112 Hours

by Device

Individual Styles from $9.00 USD

Complete family of 120 fonts: $390.00 USD

The 112 Hours Font Family was designed by Rian Hughes and published by Device. 112 Hours contains 120 styles and family package options.

More about this family

Select style to display all glyphs :

112 Hours Hours Annex ▲

112 Hours Hours Annex

112 Hours Hours Aphrodite

112 Hours Hours Appartement

112 Hours Hours Atto

112 Hours Hours Atto Zag

112 Hours Hours Battleship

112 Hours Hours Belmont

112 Hours Hours Betws-y-Coed

112 Hours Hours Blastdoor

112 Hours Hours Blastdoor Solid

112 Hours Hours Bond

112 Hours Hours Boudoir

112 Hours Hours Brampton

112 Hours Hours Buzz

112 Hours Hours Cabside

112 Hours Hours Cameron

112 Hours Hours Carriage

112 Hours Hours Cashtill

112 Hours Hours Chiffrage

112 Hours Hours Chrono

112 Hours Hours Click

112 Hours Hours Coupon

112 Hours Hours Crate

112 Hours Hours Darvell

112 Hours Hours Debit

112 Hours Hours Diadem

112 Hours Hours Dieppe

112 Hours Hours Discount

112 Hours Hours Distaff

112 Hours Hours District

112 Hours Hours Domino Black

112 Hours Hours Domino White

112 Hours Hours Dunromin

112 Hours Hours Dunromin Solid

112 Hours Hours Elgin

112 Hours Hours Emboss

112 Hours Hours Enamel

112 Hours Hours Excursion

112 Hours Hours Exit Ramp

112 Hours Hours Flow

112 Hours Hours Fluoro

112 Hours Hours Forever

112 Hours Hours Fortnight

112 Hours Hours Fortnight Solid

112 Hours Hours Georgia

112 Hours Hours Grocer

112 Hours Hours Hal

112 Hours Hours Hal Shadow

112 Hours Hours Hands

112 Hours Hours Inches

112 Hours Hours Inkjet

112 Hours Hours Input

112 Hours Hours Ironclad

112 Hours Hours Jackpot

112 Hours Hours Keystroke

112 Hours Hours Kowloon

112 Hours Hours Lampard

112 Hours Hours Laney

112 Hours Hours Liberty

112 Hours Hours Lotto

112 Hours Hours Luggagetag

112 Hours Hours Maison

112 Hours Hours Maison Solid

112 Hours Hours Matrix Overinked

112 Hours Hours Matrix Underinked

112 Hours Hours Mercy

112 Hours Hours Metropolitan

112 Hours Hours Missile

112 Hours Hours Moderne

112 Hours Hours Mugshot

112 Hours Hours Nantes

112 Hours Hours Parker

112 Hours Hours Perpetual

112 Hours Hours Pixel

112 Hours Hours Plate

112 Hours Hours Player

112 Hours Hours Porthmadoc

112 Hours Hours Prestige

112 Hours Hours Punch

112 Hours Hours Quartz

112 Hours Hours Quinn

112 Hours Hours Recon

112 Hours Hours Regiment

112 Hours Hours Return

112 Hours Hours Roosevelt

112 Hours Hours Salisbury

112 Hours Hours Savoy

112 Hours Hours Serial

112 Hours Hours Shine

112 Hours Hours Smokebox

112 Hours Hours Steel

112 Hours Hours Steeplechase

112 Hours Hours Straight

112 Hours Hours Stub

112 Hours Hours Sturminster

112 Hours Hours Sudbury

112 Hours Hours Tally

112 Hours Hours Telegraph

112 Hours Hours Throughput

112 Hours Hours Thursday

112 Hours Hours Ticket

112 Hours Hours Timestamp

112 Hours Hours Tomorrow

112 Hours Hours Tote

112 Hours Hours Transom

112 Hours Hours Tricoire

112 Hours Hours Trunk

112 Hours Hours Twelve

112 Hours Hours Urgent

112 Hours Hours Vanity

112 Hours Hours Vantage

112 Hours Hours Vector

112 Hours Hours Veronika

112 Hours Hours Vesper

112 Hours Hours Visage

112 Hours Hours Voucher

112 Hours Hours Wharf

112 Hours Hours Willow

112 Hours Hours Woodville

112 Hours Hours Worthing

112 Hours Hours Annex - Glyph count:

This is a listing of all glyphs contained in the font, including OpenType variants that may only be accessible via OpenType-aware applications.

