CCType is a typography foundry by Koto, built for the contemporary world. Not type inspired by the past and adapted for now — type designed from the reality of how brands operate in 2026.

CCType makes the rigour, craft, and strategic thinking behind major bespoke typography projects — the kind built for global brands — accessible at a fraction of the cost.

"We kept running into the same frustrations. Couldn't find a serif with enough weight range. Couldn't find the flexibility across use cases. Fonts that held up in one context but collapsed in another."

Koto started building custom fonts for clients — Polkadot, Faculty, Stack Overflow — and released them for free on Google Fonts. The reception from the design community was immediate and sustained. It signalled something bigger.

"They’re widely used because people want Koto's perspective on typography. They trust how we think about it."

You can see it happen in real time. Koto drops a new typeface on Google Fonts, and it starts appearing in projects within days. That behaviour tells us something. There's already demand for our typographic point of view.

CCType gives that demand a dedicated home.

At CCType, the ambition is simple and uncompromising: make the most viable typefaces possible for people building brands.

What that means in practice is typefaces that carry all of Koto's understanding of brand and where typography needs to go now. They need to be versatile. They need to perform across digital surfaces, out-of-home, motion, campaigns, product, broadcast — all of it.

At its core, CCType is about creating typefaces that are ready for today. Built from real brand experience. Designed with a level of contemporary relevance the industry needs more of.

Our first release is the most robust, useful, high-craft typeface we could make. That's the standard. Every CCType release should feel like a premium release — intentional, rigorous, and useful.

"We've taken our expertise, our learning, our standards, and our experience building typography for major brands, and created something people can buy for around $300. No subscription. Just a straightforward purchase.”

The smaller independents are often making the more interesting work. They're the people we'd naturally want to support and collaborate with. But there can be less confidence around execution at scale.

Then you have the large players — the scale is there, but the work can feel less creative, less inventive, less culturally relevant.

CCType occupies the same space Koto does as an agency: boutique craft at scale. That's what we're bringing into type.

A lot of typographers are focused on authoring typography, but they're not always in the trenches of execution. They're not always seeing where it goes, how it gets used, what breaks, what scales.

Koto comes at it from the opposite direction. We're drawing on years of building global brands — especially in tech — and understanding exactly how typography needs to perform. We know how type behaves on digital services, on large-scale billboards, in marketing campaigns, in product, in motion. We're coming at typography from the reality of how brands actually use it.

The first is licensing. Paying for a typeface can be bewildering, especially when you start dealing with large user bases. Costs become extortionate, and the whole thing gets hard to navigate fast. We want to strip that back entirely — one upfront payment, done.

The second is confidence. If you're buying a CCType font, you should have confidence that it's been held to the same standard as something we'd create or select for a client like Amazon. When we build a brand system, we're stress-testing at every level: will this work on the homepage? At five pixels high? Out-of-home? In motion? On broadcast?

CCType is Koto living up to the idea of being the creative company. You can buy creative services from us. Now you can buy creative assets too.

That's what being the creative company actually means. It can't just mean brand services. It has to mean we're building, making, and selling things that prove our creative point of view.

The market has shifted.

The need for typography to be versatile across surfaces and scales is greater than ever. Digital products are evolving fast. AI is changing how brands show up. The number of places a typeface needs to work has exploded.

The tools are better too. What might have taken years can now happen in months. There's a real innovation play.

And the licensing frustration hasn't gone away. It's still confusing. Still expensive. Still needs solving.

Then there's perspective. Koto has a unique position here. Most type foundries come from typography first. Some smaller branding agencies launch a foundry. But we're coming from years of building global brands — especially in tech — and understanding exactly what typography needs to do at scale.

There are two types of versatility.

The first is practical versatility. Does it work small? Does it work big? Is it legible? Is it readable? Can it function across product, campaign, motion, editorial, out-of-home? A lot of typefaces are incredible as a headline but fall apart in digital product. We wanted to eliminate that trade-off. The second is emotional versatility. This is the part that's more distinctly ours.

A modern brand needs to operate across a huge emotional range. Rigorous in an annual report. Reductive and functional when it needs to be. But equally capable of carrying emotion in a Super Bowl ad, a music campaign, a sports moment — whatever the context demands.

It's deliberately broad.

A freelancer — because the cost is reasonable, they can buy it and use it across multiple projects. A small studio. A large studio. A brand directly.

Anyone using retail typography and wanting something with more strategic and creative weight behind it.