Thin
Thin
Thin Italic
Thin Italic
Light
Light
Light Italic
Light Italic
Regular
Regular
Italic
Italic
Medium
Medium
Medium Italic
Medium Italic
Bold
Bold
Bold Italic
Bold Italic
Heavy
Heavy
Heavy Italic
Heavy Italic
New York vibes
New York vibes

FS Irwin was born in New York while Senior Designer, Fernando Mello, was studying an intensive 5 week typeface design course at the Cooper Union. His brief was to design a perfectly clear typeface that could communicate well, without loud or overtly mannered design features. Fernando was influenced by the subway font in New York: ‘It is very in your face and clear, always in bold. It doesn’t shout much but at the same time is very present and unique. The design is completely different but it was this spirit I wanted to capture for FS Irwin.’ And the vibe of the city: ‘In a similar way to London, New York is so mixed and so cosmopolitan. I was amazed by the different styles and identities I saw there, and tried to encapsulate this essence to create something new, relevant and very now.’

Fernando Mello
New York vibes
Incisive quality
Incisive quality

Rather than focusing on quirks or distinctive characteristics, the key to FS Irwin is the quality of its design and spirit of simplicity. The design, proportions and details are usable and authentic and it is suitable for countless situations, without running the risk of being instantaneously noticeable. Families like this can be used on nearly anything, from more playful designs to serious corporate IDs.

‘Extensively tested and precisely drawn text-oriented typefaces are what I enjoy designing the most. There is a beauty and a different approach, a different way of making them interesting, sellable and usable rather than adding flicks or unexpected details.’

Incisive quality
Inscriptions and calligraphy
Inscriptions and calligraphy

FS Irwin’s origin lies in Fernando’s studies in inscriptional lettering and writing-calligraphic exercises at the Cooper Union. Mello started the process by digitising his explorations and adapting them into a more workable sans serif structure. The traditional forms of writing which gave the basis to Latin type as we know it today were the perfect place to start. This influence can be seen in the proportion of the capitals and in slight writing-calligraphic details in the lowercase, such as the slightly angled, chiselled spurs and their open terminals.

Inscriptions and calligraphy
Lowercase
Uppercase
Figures & Currency (Tabular Lining)
Figures & Currency (Proportional Lining)
Figures & Currency (Tabular Oldstyle)
Figures & Currency (Proportional Oldstyle)
Mathematical Forms
Superiors & Fractions
Punctuation & Marks
Ligatures
Discretionary Ligatures
Accents