Each basic character (“A”) is followed by Unicode variants of the same character (Á, Ä…), then OpenType variants (small caps, alternates, ligatures…). This way you can see all the variations on a single character in one place.

112 Hours Complete Family

120 fonts

Best Value!

Per Style:

$3.25 USD

Pack of 120 styles:

$390.00 USD

Buying Choices

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Select style to display tech specs :

Licensing Options

MyFonts licenses are tailored for individual creatives. Not all licenses are compatible with broad usage cases or complicated creative workflows, so make sure to read the full EULA text for details. If you are licensing fonts for use at an Agency or Company, or if you have a usage requirement that isn't listed below or are unsure about the use cases shown here, contact us and we'll help you determine the best fit for your needs.

The following licenses are available for this font.

Desktop: for creating designs

This entry-level license enables personal and commercial traditional graphic designer work.

The Desktop License allows you to create, print, and share flat, non-editable designs such as:

Brand identity

Use fonts to create a strong and consistent brand identity.

Videos

Apply fonts in titles, credits, and on-screen text.

PDFs

Style reports, brochures, and digital documents.

Greeting cards

Design unique, personalized cards for any occasion.

Logos

Craft memorable, professional logo typography.

Signage (wayfinding & billboards)

Make clear, eye-catching signage for indoor or outdoor use.

Flyers

Set readable, attractive headlines and layouts.

Packaging

Enhance product packaging with stylish text.

Album covers

Print custom text designs on t-shirts, hoodies, and more.

Posters

Bold, eye-catching poster layouts.

Invitations

Create stylish, personalized invitations for events.

Social posts

Enhance graphics and captions with unique fonts.

Business cards

Craft professional, memorable business card designs.

School projects

Make projects stand out with creative text.

Wordmarks

Develop strong, recognizable brand wordmarks.

Stationery

Design elegant letterheads, envelopes, and notes.

Show all

This license does not support:

E-books

Fonts cannot be embedded in digital books. View relevant license

Digital ads

Ads cannot use these fonts. View relevant license

Commercial print environments

Not for large-scale printing business.

Websites

Fonts cannot be hosted online. View web font license

Emails

Fonts not allowed in email templates. Learn more

Apps

Cannot embed fonts inside applications. View app license

Sharing the font

Fonts cannot be distributed to others.

Allowing others to use the font

License is for you only.

Collaboration

Fonts cannot be shared in teams. Learn more

Modifying

Fonts cannot be altered or edited.Learn more

Installation on a server

Fonts cannot be installed on a server.

AI training

Fonts not permitted for AI models. AI ethics statement

DAMs

Fonts cannot be hosted on DAMs as downloadable assets.

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Desktop licenses are based on the number of users of the fonts; in other words, the number of computers in which the font will be installed. You can change the number of users by clicking the quantity dropdown option on Buying Choices or Cart pages.

Please be sure to review the listing foundry's Desktop license agreement as some restrictions may apply—such as use in logos/trademarks, geographic restrictions (number of locations), and products that will be sold.

Adding users later:

Desktop licenses are cumulative. If you require a Desktop license that covers additional users, simply place a new order for the same Desktop package, for the number of additional users.

112 Hours Desktop EULA

Webfonts: for your website

Webfonts allow you to embed the font into a webpage using the @font-face rule, so paragraphs and headings of text can be styled as the webfont. You will be serving the webfont kit for your own site and linking it in the CSS.

Webfonts can be used on a single domain. Agencies responsible for multiple websites, for example web design agencies or hosting providers, may not share a single webfont license across multiple websites.

If the font file itself won't be embedded in the website (for example, when the font is used in a static graphic image such as a logo) you should purchase a Desktop license instead.

