The wait is over, and Mallory is here! Blending American and British traditions, Tobias Frere-Jones’ newest design is a sophisticated and affable sans serif. Mallory is available online for desktop, web and mobile app use. With eight weights, Mallory offers an eclectic range of voices, from the prim and austere Thin to the loud and gregarious Ultra. From editorial expression to data structuring to visual identities, Mallory is designed to be a reliable tool for use in multiple contexts.

Mallory began as an experiment in mixing typographic traditions, building a new design with British and American traits. The family offers a broad range of voices, from the prim and austere Thin to the loud and gregarious Ultra.

Mallory was built to be a reliable tool, readily pairing with other typefaces to organize complex data and fine-tune visual identities. Each style contains over 1250 glyphs, to anticipate a wide range of content: small caps and oldstyle figures for running text, lining figures and uppercase punctuation for headlines, tabular figures and over a dozen currency symbols for financial data.

This release also marks the debut of the MicroPlus series. Repurposing a centuries-old strategy to preserve legibility, MicroPlus bridges the gap between print and digital environments. From the spacing of every letter and number to the dot of the i, every shape has been reconsidered and reinforced to anticipate screens as well as the smallest sizes in print. Learn more about the MicroPlus series here.

Contributions by Graham Bradley, Erin McLaughlin (a fellow alphabette), Aoife Mooney (also an alphabette!) and Tim Ripper

Mallory includes lining figures, old-style figures, tabular figures, fractions, superiors, and inferiors. All you need for writing recipes, concocting chemicals, and managing your finances. And if you're unsure why you need so many numeral styles check out this great little tutorial from TypeEd  In the same way we set uppercase and lowercase letters, there are also ‘uppercase’ and ‘lowercase’ figures.

Old-Style numerals (or lowercase figures) have varied heights they follow the ascenders and descenders of lowercase letters. Lining figures (otherwise known as titling or uppercase numerals) in body copy disrupts the flow of reading, in the same way that ALL CAPS SHOUT to your reader so Typesetters save the Uppercase/Titling Numerals for Tables and formulaic data.