Buy It
Buy It
A tool and
a window.

Family

Designers

Michael Cina

Harsh Patel

2025

Contro began with an alphabet drawn by Harsh Patel in November 2023. Michael Cina extrapolated from those first letters and led the font-making process, designing more than half of the final glyph set in four or five days. The collaboration spans more than two decades of friendship and shared work.

Family Size

9 Styles: Roman

Features

20 stylistic sets, discretionary ligatures, swashes, and more.

Character sets

Basic Latin. ~650 glyphs per weight. 114 languages.

Licensing

Desktop/Print, Web, Content, App/Game, Logo/Wordmark, Core Media, All Media

Formats

OTF, WOFF2, Variable (based on license type)

 
Regular
Shuffle
Contro/AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz
1234567890!@#$%
 
Shuffle
Contro/AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz
1234567890!@#$%

The conceptual ground sits between two modernisms: utopian pre-war and capitalist post-war. Tschichold, Renner, Bill, and Bayer are in the DNA, but so are the Gujarati Type Foundry's 1937 specimen book and San Mya Mya's Thu Dhama Wadi Type Foundry in Rangoon. The typeface is built on the broader question of what a universal alphabet might actually mean once you stop assuming it speaks Latin first.

Contro

Razor thin through black. Each weight has it's own use. 645 glyphs. A comprehensive working system across nine weights.

 
Regular
Size
200
Leading
0.90
Tracking
0.000em
OT Features
No features available

Not a revival. Letters moving forward.

 
Regular

Not a revival. Letters moving forward.

 
Regular
Size
200
Leading
0.90
Tracking
0.000em
OT Features
No features available

Italian early 20th century, expanded outward.

 
Regular

Italian early 20th century, expanded outward.

 
Regular
Size
200
Leading
0.90
Tracking
0.000em
OT Features
No features available

Two decades of collaboration, one typeface.

 
Regular

Two decades of collaboration, one typeface.

Value

01

Contro sits between utopian pre-war modernism and capitalist post-war modernism. The typeface carries a typographic world and designers who understand get more expression and ideas out of the work.

Value

01

Contro sits between utopian pre-war modernism and capitalist post-war modernism. The typeface carries a typographic world and designers who understand get more expression and ideas out of the work.

Value

02

Tschichold's skeletal Latin. Renner, Bill, Bayer. The Gujarati Type Foundry's 1937 specimen. San Mya Mya's Thu Dhama Wadi Type Foundry in Rangoon. Contro was made with typographic cultures beyond the European canon in mind, and the letterforms reflect that.

Value

02

Tschichold's skeletal Latin. Renner, Bill, Bayer. The Gujarati Type Foundry's 1937 specimen. San Mya Mya's Thu Dhama Wadi Type Foundry in Rangoon. Contro was made with typographic cultures beyond the European canon in mind, and the letterforms reflect that.

Value

03

Harsh Patel drew the first alphabet and Michael Cina extrapolated. The project was made possible because the conversation had been running for two decades. Contro is a byproduct of that friendship.

Value

03

Harsh Patel drew the first alphabet and Michael Cina extrapolated. The project was made possible because the conversation had been running for two decades. Contro is a byproduct of that friendship.
 
Regular
Size
200
Leading
0.90
Tracking
0.000em
OT Features
No features available

The universal alphabet is still an open question.

 
Regular

The universal alphabet is still an open question.

 
Regular
Size
200
Leading
0.90
Tracking
0.000em
OT Features
No features available

Fuss with choices, spacing, layout but Ask the big questions first.

 
Regular

Fuss with choices, spacing, layout but Ask the big questions first.

 
Regular
Size
200
Leading
0.90
Tracking
0.000em
OT Features
No features available

The choice is yours, experiment or default

 
Regular

The choice is yours, experiment or default

 
Regular
Size
72
Leading
1.00
Tracking
0.000em
OT Features
No features available

Contro is a nine-weight typeface by Harsh Patel and Michael Cina, available exclusively through Public Type, drawn from early 20th century Italian types and extended outward into global writing traditions as a working argument about what a universal alphabet can mean once it stops assuming Latin first.

