Project a powerful image with Sommet.

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Tachyon is a family designed by Ethan Dunham that has clean simple lines.

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Alpha is a modern Sans Serif design, very elegant and readable but still also economic. Alpha is offered in regular, bold and italic, with the bold italic still in the works. Alpha is strikingly clear and without any flourishes. Its pretty large x-height guarantees excellent readability, and the design is easily recognized.

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The Sommet series has been updated with a rounded variant.

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Mentone is a new general purpose typeface, an attempt at extending the line of the great sans-serifs of the previous century, Frutiger - Stone Sans - Myriad.

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Montauk Pro is named after a small village in Suffolk County, New York on the South Shore of Long Island. It is the easternmost area in Long Island, and thus the easternmost area in New York State. It is home to Montauk Point State Park, site of the Montauk Point Lighthouse. It is named after the Montauk Indians.

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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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Sonora is a new profonts script typeface family supplied in the new OpenType Pro font format. Sonora contains six styles as light, medium, bold and the corresponding italics. The character set covers about 1.500 glyphs for the complete Latin character set (West, East, Baltic,Turkish, Romanian), and a huge number of handmade ligatures and alternates to make it a perfect OpenType Pro connecting script.

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A set of square capitals developing from the interest in geometric forms stimulated by the Bauhaus, Bank Gothic was designed by Morris Fuller Benton for ATF in 1930, the same year that Georg Trump designed City for Berthold.

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The letters DIN refer to the Deutsche Industrie-Norm, the German Industrial Standard; among their many uses, these typefaces are seen on most road signs and license plates in what was formerly West Germany. One of the primary criteria for the DIN Schriften design was a facility for reproduction. There are four geometric sans serif typefaces, of roughly the same weight but of various widths, from quite round to condensed.

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A longtime font favorite of his, Michael felt that a set of lowercase characters would make Bank Gothic a more universally useful font. He set out on this ambitious task always mindful of the huge presence of its original designer, Morris Fuller Benton, hoping that whatever he did would live up to the high standards of this former giant of the font world.

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Vox, an extensive monoline sans serif family, is the manifestation of the idea for a typeface that can be both precise and friendly, yet contain enough choice of totally interchangeable variation for a more defined appearance, ranging from the clean and nondescript information relayer to the angular, futuristic and sleek headline maker.

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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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Dienstag is an extended sans-serif and a new companion to insigne’s popular Montag family.

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Named after her 1968 Volkswagen Bug “Emma,” Kanna Aoki’s Emmascript reminds us of the unmistakable quirks of everyday handwriting. Idiosyncrasies of this whimsical ballpoint script include the looping lowercase “r”, the “A” resembling an oversized “a,” and the curlicue question mark.

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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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Galette is a contemporary all-purpose sans-serif for printing and online delivery, allowing the use of one layout both as printed material and online without loss of quality or legibility. Not only a high resolution printing font with extensive kerning, it was designed from the ground up for clear and uniform display on the computer screen. It displays more predictably than the traditional fonts: no overhangs are used, the stroke thickness of capitals and lower case letters is identical, making hinting or antialiasing smoother at any point size and zoom combination.

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Teaspoon was originally designed by Haley Fiege as a project-specific font in 2007, then completed and produced by Canada Type for commercial viability in 2008. With a personality that can only be described as “ironic cute”, it serves as a much needed alternative for the old overused poster faces, such as Cooper Black and Gill Sans Extra Bold. Words that look good set in Teaspoon include puppies, rainbows, salmonella poisoning and Tom Cruise.

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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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This font is based on an alphabet published by Luca Pacioli in his 1509 mathematical treatise De divina proportione. In this book, Pacioli describes how to build the Roman alphabet geometrically using lines, squares and circles.

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Here is an extremely efficient and uncluttered typeface that you can use in a variety of situations.

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Designed at ParaType in 1997 by Tagir Safayev.

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Hermann Zapf’s Palatino, designed for the Stempel foundry in 1950, is one of the most widely used typefaces in the world today.

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Terfens is a sans serif with inspiration from chancery scripts like Stefania. Subtly rounded and eschewing harsh technical lines, Terfens is a warm and inviting typeface. Its tall x-height gives it a friendly but not overly informal feel.

