut as wood type. Named for wood type worker Norb Brylski, the design is based on poster styles from the 19th century, particularly one offered as phototype by Dan X Solo under the name Midway Ornate. Brylski diverges notably from the original models, with adjustments to the proportions and serif style, plus other design optimizations for the wood type production process.

Read more about the project at Print magazine.

Available for licensing from Adobe Fonts or P22.


No dumping
We’re good
You go hell
Good teeth
We do well
Shoes are better
Worth the money
Public telephone
Garment storage
Wheel alignment
Keep hands in car
Hallucination rejected
Quality is our №1 dream
Packing & installations
Welcome back to Earth
Barrier free entrance
Off hours waiting area

Inspired by casual lettering seen in everyday settings: laundromats, work trucks, comics, parking signs, diners, etc. Some of the more distinctive quirks were adopted from a particular dry cleaning sign in Silver Lake, Los Angeles.

Flight Center Gothic

Flight Center Gothic Bold

Gates 8–15

Flight Center Gothic Bold Italic

Head house

Flight Center Gothic was designed for Michael Bierut’s team at Pentagram as part of MCR/MORSE Development’s restoration of the TWA Flight Center, Eero Saarinen’s 1962 icon of modernist architecture at JFK airport in New York City. The typeface is a reinterpretation of the building’s original signage lettering, with origins in Johannes John’s ‘Fette Kursiv-Grotesk’, originally released as a standalone italic in 1892 by the J. John Söhne type foundry. David Jonathan Ross assisted with the final font production.

Read more about the project:


Trail mix
Canoe stream
Birding picnic
River lake lantern
Outdoors roadtrip
Reserve tent park service
Binoculars hiking ranger

Forester is a typeface inspired by rounded lettering on signage at many parks in North America. The style comes from being cut into wood by a router, leaving very few sharp corners. It also has similarities to informal lettering made with rounded pen nibs, including styles found in many comics. Bonus features include a variety of arrows, stars, and other dingbat glyphs, plus a modular set of glyphs for creating sign-plank background shapes.

Available for early licensing at Future Fonts.

French Tuscan

Spirit reaper

A digital interpretation of a wood type face of unknown origin in the collection of Lanes Press.

Horn Please

Motor Fast Good Luck
Keep Distance
Great India

Inspired by a quirky, chamfered lettering style often used for “Horn OK Please” truck signs in India. The widths are drawn for variable interpolation.


Kobodaishi Display

Plate Etching
Rotogravure Gloss


Believing is Doing.
The Night Life Is For You.

Kobodaishi Text

Unleash your life force.
Plan your work and work your plan.
The best things in life aren’t things.
In the end all things will be known.

Kobodaishi is a digital interpretation of Electra, originally designed by W.A. Dwiggins. Unlike the other spindly digitizations of Electra on the market, this version includes a Text variant with sturdier proportions for use at smaller sizes. Though the original Electra series had no Display variant for larger sizes, I’ve begun making one (still in a relatively rough state).


Rabid Exposure
Critical Reality
Caustic 1984 Visual
Fast Youth Uprising

Kultur channels the bold typographic designs from various subcultures that I grew up in or around: hardcore punk records, skateboard graphics, horror and action movie posters, counterculture magazines, independent comic books, etc. It follows the ultra-narrow flat-sided headline typeface genre sometimes referred to as ‘Inserat’, and includes alternate glyph options to evoke various regional/historical models.


Curvature Condensed

I like sweaters
Imported and domestic


Love is war
Now open Sunday

Curvature Wide

Join now
Time to shave

Curvature Extra Wide

Join or die

Curvature is part of a system for setting text on circles and curves, but can also be used on its own in standard settings. It isn’t based on any specific historical model, but channels a general workaday feeling from 20th-century commercial and industrial lettering that is bluntly plainspoken but not sterile.


Red force
Magic arts
Sabbat Flight
Wolfsbane altar
Witchcraft night ring

A digital revival of Laureate, a typeface originally released by the Keystone Type Foundry at the turn of the 20th century. This version is based on an adaptation by the Ludlow Typograph Company.


1897 Work
1901 Rationalist
Designer Atelier
Exhibition Material
Study Cosmic Triangle
Color Journal Editor
House Drafting Ideologist

Lauweriks was inspired by the Quadratuuralfabet, designed by Dutch architect and designer J.L.M. Lauweriks in 1900. The new typeface adds a lowercase and refines or replaces the forms from the original caps-only design.


Lupino Serif

Shakespeare, I come!
I’ve never felt better.
God bless, God damn!
No. I don’t believe so.
¿Quién es? ¿Quién es?
It must have been the coffee.
Good enough. They’ll be fine.
This is the fish of my dreams.
Lord Jesus, receive my spirit.
Instaurare omnia in Christo.
Oh, my country! How I leave my country!
I shall be with Christ, and that is enough.
Why? I’m right at the height of the rifles.
Death to fascism, freedom to the people!
Nothing soothes pain like human touch.

Lupino Sans

Throw a quilt over her.
Will I be in much pain?
Now why did I do that?
I shall hear in Heaven.
One last drink, please.
This is a mortal wound, doctor.
I have tried so hard to do right.
It has all been very interesting.
Beati qui in domino moriuntur
It is time for a new direction …
Carry me to the fort, boys. Let’s go forward.
Father, into thy hands I commend my spirit.
You sons of bitches, give my love to Mother!
Never mind; it is good to die for our country.
Live mindful of our marriage, and farewell.