 
Regular

Contro is a nine-weight typeface by Harsh Patel and Michael Cina, available exclusively through Public Type, drawn from early 20th century Italian types and extended outward into global writing traditions as a working argument about what a universal alphabet can mean once it stops assuming Latin first.

 
Regular
Size
28
Leading
1.15
Tracking
0.000em
OT Features
No features available

Contro began with inspiration from early 20th century Italian type and expanded from there. What interested the designers was what happens when the European canon stops functioning as the default, when experimentation and other typographic cultures are brought in as source material. The typeface sits between two modernisms. A pre-war utopian modernism that believed a rational alphabet could serve everyone, and a post-war modernism that turned universalism into a corporate style. Tschichold's skeletal Latin experiments matter here, as does his later revision of his own positions. Renner, Bill, and Bayer are present in the conceptual background, as well as the Gujarati Type Foundry's 1937 specimen and San Mya Mya's Thu Dhama Wadi Type Foundry in Rangoon. Their absence from most contemporary type discourse is precisely why they belong here. The nine weights and twenty stylistic sets are where the family opens up. Each set introduces a different logic for constructing letters. Choosing between them is a design decision with real consequences for how the alphabet reads. Advanced users can combine sets across a layout, treating individual words or passages as distinct constructions within the same family.

 
Regular

Contro began with inspiration from early 20th century Italian type and expanded from there. What interested the designers was what happens when the European canon stops functioning as the default, when experimentation and other typographic cultures are brought in as source material. The typeface sits between two modernisms. A pre-war utopian modernism that believed a rational alphabet could serve everyone, and a post-war modernism that turned universalism into a corporate style. Tschichold's skeletal Latin experiments matter here, as does his later revision of his own positions. Renner, Bill, and Bayer are present in the conceptual background, as well as the Gujarati Type Foundry's 1937 specimen and San Mya Mya's Thu Dhama Wadi Type Foundry in Rangoon. Their absence from most contemporary type discourse is precisely why they belong here. The nine weights and twenty stylistic sets are where the family opens up. Each set introduces a different logic for constructing letters. Choosing between them is a design decision with real consequences for how the alphabet reads. Advanced users can combine sets across a layout, treating individual words or passages as distinct constructions within the same family.

Michael Cina

 
Regular
Michael Cina’s work exists at the intersection of design, typography, branding, strategy, and art. This uncommon mix allows him to see differently and direct ideas with purpose. Decades of moving fluidly between disciplines have shaped an approach that blends instinct with strategy, intuition with clarity, and expression with systems thinking. An internationally recognized Creative Director and Artist, Michael leads the multi-disciplinary studio Cina Associates. His work spans global brands including Disney, Apple, American Express, ESPN, Pepsi, Coca-Cola, Hewlett-Packard, and Microsoft. Across his career, he has synthesized typography, branding, illustration, motion, web, music, photography, and type design into cohesive systems that perform across platforms and cultures. His work has been widely published, recognized with Emmy and Grammy honors, and he is a frequent speaker at global design conferences, sharing a point of view rooted in authorship, clarity, and long-term brand thinking.

Harsh Patel

 
Regular
Harsh Patel (born Nairobi, living and working in Los Angeles) is a graphic designer, design educator, and publisher. His work circuits acceptance and collaboration within graphic design and fine arts, and overground and underground operations. He has collaborated with galleries, artist studios, fashion designers, non-profit organizations, musicians, and cultural institutions. He has lectured extensively on how design history is continually reshaped by issues of equality and representation.
 
