AUTHENTIC (Christina Janus and Desmond Wong) is a bespoke graphic design atelier and digital type foundry committed to producing AUTHENTIC graphic assets, AUTHENTIC typography solutions, and AUTHENTIC visual concepts for clients across all industries. The practice operates at the intersection of graphics, design, language, ideology, culture, and authenticity.


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A typeface intended for situations where AUTHENTIC Sans seems too freely available and personal use too unproductive. AUTHENTIC Sans Pro explores the semiotic and aesthetic idiosyncrasies of corporate licensed glyphs; the typeface aims to subvert the free standards of typographic quality and refinement. Distributed under the AUTHENTIC BUSINESS LICENSE, AUTHENTIC Sans Pro is an inverse reflection of the studio praxis: expanding profits and market boundaries.

Book designed with An Art Service; published by Swiss Institute, Balkan Projects, and KARMA.

Logotype for Duet; art direction DOSS©.

Nameplate for The Architect's Newspaper; art direction Ian Thomas.

Harmless Sans

New extra bold weight and refinements to the Harmless Harvest brand typeface. Commissioned by DCX Growth Accelerator.

Logotype for a podcast about every single vampire film ever made, hosted by C.C..



A typeface intended for situations where Oriya Sangam MN seems too sophisticated and LiHei Pro too vulgar, or vice versa. AUTHENTIC Sans explores the semiotic and aesthetic idiosyncrasies of the anonymous Latin glyphs included with CJK system fonts; the typeface aims to subvert the Eurocentric standards of typographic quality and refinement. Distributed freely under the WTFPL, AUTHENTIC Sans is a reflection of the studio praxis: expanding and redefining the visual and cultural boundaries of default systems. The typeface was first used on the booth poster for Cooperative Editions and Common Satisfactory Standard at the 2015 NY Art Book Fair.

Over the years we haveserviced many start up 99 cent stores, fulfilled dollar stores with products ona consistent schedule and helped source other wholesalers with products.Throughout all these years we have enjoyed doing this job. I mean it’s been 30years since we had our first customer. Most importantly the customers are whatmake our job so enjoyable. The ever changing pace of what the customer’s needsare and how they need them are the fuel to make us deliver exceptional service. While we continue to grow and introduce more and more products we hope thatall of our customers know how much we appreciate them. We are at 25-10 Ulmer StFlushing, NY 11354 and if you are ever around please stop by and say hello weare always happy to see a customer. Thousands of candles can be lighted from a single candle, and the life ofthe candle will not be shortened. Happiness never decreases by being shared. © 2017. Text via



A new digitization of the standardized signage typeface DIN 1451 Breitschrift. Commissioned by Linked by Air for the Institute of Contemporary Art, Los Angeles; designed and drawn in collaboration with Jack Jennings.

The DIN 1451 typeface family includes both a medium (Mittelschrift) and a condensed (Engschrift) version; an older extended version (Breitschrift) is no longer used since the early 1980s, but may still be encountered on older road signs in Germany. An extensive set of digitisations is that made by Peter Wiegel with donations requested from users under the OFL. This includes the regular style (Mittelschrift) in two grades for printing with less and more ink spread, and the less well-known Breitschrift. He also digitised the rounded DIN 16 Oblique and DIN 17 Upright Standard Typeface for Drawings using the names TGL 0-16 and 0-17, the names under which they were known in the German Democratic Republic.

Available for licensing soon

Lettering for Charli XCX’s Number 1 Angel mixtape; art direction Timothy Luke.

System Gothic

A type family based on station tile lettering of the Independent Subway System. System Gothic No. 1 retains the efficiently engineered geometry of the square grid while No. 2 reinterprets the mathematically constructed letterforms as brush lettering. The goal of the revival is to establish a conceptual foundation that can be expanded into a family of fonts—a typographic mapping of the New York subway system. Concept and art direction by Ryan Thacker.

Logotype for The Wall Group; art direction Paul Hanger.