Most foundries on MyFonts offer their webfonts with the Annual license model. Click here to Learn more.

112 Hours WebFont EULA

App: for embedding in mobile applications

Select this license type when you are developing an app for iOS, Android, or Windows Phone, and you will be embedding the font file in your mobile application's code.

112 Hours App EULA

Electronic Doc: for embedding in e-text products

You can use an Electronic Doc license to embed the font in an electronic publication such as an eBook, eMagazine, or eNewspaper.

An Electronic Doc license is based on the number of publications in which the font is used. Each issue counts as a separate publication. Regional or format variations don't count as separate publications.

Updated versions of publications that are free to previous customers do not need a new license; otherwise, each new version that is released counts as a separate publication.

For font usage in graphic images shown as the ePub cover, consider a Desktop license instead as most allow for it.

112 Hours Electronic Doc EULA

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About the family

Rian Hughes’ 15th collection of fonts, “112 Hours”, is entirely dedicated to numbers. Culled from a myriad of sources – clock faces, tickets, watches house numbers – it is an eclectic and wide-ranging set. Each font contains only numerals and related punctuation – no letters. A new book has been designed by Hughes to show the collection, and includes sample settings, complete character sets, source material and an introduction. This is available print-to-order on Blurb in paperback and hardback: http://www.blurb.com/b/5539073-112-hours-hardback http://www.blurb.com/b/5539045-112-hours-paperback From the introduction: The idea for this, the fifteenth Device Fonts collection, began when I came across an online auction site dedicated to antique clocks. I was mesmerized by the inventive and bizarre numerals on their faces. Shorn of the need to extend the internal logic of a typeface through the entire alphabet, the designers of these treasures were free to explore interesting forms and shapes that would otherwise be denied them. Given this horological starting point, I decided to produce 12 fonts, each featuring just the numbers from 1 to 12 and, where appropriate, a small set of supporting characters — in most cases, the international currency symbols, a colon, full stop, hyphen, slash and the number sign. 10, 11 and 12 I opted to place in the capital A, B and C slots. Each font is shown in its entirety here. I soon passed 12, so the next logical finish line was 24. Like a typographic Jack Bauer, I soon passed that too -— the more I researched, the more I came across interesting and unique examples that insisted on digitization, or that inspired me to explore some new design direction. The sources broadened to include tickets, numbering machines, ecclesiastical brass plates and more. Though not derived from clock faces, I opted to keep the 1-12 conceit for consistency, which allowed me to design what are effectively numerical ligatures. I finally concluded one hundred fonts over my original estimate at 112. Even though it’s not strictly divisible by 12, the number has a certain symmetry, I reasoned, and was as good a place as any to round off the project. An overview reveals a broad range that nonetheless fall into several loose categories. There are fairly faithful revivals, only diverging from their source material to even out inconsistencies and regularize weighting or shape to make them more functional in a modern context; designs taken directly from the source material, preserving all the inky grit and character of the original; designs that are loosely based on a couple of numbers from the source material but diverge dramatically for reasons of improved aesthetics or mere whim; and entirely new designs with no historical precedent. As projects like this evolve (and, to be frank, get out of hand), they can take you in directions and to places you didn’t envisage when you first set out. Along the way, I corresponded with experts in railway livery, and now know about the history of cab side and smokebox plates; I travelled to the Musée de l’imprimerie in Nantes, France, to examine their numbering machines; I photographed house numbers in Paris, Florence, Venice, Amsterdam and here in the UK; I delved into my collection of tickets, passes and printed ephemera; I visited the Science Museum in London, the Royal Signals Museum in Dorset, and the Museum of London to source early adding machines, war-time telegraphs and post-war ration books. I photographed watches at Worthing Museum, weighing scales large enough to stand on in a Brick Lane pub, and digital station clocks at Baker Street tube station. I went to the London Under-ground archive at Acton Depot, where you can see all manner of vintage enamel signs and woodblock type; I photographed grocer’s stalls in East End street markets; I dug out old clocks I recalled from childhood at my parents’ place, examined old manual typewriters and cash tills, and crouched down with a torch to look at my electricity meter. I found out that Jane Fonda kicked a policeman, and unusually for someone with a lifelong aversion to sport, picked up some horse-racing jargon. I share some of that research here. In many cases I have not been slavish about staying close to the source material if I didn’t think it warranted it, so a close comparison will reveal differences. These changes could be made for aesthetic reasons, functional reasons (the originals didn’t need to be set in any combination, for example), or just reasons of personal taste. Where reference for the additional characters were not available — which was always the case with fonts derived from clock faces — I have endeavored to design them in a sympathetic style. I may even extend some of these to the full alphabet in the future. If I do, these number-only fonts could be considered as experimental design exercises: forays into form to probe interesting new graphic possibilities.

