Movatif is a 7-weight, mashed up 20^th Century sans, with ideas from a variety of fonts from that Century.

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There are no straight lines in Everafter. The vectors were all drawn and tweaked by hand (and mouse) for a softened, wobbly appearance.

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The specimen book Alphabete: ein Schriftatlas von A bis Z identified the pattern for this typeface as Stymie Black Flair. Although neither the designer nor the original foundry is identified, it bears a strong resemblance to the work of Dave West for Photolettering in the 60s and 70s.

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Break out the gold chains and unbutton those shirts!

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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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Steve Jackaman has refined and optimized Jolly Roger for digital release. The original design was created in 1970 by the legendary American type designer Phil Martin, founder and creator of the Alphabet Innovations and TypeSpectra type collections.

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A powerful yet elegant script a unique look.

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Jazz Gothic is a digitization and expansion of an early 1970s film type from Franklin Photolettering called Pinto Flare.

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Based on a disco-era typeface named—perhaps not surprisingly—Disco, this offering has strong geometric elements which blend together nicely to form tight, commanding healines.

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Baby Fat, designed by Milton Glaser in 1964, saw a lot of action during the psychedelic poster phase. This little dumpling is based on that workhorse, and takes its name from a phrase that also got around a lot in the 60s.

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Quiff is a laid back surf style font with a hand drawn feel. There are loads of ligatures, and alternate forms of s, c, y, g, j and & characters.

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Steiner Special is a revival and expansion of an art nouveau face called Swing, originally designed by Peter Steiner in 1974. Some of the original film type letters were slightly normalized and toned down for concept consistency, though this digital version lacks none of the original face’s charm and sunny disposition.

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The late 70s and early 80s is sometimes considered to be the period when headline typography went off the rails.

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Xenotype is an examination of heavy horizontal weighting and develops ideas underlying 60s and 70s headline faces.

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Charade is a soft, resonant design that suggests comforting warmth, joy and cosiness. It harks back to the 60s and 70s, flower power, parties and having a good time.

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The three typefaces that make up the Balance font set are legible, funky and stylish. Every character has been spaced and designed on a uniform geometric grid to insure true typographic “balance.” There are only two shapes that make up every character: a parallelogram and a quarter circle. This design renders Balance a distinct family of fonts which are appropriate for all documents.

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Straker is named after the beige Nehru-collared commander in Gerry Anderson’s masterpiece, UFO.

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A popular typeface that has been widely used since its introduction by Letraset in 1972. This new and improved version includes many free-flowing swash alternatives that give designers more freedom for experimentation. Produced by Phillip Kelly in the Letraset Type Studio, based on his and Mike Daines' original design.

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Jimi is a tribute to classic rock posters of the sixties and seventies. It was inspired by and modeled after a 1969 sheet of dry transfer letters.

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Yayazout JNL is the Rock and Roll equivalent of Jeff Levine’s other “Love Generation” font, Positive Vibe JNL.

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Goudy Fancy was originally released in the 1970s and was not previously available in digital form until revived by Josh Korwin in 2004.

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Lazar takes its inspiration from the designs of early Russian designers like El Lissitzky.

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Uniwars is 16 styles of Japanese corporate technical minimalism: ideal for electronics, military, robots, spacecraft, videogames, construction or sci-fi.

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This decorative, headline or logotype geometric font consists entirely of lowercase letters. The glyphs of uppercase are rounder than their lowercase counterparts, allowing playful interaction within words, contrasting round and square shapes.

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Rimouski is a light geometric font family. The OpenType version features class-based kerning and autoligs. If your software supports OpenType autoligs, certain letter pairs will be automatically replaced with custom letter pairs as you type. You can also use the OpenType titling and stylistic alternates feature to access right and left flipped variations of A, M, V, W, v and w.

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Based on ten characters found on the cover of a 1960s Blue Note jazz album.

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A basic sans serif letterform was used to create the impression of broken glass in this unique typeface. Shatter is a long-time favorite of users of Letraset type products and is now available in the Fontek range by popular request. Created by talented designer Vic Carless.