A serif + sans series for small-to-medium sizes, with multiplexed weights (i.e. all weights occupy the same amount of width). Lupino Serif combines features of classic Dutch oldstyle and newspaper typefaces. Lupino Sans incorporates similar proportions with other influences from American gothic typefaces.


Negative Color
Propaganda Scale
Hieroglyphics Film Still

MAAM Sans is a typeface commissioned by Moth Design for the MassArt Art Museum in Boston. It channels proportions from inscriptional lettering, often associated with classical art museums, but adds a contemporary literal twist, playing off MAAM’s dimensional logo. David Jonathan Ross assisted with the final font production.

Read more about the project at Creative Review and Creative Boom.


Manifold Sans

Photomechanical Woodcut
Cylinder Gravure Vellum
Xerox cover glue yellow
Proportion Wheel Vector

Manifold Serif

Saddle-stich Tolerances
Micrometer stat tinting
Agate Format Web Offset
Color-depth Ink Tabloid

Manifold Sans Rough

Colophon embossed xacto
Rubber cement substrate

Manifold Serif Rough

Neon prepared signature
Roller highlight swatch

This typeface is a digital homage to several monospaced typefaces originally offered for use with IBM’s Selectric typewriters. Unlike the original design it gets its name from, Manifold has been expanded with a lowercase, extra weights, italics, plus Serif and Rough counterparts.


Fallen Angel
Winged Victory!

Margo is a typeface inspired by classic hand-lettered movie titles and book jackets from the 1940s and ’50s. Many of its distinctive features follow lettering from films art directed by Lyle R. Wheeler, including All About Eve, The Gunfighter, The Secret of Convict Lake, and dozens more. 20th-century paperback books and packaging also informed the design, but the overall style is reined in, comparatively, to function better as a typeface (as opposed to hand-lettering).

Available for early licensing at Future Fonts.


Roller Brochure
Inkjet Paste-Up
Endpaper Resolution
Stencilled lamination
Screen print adhesive
Young America wants to help.
Mechanic at work 8:00–5:00.
Clean up, paint up, keep it up.
Obtain this book! If it’s rubber, we have it.
You are in room №3. They shall not suffer.
Commit no nuisance. Cafeteria is upstairs.
Dine in and take out. We are the busy bees.

Marionette was inspired by sketches from W.A. Dwiggins that illustrate his M-formula (M for marionette), “a method to trick the eye (in viewing objects much reduced) into seeing curves that aren’t there”. Specifically, this digital typeface expands on a handful of preliminary glyph sketches from 1937 for Experimental 223, a newspaper typeface project that evolved over several years before finally being released as Hingham in 1949. Marionette bears little resemblance to the final design of Hingham though, instead embracing the exaggerated angularity of the earlier abandoned sketches.

NYC Sans

NYC Sans Medium

Subway Cars
Directory 8364
Street Level Entrance ↘
Commuter Doors Connect
Local 30¢ Transfer City Platform

NYC Sans Bold

All Trains Stop
Commuter Service
Local Station Turnstile
Special Underpass Entry
Rush Hours Transport Delayed

NYC Sans is a typeface originally commissioned by New York City’s official tourism agency, NYC & Company, as their brand typeface. The design began with my digitization of the type system from the 1970 NYCTA Graphics Standards Manual. But that font – which was used for the reprint edition of the manual – required many modifications for broader contemporary usage. In collaboration with Jeremy Mickel and with design direction from Emily Lessard, additional weights and refinements were developed to arrive at the new typeface.


Research integrity
Enable radio skills
Clean air & water technology
Planning means of production

Inspired by the energetic handwriting of industrial designer and social critic, Victor Papanek, this typeface began as a commission for use in a book on Papanek by Al Gowan. While many characteristics of the design come directly from samples of Papanek’s writing, I also instilled much of my own personal influences, resulting in a style that mixes aspects of hardcore punk and skateboarding culture with 1970s DIY hippie modernism.


Phive Display

Woman weds ape
Disturbing dreams
Monster takes two

Phive Standard

‘Flying saucer’ found
Weird killer still at large
Ministry angers centaurs

Phive Text

Any surplus is immoral.
Good beginning is half done.
Be prepared for extra energy.
You will be successful in live.
Jealousy is a useless emotion.

Phive Micro

Do not upset the penguin today.
A cheerful message is on its way to you.
Save the whales. Collect the whole set.
The object of your desire comes closer.
You will have gold pieces by the bushel.

A digital interpretation of Stephenson Blake’s Condensed Sans Serifs No. 5, including a range of optical size variations.

Plastic Script

xerox overlay
vellum cutoff
dot gain tolerance
makeready additive

Inspired by a quirky monospaced script available as a font wheel for the classic Dymo embossing label makers. This interpretation varies notably from the original to allow for smoother stroke connections between letters. It’s still essentially a proof of concept, with a limited/unrefined set of glyphs.


bleach hornet
comatose blah salute
ensure unethical naturalism

The idea for Skelter came from a piece of blackletter calligraphy by Jaki Svaren. The typeface is still a very rough sketch with limited character support.


Strike Serif

Orders to go

Strike Sans

Eat here
Trucks O.K.
Forest oddity

Strike has the underlying proportions of rugged industrial letters from the turn of the 19th century, with the weight reduced to a fine hairline. It is inspired by historical designs – most notably George Bruce & Co’s Engravers’ Hairline, and the ‘Skelett­schriften’ alphabet – but also incorporates more contemporary design features, including a set of modernist glyph alternates.