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While stylistically born in the hot metal typesetting period, Marfa was designed in a high-speed era of no time to lose: Its uprights were drawn in under 1,000 hours and its hot-headed Italics in less than half of that. Initially, Marfa was a sturdy, utilitarian typeface of three modest weights known as Gothic No. 6, drawn by Fabian Harb in homage to early American gothic typefaces. It made its first appearances in projects by early adopters like Other Means, Dan Solbach, Folder Studio, Eloise Harris & Nea-Kosma, and NODE.

In the years since, we were lucky enough to get designer Seb McLauchlan from our London satellite on board, who helped us to extend the font into a full family with corresponding Italics and a Mono counterpart. The family now consists of 28 styles, and as another nod to history, Seb also included small caps and old style figures (just how printers and designers in the late 19th Century liked it). And this time, the Dinamo pig was designed by NYC’s finest OtherMeans (thanks Gary, Ryan, and Phil).