New fonts: Title and Inbox

Two sans serifs tailored for motion pictures and decorative applications

As we add typefaces to our library, we search for designs that are optimised for specific areas of use. We think this helps designers find the right products for their needs. ITF’s newest releases are Title and Inbox. Although these families are both sans serifs, they could hardly be more different from each other. Where Title is narrow and utilitarian, Inbox is whimsical and decorative. As Title’s name implies, it is a typeface for film titles and credits sequences. Inbox, on the other hand, is a display typeface offering a new spin on the geometric sans genre. Inbox is a great selection for headlines and logotypes, and it was designed by Alisa Nowak. Title is by Julie Soudanne and Jérémie Hornus.


Movie titles need to catch the viewer’s attention and give them a preview of the film’s feeling. End credits, on the other hand, present viewers with an awful lot of information. Only a special kind of typeface can solved both problems. Since Title has been optimised for use in these parts of a movie bookended by type, its letterforms are extremely compressed. The family includes five fonts that range in weight from Extralight through Bold. Title’s letterforms are made up of strokes that are almost monolinear; only some characters contain visible contrast. Each font features a particularly unique capital ‘J’, which does not descend. Its out-stroke mirrors the terminals on other characters, like ‘C’, ‘G’, ‘S’, ‘2’, ‘3’, ‘5’, ‘6’, and ‘9’. The fonts include two forms for the lowercase ‘g’: the standard ‘g’ is double-storied, while the alternate form is single-storied. Title’s euro and yen currency symbols are designed with a nice little break in the center of their main strokes.


Inbox is a decorative geometric sans with five styles. Each font in the family includes a wide variety of eye-catching ligatures, as well as stylistic alternates for many of the letters. The typeface, which is all-caps, is particularly suited for application in logos, word marks, and in editorial design. Its letterforms are really monolinear in their design – much more so than Title’s. Ranging in weight from Light to Black, each Inbox font includes 447 glyphs. As is befitting for a decorative geometric sans, Inbox’s standard version of the ‘O’ looks like a circle (the standard ‘C’, ‘D’, ‘G’, and ‘Q’ are based on this). Similarly, the standard ‘A’, ‘V’, and ‘W’ are triangulars; like the ‘O’, they are also wide. The standard ‘M’ and ‘Y’ are designed in a similar language as the other triangular letters. To spice up Inbox’s inherent rhythm for text, several letters have been designed to be very narrow, such as the ‘E’, ‘F’, ‘H’, ‘I’, ‘J’, ‘K’, ‘L’, ‘P’, ‘R’, ‘S’, ‘T’, ‘U’, ‘X’, and ‘Z’. To differentiate it from the ‘O’, Inbox’s zero has a dot inside its counter.

In addition to simple horizontal couplings, Inbox’s many ligatures include designs where one letter is overlapping another, or where one letter has been placed inside a second one. In terms of stylistic alternates, many characters have two different glyph variants in each font – but sometimes, Inbox is more wild. The ‘C’, for instance, has five separate versions available. Inbox’s alternate glyph designs are determined by what the letterform skeletons allow. Some alternate glyphs feature letterforms that are skewed to the left or to the right, while other alternates feature letters reduced in size and shifted upwards or downwards.