Another variant of Bayer’s Universal Alphabet, resembling ITC Bauhaus in design, ITC Ronda in proportion and fit, prepared by FotoStar in the mid 1970s.

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Future Bugler is a font based on the second logo created by Harry Warren in early 1975 for his sixth grade class newsletter, The Broadwater Bugler, at Broadwater Academy in Exmore, Virginia, on Virginia’s Eastern Shore.

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Based on the popular VGC typeface from the early 70s.

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Bree, based on TypeTogether’s logotype, is a sleek sans serif that delivers a polished and modern look and feel for branding or headline usage.

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Urbana is a contemporary sans-serif typeface inspired in the traditional lettering seen in one of the most popular, massive transportation mediums available in Bogotá (Colombia): “busetas” (small city buses).

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Kab has a big impact, is very legible and at the same time has plenty of details that makes it really unique.

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Künstler Grotesk is one of a number of typeface designs that attempts to reconcile Germany’s blackletter tradition with the international familiarity of roman letterforms in a simple, robust design suitable for meeting the demands of a modern industrial economy, while rejecting the extraneous ornamentation of the departing Victorian era.

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MVB Solano Gothic Bold was originally designed as a display face for the City of Albany, California, located on the San Francisco Bay facing the Golden Gate Bridge and bordering the the Berkeley hills. Named for the City’s main street, the typeface needed to work on signage in proximity to older buildings, in contemporary settings, and for general print and web use. Rather than creating a neutered design to cover all bases, Mark van Bronkhorst chose to develop a simple, strong, condensed face that would offer flexibility of style by providing both retro and neutral forms.

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The first sans serif types were made in London in the early 19th century. They were severely modern, all caps and bold.

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Aldrans Medium is a homage to the poster style used in the 1920’s to promote skiing in Austria.

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Glow Gothic BF, like its predecessor Subliminal BF, represents further exploration into typographic special effects. In its original form, it features letters that are transparent, with an opaque glow. Glow Gothic Overlay and Glow Gothic Underlay share identical spacing values and are designed to be used together. Though “Overlay” can certainly be employed as a separate, stand-alone, solid font, using these two together allows for greater color and (tighter) kerning possibilities —see Gallery Images.

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Lucian Bernhard was an artist and teacher who began designing the typefaces that bear his name for the Bauer type foundry in Frankfurt in 1912. Bernhard Bold Condensed was designed in 1937 and released as Bernhard Antiqua Bold Condensed. The lower case has a huge x-height, leaving practically no room for ascenders and descenders. The outlines of the capital and lowercase alphabets are slightly roughened and the edges rounded, giving it the appearance of being rubber stamped. The counters are very narrow with curved tops and bottoms.

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Pauline is a sans serif with a strong influence from retro scripts. Pauline is a geometric face formed with slow and deliberate rounded brush strokes. The tall ascenders give it a useful touch of naïveté. It’s a face suitable for some interesting titling and short bits of copy.

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In the 1930s, it was popular to take day-trips by train to the seaside in the British Isles.

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Re-tooled from the QBF Collection.

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Franklin Gothic, one of the most popular sans serif types ever produced, was designed by Morris Fuller Benton in 1902 for American Type Founders. In 1979, under license with ATF, Vic Caruso began work on more weights of the design for ITC.

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Based on Hispalis from the Spanish foundry, Nacional.

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In 2007, insigne released Aviano. It’s beautifully drawn extended letterforms were a hit with designers and Aviano quickly became insigne’s most popular offering of early 2007.

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Designed by Eric Gill and released by the Monotype Corporation between 1928 and 1930, Gill Sans is based on the typeface Edward Johnston, the innovative British letterer and teacher, designed in 1916 for the signage of the London Underground.

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It was our initial intention to develop a suitable lowercase for Les Usherwood's Elston typeface, based on a few characters from an old German typeface called Hermes Grotesque (Woellmer, Berlin).

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Annonce is a digitization and expansion of a 1912 Johannes Wagner Foundry classic called Aurora Grotesk, which also circulated later on in metal under the name Annonce.

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Variable is a sans-serif monoline typeface family that can be used in a variety of typographic environments.