Designers: Rian Hughes

Publisher: Device

Foundry: Device

Design Owner: Device

MyFonts debut: Apr 23, 2015

112 Hours

About Device

Device Fonts is the font arm of Rian Hughes’ Device studio, based in West London. An early contributor to FontShop’s FontFont range, Device Fonts was launched in 1997 to carry Hughes’ growing library. It has since released over 250 original typefaces covering more than 1500 individual weights, including custom designs for clients as diverse as Mac User, 2000AD and The Teenage Mutant Ninja Turtles. Rian studied at the London College of Communication in London before working for an advertising agency, Smash Hits, i-D magazine and a series of record sleeve design companies. Under the studio banner Device, he now provides design, custom type and illustration for advertising campaigns, record sleeves, book jackets, graphic novels and television. He has designed posters for Tokyo fashion company Jun Co.’s Yellow Boots chain, the animated on-board safety film for Virgin Airlines, Eurostar’s poster campaign, a collection of Hawaiian shirts, a range of watches for Swatch, an award-winning brochure for MTV Europe’s Music Awards, and numerous book jacket illustrations and CD covers. He has designed hundreds of logos for DC, Marvel, Valiant, Image and other comic book companies for such titles as Batman, the X-Men, James Bond, The Avengers and Spider-Man. Long connected with the world of comics, Rian Hughes' first graphic novel was The Science Service for Belgian publisher Magic Strip. This was followed by Dare for IPC’s short-lived Revolver, an “iconoclastic revamp of the ’50s comic hero Dan Dare”, written by Grant Morrison. His strips from the Galaxy’s Greatest have been collected in Yesterday’s Tomorrows (Dare, Really and Truly plus others) and Tales from Beyond Science (written by Mark Millar, John Smith and Alan McKenzie). More recently he wrote and drew a Batman: Black and White tale, contributed to Vertigo: Magenta, designed the map of the DC Multiverse and was reunited with Morrison for several stories in Heavy Metal magazine. He has contributed to numerous international exhibitions, lectured widely both in the UK and internationally, and a one-man show of his work was held in 2003 the Conningsby Gallery, London. A retrospective monograph, Art, Commercial was published in 2002, and Ten Year Itch, a celebration of the first ten years of Device Fonts, was published in 2005. Other books include https://www.amazon.co.uk/Typodiscography-Rian-Hughes/dp/1910870048">Typodiscography , Custom Lettering of the 20s and 30s, and the all-ages wordless graphic novel I Am A Number. Soho Dives, Soho Divas collects his burlesque drawings, and he sets out his memetics manifesto in Cult-Ure: Ideas Can Be Dangerous. A collection of his logo designs, https://www.amazon.co.uk/Logo-gogo-Branding-Pop-Culture/dp/0993337422">Logo a Gogo was released in 2018 by Korero Press. More recently he has published three novels which incorporate design and typography as an integral part of the narrative: XX, The Black Locomotive and The Absence. He has an extensive collection of Thunderbirds memorabilia, a fridge full of vodka, and a stack of easy listening albums which he plays very quietly. The Premium foundry page can be viewed Here.

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112 Hours

112 Hours Hours Annex - Glyph count:

112 Hours Complete Family

Best Value!

Licensing Options

Desktop: for creating designs

Webfonts: for your website

App: for embedding in mobile applications

Electronic Doc: for embedding in e-text products

Licensing Options

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About the family

About Device