“Align is strange in almost every way. Informed by the rushed, pragmatic ‘misuse’ of letters in urban signage, it’s a text face destined for more contemplative environments. It can’t be pinned down to a specific time or style or genre; instead it blurs and bends genre altogether. It’s a serif whose italic behaves more like a sans oblique; it’s a sans that behaves like a serif, whose serifs linger like phantom limbs as the face gets heavier. It’s free from obvious influence (though if you squint at the roman cut of Align Black, you might see a glimmer of Berthold Block). It’s perhaps a distant relative of Melior and Eurostile in the sense that it also has squareness built into it; and its letterforms, like theirs, try to fit and fill their own box. But it’s really on its own planet. It’s weird how weird Align doesn’t look as a family—it’s a logical set of characteristics that yields a curious but convincing result.” —Commercial Type