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Bayer Sans, is based on the typography of the Austrian-born artist Herbert Bayer. Bayer worked as a teacher and graphic designer at the Bauhaus, a revolutionary German art school, during the 20’s. His specialty was commercial art and he had many “radical” views on typography and its interaction with society. Bayer felt that written language should be merely a graphic version of spoken language. Thus, he advocated a single alphabet without majuscules and miniscules. Bayer’s designs are simple, geometric letterforms that lend themselves to lowercase form. This font, based on the typography of Bayer and his students at the Bauhaus Werkstatt (studio), was digitally modeled by Noah Rothschild. Bayer Sans features a complete character set including European characters, alternate letters with adjusted widths and designs and ligatures. Included are the “f” characters and a special linked double-o.

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The Pacific Standard Bold was originally designed as a - capital only - poster typeface for a poster for the 30th International Film Festival Rotterdam in 2001 in the Netherlands. Theme of the festival was ‘ports’. The design is inspired by the unpretentious typography often seen in ports.

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Herb Lubalin and Tom Carnase based their 1970 design of ITC Avant Garde Gothic on Lubalin’s logo for Avant Garde Magazine. The condensed fonts were designed for the International Typeface Corporation in 1974 by Ed Benguiat. ITC Avant Garde Gothic is a geometric sans serif type, that is, the basic shapes were made with a compass and T-square; the design is reminiscent of the work from the 1920s German Bauhaus movement.

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Helvetica’s 50-year anniversary celebrations in 2007 were overwhelming and contagious. We saw the movie. Twice. We bought the shirts and the buttons. We dug out the homage books and re-read the hate articles. We mourned the fading non-color of an old black shirt proudly exclaiming that “HELVETICA IS NOT AN ADOBE FONT”. We took part in long conversations discussing the merits of the Swiss classic, that most sacred of typographic dreamboats, outlasting its builder and tenants to go on alone and saturate the world with the fundamental truth of its perfect logarithm. We swooned again over its subtleties (“Ah, that mermaid of an R!”). We rehashed decades-old debates about “Hakzidenz,” “improvement in mind” and “less is more.” We dutifully cursed every single one of Helvetica’s knockoffs. We breathed deeply and closed our eyes on perfect Shakti Gawain-style visualizations of David Carson hack'n'slashing Arial — using a Swiss Army knife, no less — with all the infernal post-brutality of his creative disturbance and disturbed creativity. We then sailed without hesitation into the absurdities of analyzing Helvetica’s role in globalization and upcoming world blandness (China beware! Helvetica will invade you as silently and transparently as a sheet of rice paper!). And at the end of a perfect celebratory day, we positively affirmed √ la Shakti, and solemnly whispered the energy of our affirmation unto the universal mind: “We appreciate Helvetica for getting us this far. We are now ready for release and await the arrival of the next head snatcher.”

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The original Rockwell was produced by the Inland typefoundry in 1910, which issued it as Litho Antique; American Type Founders revived the face in the 1920s, with Morris Fuller Benton cutting several new weights.

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A real heavy weight, a chunky sans serif that packs some real Punch. No fancy frills here.

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Is it a Bird? Is it a Plane? Is it a Rocket?

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Concurso Italian was inspired by travel posters of the 1920s. Use it for travel posters, passports, luggage stickers or an elegant vintage look.

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The Eagle series realizes the ideas behind Morris Fuller Benton’s famous titling, Eagle Bold, the symbol of American recovery, drawn in 1933 for the National Recovery Association.

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Bigticy is a typeface with a "new-retro" feeling. Its square outline is tempered by rounded angles. This makes it suitable for a large range of applications in the domains of magazine headlines and posters.

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Leitura Headline is part of Leitura Type System and was specially designed for editorial purposes.

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Originally released by the Stephenson Blake foundry in England, Doric is modeled on one of the sans serifs of William Caslon IV, who was the first to interpret sans serif letterforms into a typeface (1816).

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Digitally engineered by Steve Jackaman. Originally in five weights, Steve produced three additional weights.

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RiptCure is a futuristic, but usable typeface for everything from logotypes to magazine headlines.

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Scentogram is a deco font inspired by some 1950-60 ads.

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Umbra was designed by R. Hunter Middleton for the Ludlow Corporation in 1935. This is a three-dimensional typeface, unique in that the main character shape is defined only by its shadow.

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Systematic variation of Art Deco capitals in Cassandre’s posters led to Anisette. Rich contrasts in width and weight of hand-lettered geometry suggested a hidden typographic opportunity.