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No mystery here: this monocase neon face is based on the old logotype lettering for The Electric Company TV show. This version adds a little jolt with happy outlet characters in the dagger and double dagger positions, a plug at the section mark, and a rather novel treatment of the mu character.

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The Hondo Grunge fonts are a collection of ultrabold eroded slab serif typefaces with a dynamic look and extended functionality. Accented with decorative and functional inktraps and complete with Slant and Backslant styles, this heavyweight has a high performance hardcore edge to it. Ideal for titling, poster work, logos, and small bits of copy.

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Plywood is based on a long lost American film classic: Franklin Typefounders’s Barker Flare from the early 1970s.

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Celebrity is a new execution of a film type concept put forth by Willy Wirtz in 1971. The original idea, called Latus, had many irregularities and unfit characters that are now fixed and expanded in this digital version.

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A soft, monolineal script face supported by a unique set of free flowing initial capitals. The timeless qualities of Glastonbury make it an excellent choice across a spectrum of display purposes. An early creation of noted British designer Alan Meeks.

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Two-flavour stripes feature in this geometric font that is reminiscent of the Deco styles that adorn seaside ice-cream parlours and arcades.

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The history of this font is those. Once I assorted the old children’s books which have stayed from times of my childhood. On one of them I have seen a trade mark of a printing house consisting of two Russian letters “L” and “B”. From they were begun also with my font. And though finally from these letters a little that remained, elements of these letters can be seen in font D-block B.

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In 1968, Adrian Frutiger was commissioned to develop a signage system suited to the architecture of the new Charles de Gaulle Airport outside Paris; he designed a simple, clean, robust sans serif type that is highly legible. In 1976, Frutiger completed the family for the Stempel foundry.

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This revival of Harry is based on the original design by Marty Goldstein (and C.B. Smith).

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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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The standard American sanserif of the first two thirds of the twentieth century, prepared for ATF by Morris Fuller Benton in 1908 under the name News Gothic, with a matching lightface known as Lightline Gothic. Linotype’s Trade Gothic follows News Gothic except for its widely-spaced straight-sided boldface based on ATF Alternate Gothic No.3. Linotype matches News Gothic Bold, a boldface version that originated at Intertype, with Trade Gothic Bold No.2. Ludlow Record Gothic follows News Gothic more loosely.

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The typewriter was patented in 1868 by Christopher Latham Sholes, who sold his rights to the Remington Arms Company in 1873. The first typewriters were initially thought to be replacements for printing and so typewriter keybars utilized printing types; monospaced typefaces, that is, those designed so every letter takes up the same amount of space were a more practical alternative and soon replaced printing types.

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Herbert Bayer of the Bauhaus School in Dessau, Germany, designed the inspiration for ITC Bauhaus, known as the Universal typeface, while he was teaching there in 1925. Ed Benguiat and Vic Caruso redrew the typeface in 1975. ITC Bauhaus is a rounded sans serif design whose forms were developed from the straight edge and compass. ITC Bauhaus can be used in period pieces reminiscent of the 1920s and the Art Deco era; its simple, clean lines and not-quite-closed counterforms make it noticeable in display settings.

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This font takes its name and the overall shape from modern bentwood furniture, namely Scandinavian designs since the 1940s. The curved corners of the letterforms are practically hyperbolic, to convey the tension and strength of the bent plywood. These curves are meant to appear more dynamic than circular or elliptical segments of traditional sans serif fonts.

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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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Serifa was designed by Adrian Frutiger for the Bauer foundry in 1967. The letterforms are based on those of Frutiger’s earlier sans serif design, Univers. Square, unbracketed serifs have been added, making this a slab serif (or Egyptian) typeface.

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Mahalia draws inspiration from vintage hand-lettering, but adds a modern, European twist.

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The 1974 design for ITC Lubalin Graph is based on Herb Lubalin’s earlier design of ITC Avant Garde Gothic. The basic geometric character shapes are identical in both designs, while Lubalin Graph has the added feature of slab serifs.