Regular
In the late 90s, the online design community was small. A loose network of people connected through websites, email, and eventually forums. Through our mutual friend Jay David, I met Harsh Patel. He wanted to help with a designer index I was running. From the start, he had a sharp eye and was on a quest. Watching Harsh's career grow while staying true to his vision has been incredible. He has avoided mundane corporate work and the stylistic traps many designers fall into. Over the past decade, his approach has changed the vernacular of contemporary design. Many have built careers inspired by his aesthetics, but Harsh never sought recognition. He just kept moving forward on his own terms. Harsh came to me with an idea for a typeface. When we got to work, it was effortless. Harsh drew a-z, 0-9, and a few alternates. The design was influenced by wartime Italian design but rooted in the broader idea of a universal alphabet, something Max Bill and others explored deeply. Instead of focusing on a single typographic tradition, we considered how letterforms connect across different writing systems. Our goal was to create new forms that transcend linguistic and cultural boundaries while keeping a playful, utilitarian focus. We didn't want to over-refine it. We left room for designers to bring their own ideas into it. To me, this typeface is as much a tool as it is a window for new work and form.
 
Regular
In the late 90s, the online design community was small. A loose network of people connected through websites, email, and eventually forums. Through our mutual friend Jay David, I met Harsh Patel. He wanted to help with a designer index I was running. From the start, he had a sharp eye and was on a quest. Watching Harsh's career grow while staying true to his vision has been incredible. He has avoided mundane corporate work and the stylistic traps many designers fall into. Over the past decade, his approach has changed the vernacular of contemporary design. Many have built careers inspired by his aesthetics, but Harsh never sought recognition. He just kept moving forward on his own terms. Harsh came to me with an idea for a typeface. When we got to work, it was effortless. Harsh drew a-z, 0-9, and a few alternates. The design was influenced by wartime Italian design but rooted in the broader idea of a universal alphabet, something Max Bill and others explored deeply. Instead of focusing on a single typographic tradition, we considered how letterforms connect across different writing systems. Our goal was to create new forms that transcend linguistic and cultural boundaries while keeping a playful, utilitarian focus. We didn't want to over-refine it. We left room for designers to bring their own ideas into it. To me, this typeface is as much a tool as it is a window for new work and form.

Michael Cina

2025

 
Regular
Contro is about utopian pre-war modernism versus capitalist post-war modernism. Contro takes its basis from Italian types of the early 20th century, expanding outwards into global writing traditions. Contro is not a “revival” type: these letters are about moving forward. I drew a first alphabet in November 2023, from which Michael extrapolated and imagined many more, as he led the font making process. Contro's glyphs and styles were designed with many typographic cultures in mind. The turn of the 20th century saw a major turn to industrialization, which in turn inspired typography designed with (sometimes too much) practicality in mind. Tschichold is someone we both respect. It wouldn't make sense to omit a reference to his experiments with skeletal Latin alphabets, or to his fascinating critical journey. The names Renner, Bill, and Bayer also came up in our first, long discussion. Please challenge yourself to explore other methods of language construction as you experiment with Contro's glyph set. Setting legible Latin language text is certainly possible. This typeface was made with multiculturalism in mind. That said, the designer using Contro has some decisions to make about how and what they use it for. We encourage you to fuss with choices, spacing, and layout after you ask yourself the big questions. Working with Mike lets me speak very naturally about all aspects of visual form. The dialogue feels almost psychic. More than half of the entire Contro glyph set was designed by him in 4 or 5 days after he saw my first letters. His intuitiveness as a collaborator is staggering. His line drawing is always James Brown levels of precision and funk. We have collaborated regularly over two decades for this reason. I can never pass up a chance to jam with him. Lissitzky's "Proun". Mike showed me Lissitkzy when I was just starting college. Mike gave me my first Bill book. Before I saw Weingart and Ernst, I saw Mike. The realness and generosity with which he has always operated still inspires me to keep pushing the right levels.
 