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Escoffier Capitaux is named for culinary legend Auguste Escoffier (1846-35) and inspired by lettering used in vintage French advertising – including the work of commercial illustrator/fashion designer Ernst Dryden (1887-1938)

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Straight from the ‘extras’ drawer at the old West print shop, the mismatched Sluicebox character set is comprised mainly of serif type specimens.

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An original design, based on a very early turn-of-the-century typeface from the defunct Keystone Type Foundry, Philadelphia.

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A delightfully odd assortment of characters: some letters are futuristic in design, while others are derived from classical Greek forms.

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Hamburger Font BF is an endearing tribute to the lettering style of a logo, long retired, from a certain chain of fast food restaurants.

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Designed by Les Usherwood. Digitally engineered by Paul Hickson. Another typeface from Les Usherwood that was released after his 1983 death.

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Ever think that supermarkets are becoming less personal and more clinical and cold? What will cost you less than a trip to the supermarket and put a smile on your face?

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Old Paris Nouveau is based on letterpress stylings of modern roman alphabets from the 1920s. Adapting the nouveau sensibility to the digital age required several conventions, including several alternate glyphs for specific individual letterforms as well as creating consistent stem weights and x-heights for more effective body copy.

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Designed by Les Usherwood. Digitally engineered by Steve Jackaman. A few weights were originally released by another foundry; but this complete version of the family is a better match to Les’ original drawings!

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An original design.

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In the early 1980s, Steve worked at Typographic House in Boston, Massachusetts. At the time, ‘Typo’ House, as it was affectionately known, was the largest type house in New England. This font was designed and produced during his tenure. The design was so popular that it became available commercially through VGC, and was known as TH Alphabet Soup.

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When I decided to design my own font for my new firm I wanted it to be as simple and legible as possible and for that I took a square with rounded corners, i.e. the letter ‘o’, as its basis.

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In 1992, Red Rooster Typefounders created Block Gothic Extra Condensed based on the TP Collection Block Gothic.

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The typeface was designed after seeing a photocopy of some News Gothic text where the ink had faded on the bottom of each character. As character recognition is generally based on the top half of a character, readability was never compromised. Rather like Antique Olive the characters have a top heavy look when viewed straight on, however, as most type is read at an angle with the top further away than the bottom this top heavy look is diminished.

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Designed by Les Usherwood. Digitally engineered by Steve Jackaman. This typeface is used by a famous European car company in all their marketing!

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Designed by Rudolf Koch and released in 1927 by the Klingspor foundry in Germany, Kabel is named in honor of the laying of the first trans-Atlantic telephone cable.

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Colo is a custom font which is applicable for any type of graphic design - web, print, motion graphics etc and perfect for t-shirts and logos.

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Soyo Gogo was conceived to really make the most of OpenType features. Using contextual alternates, the letters change depending on what type of letter they're next to. The changes happen as you type, with stems wrapping round curves of neighbors in a cool graphic style.

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Parisine Plus was created in 1999, alongside its brother, Parisine Ptf.

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Hortensia, designed around 1900 by Emil Gursch for his own Berlin foundry, is a typeface most expressive of the post-Victorian aesthetic that was all the rage in both Europe and America during the second half of the 19th century and up until the Great War. It is a reduced aesthetic of sharp points and natural curves that almost want to apologize for their own elegance, but clearly embody the simple excitement about the blossoming of industry and crafts during the period. This deco script trend would get a re-run for about a decade on either side of the second World War — especially in the entertainment and financial industries — before giving way to art nouveau and big brush faces.

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Decima+ is a subfamily addition to Decima, a new face by TipografiaRamis.

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C rial is two fonts for the price of one!

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Re-tooled from the QBF Collection.

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Beautiful and elegant, Black Swan BF lives equally in bliss as entrance signage for an exclusive housing subdivision, as it does on the cover of a hot new music CD.

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Deisgned by R.H. Middleton. Digitally engineered by Steve Jackaman. Based on the original Ludlow drawings, circa 1938.

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SavoryPaste is a grungy sans serif from insigne. SavoryPaste includes 64 discretionary ligatures of the most common letter pairs for a more natural look without distracting repeating characters. The typeface family also includes OpenType small caps, old style figures and alternates without filled counters. The SavoryPaste family also includes a completely interchangeable and more restrained alternate.

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Estilo is a very elegant headline typeface in a 30s style with plenty of ligatures for better design possibilities and includes Greek.

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The Rotis family was designed in 1989 by Otl Aicher for Agfa; his last type design.

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