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Thrown from the pages of SPIDER-MAN: BLUE, DAREDEVIL: YELLOW and HULK: GRAY comes BIFFBAMBOOM!

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The Player family started as a straight-forward revival of a film face called Ivy League, an early 1970s VGC classic that was very popular with designers of sports paraphernalia. A few hundred liters of coffee later, the revival of a single condensed font has become an 11-font ambitious attempt at being the last word in athletic lettering.

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Based on the Robert Wiebking design for either Western or BB&S, circa 1918.

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One can never be too tall or too thin, the old adage goes. Sympathique is quite fashionably both.

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Coolvetica is a scratch built, sans serif font, based on an American chain store logos circa 1970. This was an era where everyone was modifying Helvetica. Not only for logo designs but even font designers were at it.

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Designed for the Monotype Corporation in the early 1900s by F.H. Pierpont, Plantin is named for the sixteenth-century Antwerp printer Christophe Plantin. Although not based directly on his work, the model for Plantin was taken from the huge collection of type Plantin had procured.

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Changeling is a redesign and expansion of China, a Visual Graphics Corporation typeface from the mid 1970s designed by M. Mitchell. The original face had only one weight (similar to Changeling’s Bold), caps only, with a few alternates. In Changeling, many characters have been redesigned for better setting and more even color. Lowercase-style variants have been added to nearly all the uppercase forms, offering endless “unicase” combinations. Four more styles--Light, Regular, Stencil, and Inline--were added, as well as full character sets, alternate characters for A, M, V, and W, and extensive kerning tables for perfect '70s-style “tight but not touching” spacing.

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Digitalis was created from a desire to make an original æsthetically pleasing rounded typeface using the minimum of strokes. Each character has been reduced to only the most essential elements, yet retains its own beauty and elegance. Due to the contrast between thick and thin it is surprisingly legible when set as text.

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Jezebel is all dressed up for you. And if she can't make your mouth water and eyes light up with love, nobody else can. She’s got bigger hair than Dolly and Elvira together, more tongue than a Kiss concert with Jagger opening, more leg than a Moulin Rouge premiere, more sword than a pirate ship, and more loop than a chartered accountant. She’s the queen of now, the essence of cool, the twenty-first century fox. She’s the ever playful and creative girl with so much talent her art just cannot be restrained. She’s got popular culture on a long but strong leash. She looks gorgeous and positively glamorous no matter what color she wears. And last but not least, she’s got the charisma to make people of all ages want more of whatever it is she feels like offering.

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In 1972, Herb Lubalin and Tony DeSpigna designed this typeface for the International Typeface Corporation. ITC Serif Gothic combines the readability of serif (roman) faces with the simplicity of a sans serif (gothic). It comes in six weights, providing a flexible range of faces for use in advertising, packaging, billboards, or headlines.

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In typographic design, the term biform refers to the mixing of modified small capitals and lowercase letters. The most popular biform face is Peignot, designed by renowned poster artist A.M. Cassandre in 1937 for the French foundry Deberny & Peignot.

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Neon Bugler is a font based on the third 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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Kare 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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Inspired by the logotype from the movie Staying Alive, comes this digital broadway lights style font family known as Digital Disco, (ok, so it was really Saturday Night Fever, the Prequel that was Disco). My favorite scene is when John Travolta bumps into Sylvester Stallone in the beginning of the film. Just look at this typeface and think...“You could be dancing, YEAH!”.

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Tasse can be seen as a straight-sided Futura, a design useful wherever Futura and its derivatives might apply.

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VIP is a humanist sans serif uppercase and figures combined with a freshly redrawn revival of the classic Constanze initials originally designed by Joachim Romann for Stempel in 1956.

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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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Modesto incorporates elements of various early twentieth century handlettering and signpainter lettering styles. There are eight variations of Caps and Caps and Small Caps and three weights of Caps and Lower Case.

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