This type-family has been around since 1994. Designed by Hoeffler & Co. (a New York City based foundry), there is something totally unique and different about Knockout. That cool and different thing is that it can hardly be called a type-family.
A type-family is a very recent invention. We normally think of fonts as having their "regular" self, as well as a bold and italic counterpart. Different type-families have other variations as well; for instance, there is Helvetica, and there is Helvetica Neue. The modern type-family usually involves a few fonts that are similar in origin and nature; with bold and italic counterparts.
But this was not always how typography worked. There was once fewer rules. Italics, Romans, and bold fonts existed for years and years without existing to any particular "group." They just were. By the mid-1970s, with the advent of computational processing and digital type, the type-family - a predefined package and set of rules that defined a font - began to rule the scene. It was an easy way to keep things tidy and keep track of type.
But there is some possibility and opportunity that gets lost when you simplify type like this. Knockout breaks the rules and returns disorder to typography. The font-family features nine different widths of varying degrees. And each version of Knockout bends and shifts in ways fonts usually don't do for their readers. Woodcuts were once produced in series, and that is how Knockout is produced. There are seven series, with different characters. Some are great for fine print, and some are made for bold headlines. There is a series for pretty much anything you want this font to express. Different aspects of the font morph dramatically, but it is always the same typeface.
You can find it inside our shaving kit bags, on our bottle opener, on our pens and pencils. We really like it, in fact. We think its flexible and authoritative; helping out with some encouragement when you need it.