Regular
Contro is about utopian pre-war modernism versus capitalist post-war modernism. Contro takes its basis from Italian types of the early 20th century, expanding outwards into global writing traditions. Contro is not a “revival” type: these letters are about moving forward. I drew a first alphabet in November 2023, from which Michael extrapolated and imagined many more, as he led the font making process. Contro's glyphs and styles were designed with many typographic cultures in mind. The turn of the 20th century saw a major turn to industrialization, which in turn inspired typography designed with (sometimes too much) practicality in mind. Tschichold is someone we both respect. It wouldn't make sense to omit a reference to his experiments with skeletal Latin alphabets, or to his fascinating critical journey. The names Renner, Bill, and Bayer also came up in our first, long discussion. Please challenge yourself to explore other methods of language construction as you experiment with Contro's glyph set. Setting legible Latin language text is certainly possible. This typeface was made with multiculturalism in mind. That said, the designer using Contro has some decisions to make about how and what they use it for. We encourage you to fuss with choices, spacing, and layout after you ask yourself the big questions. Working with Mike lets me speak very naturally about all aspects of visual form. The dialogue feels almost psychic. More than half of the entire Contro glyph set was designed by him in 4 or 5 days after he saw my first letters. His intuitiveness as a collaborator is staggering. His line drawing is always James Brown levels of precision and funk. We have collaborated regularly over two decades for this reason. I can never pass up a chance to jam with him. Lissitzky's "Proun". Mike showed me Lissitkzy when I was just starting college. Mike gave me my first Bill book. Before I saw Weingart and Ernst, I saw Mike. The realness and generosity with which he has always operated still inspires me to keep pushing the right levels.

Harsh Patel

2025

Family

Contro

Designers

Michael Cina

Harsh Patel

Release

2025

Family Size

9 Styles: Roman

Features

20 stylistic sets, discretionary ligatures, swashes, and more.

Character Set

Basic Latin. ~650 glyphs per weight. 114 languages.

Formats

OTF, WOFF2, Variable (based on license type)

Licensing

Desktop/Print, Web, Content, App/Game, Logo/Wordmark, Core Media, All Media

Supported Languages

Afar, Alekano, Amahuaca, Amarakaeri, Amis, Andaandi, Ao Naga, Asháninka, Asu (Tanzania), Banjar, Batak Dairi, Batak Karo, Batak Mandailing, Batak Simalungun, Batak Toba, Bemba (Zambia), Bena (Tanzania), Bikol, Bislama, Borana-Arsi-Guji Oromo, Buginese, Candoshi-Shapra, Cebuano, Chiga, Chokwe, Congo Swahili, Eastern Arrernte, Eastern Oromo, Fijian, Gilbertese, Gusii, Hani, Hiligaynon, Huastec, Ido, Indonesian, Interglossa, Interlingua, Ixcatlán Mazatec, Jamaican Creole English, K'iche', Kalaallisut, Kalenjin, Kekchí, Kenzi/Mattokki, Kimbundu, Kinyarwanda, Kituba (DRC), Klingon, Kongo, Kuanyama, Ladino, Lojban, Luba-Lulua, Luo (Kenya and Tanzania), Makhuwa-Meetto, Makonde, Makwe, Malaysian, Maore Comorian, Mauritian Creole, Minangkabau, Murrinh-Patha, Mwani, Naga Pidgin, Ndonga, Ngazidja Comorian, Nobiin, North Ndebele, Northern Qiandong Miao, Northern Uzbek, Novial, Nyankole, Orma, Paluan, Pampanga, Pintupi-Luritja, Pohnpeian, Rotokas, Rundi, Rwa, Samburu, Scots, Sena, Seselwa Creole French, Shambala, Shawnee, Shipibo-Conibo, Shona, Soga, Somali, Soninke, South Ndebele, Southern Qiandong Miao, Standard Malay, Swahili, Swati, Taita, Tedim Chin, Tok Pisin, Toki Pona, Tsonga, Tumbuka, Tzeltal, Tzotzil, Upper Guinea Crioulo, Wangaaybuwan-Ngiyambaa, Warlpiri, West Central Oromo, Wik-Mungkan, Wiradjuri, Xhosa, Yindjibarndi, Zulu