Type foundry · Est. 2018 · Lyttelton, New Zealand
Letters shaped where the ink meets the sea. We draw typefaces in a cinder-block studio fourteen metres from the harbour wall, where the Southerly carries salt onto the proofing sheets.
Catalogue
Each family takes between fourteen and twenty-two months. We release one per year, sometimes slower. No rush shipments.
A slab serif drawn from the painted signage on Lyttelton's harbour warehouses — thick verticals, ink-trap details at 9pt, seven weights from Hairline to Black. Best at 14px body or 72pt display.
Geometric sans with a soft current. Circular bowls, open counters, and a distinctive lowercase g that recalls the map contour lines of Banks Peninsula. Used in wayfinding for the Christchurch Arts Precinct since 2021.
Condensed display face. Tall, narrow, and relentless — built for headlines that refuse to share the page. Drawn over nineteen months, primarily on the ferry between Lyttelton and Diamond Harbour. No italic. That was a decision.
A high-contrast text serif with optical sizes from 8pt to 144pt. Inspired by the tide-eroded lettering on the old Naval Point jetty — we photographed it every morning for a year as the paint dissolved. The a never fully closes. That's intentional.
"A typeface should carry the memory of how it was drawn. Ours remember salt air, diesel ferries, and the particular grey of a harbour at 6 am in July."— Mira Tūhoe, co-founder
About
Coastal Type Foundry is Mira Tūhoe and James Alcott. We've worked from the same 28-square-metre room on Norwich Quay since February 2018 — concrete floor, three desks (the third is for proofing), a Risograph, and a view of the container cranes that hasn't changed in six years.
Mira studied under Kris Sowersby at Klim before going independent. James came from signwriting — eighteen years painting shop fronts and fishing boats around Canterbury. Between them, the typefaces carry both precision and the imprecision of things that weather.
We sell direct. No subscriptions, no tiers, no tracking pixels. You buy the family, you own the files. Licensing is per-studio, not per-seat. We've never raised a price.
typeface families released
total glyphs drawn
years in the same room
subscriptions offered
Process
Always on paper first. Mira uses a Pilot G2 0.38 — the harbour wind makes anything wider useless. Three months of sketching before the screen is turned on.
Bézier curves in Glyphs 3. James handles spacing and kerning — averaging 4,200 kern pairs per weight. We test at 9pt on our Risograph before any screen proofing.
Fourteen rounds minimum. We print specimen books on Munken Pure 120gsm and send them to eight beta testers — designers in Tāmaki Makaurau, Melbourne, and Berlin.
Used by
Christchurch Arts Precinct · Te Papa Tongarewa · Studio South · Assembly Label · Ockham Residential · Farro Fresh · Precinct 35 · Best Ugly Bagels · Duncan Cotterill · The Spinoff · Objectspace · Strategy Creative · Warren and Mahoney
Contact
For licensing questions, custom commissions, or to visit the studio (by appointment — the door sticks), write to us. We reply within 48 hours, usually faster.