Unlimited Editions, a generative type foundry

Contact Grid UE-001 · 2025

Letters built from animated grids of shapes that assemble, dissolve and rebuild.

Base
Font Cranny Frame Base
Presets · Frontify Futures
Drivers TIME · CURS · AUDI · WIND
Glyphs
Documentation
Specimens, tool, plugin →
IsolineUE-002 · 2026

Contour-line type, made for Frontify’s Paradigms 2026: a word as a mountain on a topographic map of drifting noise, steered by time, live ocean data or the cursor. Drag the playhead or a keyframe.

  • Time
  • Data
  • Interaction
Documentation →
NameStatusTypeSizeTime
TTFB Mono200font80 glyphsUE-003
delay/0.8?ch=T&r=3&c=4200fetch52 B812 ms
A 5×7 face drawn with real HTTP requests. Your connection sets the type.Documentation →
NameStatusSizeTTFBTime
ping ×12—2 kB——
sample-256k.bin—256 kB——
sample-1m.bin—1.0 MB——
Your connection: not measured yet
Isolation
Loss of ControlUE-004 · 2026

Two typefaces drawn in 2010 for Dazed & Confused, changed for good by every visit. Isolation loses nodes; Transmission moves them towards London.

Visit ↗ Documentation →

This font doesn’t exist.

Unlimited Editions is a generative type foundry. We make systems that make letters.

A digital letter can be a set of instructions. In the late 1970s, Donald Knuth’s METAFONT described how letters could be generated and varied, allowing a single description to produce a family of related forms. In 1990, LettError’s Beowolf brought chance into printing, disturbing its outlines as they were rendered. Their later Twin project let the weather influence its letterforms. A letter could take its shape from the conditions in which it appeared.

We work in that tradition. We write the scripts; each appearance is a performance. Grids, glyphs and contours take their cues from time, data, a connection or the movement of a cursor. The same script can play out differently each time.

Some performances are orderly and precise. Others are deliberately awkward or chaotic, because that is where the unexpected forms turn up. We shape the conditions, set things in motion and leave room for something we would never have thought to draw.

Each of our typefaces has its own character, its own habits and its own range of possibilities. We design how it behaves, but its identity extends into forms we have yet to see.

Every word is set at a moment, by the conditions around it. Wherever a word appears, it is a new edition, and the run is unlimited.

Press

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