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The Taz type family was originally developed as a headline typeface for taz - short for Tageszeitung - a nation-wide German daily. It was, and still is, the cornerstone of the paper’s strong, trustworthy visual identity. Says Luc(as): "For a headline font, you want the lines to be as closely line-spaced as possible. The accents on the capitals - a very common feature in German - cannot take up too much space." Ascenders and descenders were kept short for maximum impact.

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Hydrogen is a clean geometric unicase family that expresses the mechanics, expansive technologies and conflicted ethics of the rapidly changing 21st century. By popular demand, it is the round and streamlined counterpart of Oxygen. Coupled with the right measure of Oxygen, Hydrogen becomes water, the ace of elements — rhythmic, dynamic, ever-flowing, and understood by everyone.

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Skyler is a rounded sans-serif with a familiar feel and distinctively modern letter forms.

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Originally, Arabella Pro was designed by Arnold Drescher around 1936/1939. Drescher created this wonderful script for former Germany typefoundry Joh. Wagner. The typeface has been redesigned, digitized, completed and expanded as OpenType Pro in the profonts studio by Ralph M. Unger.

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Welcome to the end of the tunnel, where the real electricity is. Forget about sliced bread, the wheel was what got us here in the first place. And fire is what we're full of. And don't we just love it!

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Based on a John Matt design for a roman and italic font from the 1960s, Garth Graphic was acquired by Compugraphic Corporation and redesigned and expanded to eight weights by Renee LeWinter and Constance Blanchard for its 1979 release.

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Valentine is new profonts script typeface family with versions in light, light italic, medium and medium italic, supplied in the new OpenType Pro font format. Valentine contains about 1,100 glyphs for every weight, covering the complete Latin character set (West, East, Baltic,Turkish, Romanian), and a huge number of handmade ligatures, character combinations and alternates to make it a perfect OpenType Pro connecting script.

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Based on the earliest ATF/M.F. Benton versions of the Bank Gothic typefaces. ‘Fleshed-out’ into a full family.

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Motoring at top speed calls for your own high-performance machine and a special racetrack font to run it on. Speedway was built with blacktop smooth caps to ease you through those short and dangerous curves. And its sleek, aerodynamic lowercase linking makes getting your speedy cruiser to the checkered flag a breeze. Developed in typeface alley for discriminating designers.

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José Mendoza began working with type in the early 1950s when he was an assistant to the innovative French graphic and type designer Roger Excoffon.

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Designed at American Type Founders in 1930-33 by Morris F. Benton.

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Antigen is a forceful and fresh typeface with a strong futuristic feel. Its characters have a wide stance, and the lettering is subtly rounded.

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Durer Caps is four fonts in one.

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Coconut is a round and heavy unicase font with the techno, squarish, grid-based squeeze that of late seems part of almost every contemporary pop designs. It works as the 21st century display substitute to tired last-century horses like Frankfurter, VAG, or the rounded Helveticas, Futuras, and DINs out there.

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The Naughties font was meant to be a happy new typestyle for a naughty new decade. It turned into a neo-classic FUN font. This font is sent to you from the light-hearted, long-ago past of 1999 in an effort to promote a new name for the current decade.

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Bigfoot is the fattest font ever made.

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Progress is developed from another Alias typeface, Enabler, with purified, rounder, more organic forms to make it suitable for text and bold weights.

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A contemporary interpretation of grotesque (historic) typestyle, relying on geometric shapes applied to a grid. Idiosyncrasies within the typeface are based on how this grid is constructed and applied rather than those inherent in drawing type with a pen or cutting from a block of wood. Other grot types retain the quirks of original woodcut typefaces. Elephant has a different vocabulary of quirks that remove it from being too reverential or constrained to a historic context.

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An elegantly proportioned, crisply modern sans serif with true italics and two sets of figures (lining and old-style numerals).

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The name Corpid derives from “Corporate Identity” - which is what this family of low-contrast sans-serifs was made for. Corpid was originally commissioned by Studio Dumbar in the Netherlands as a corporate typeface for the Dutch Ministry of Agriculture, Nature Management and Fishing. The font was designed to replace the existing standard typeface (a well-known business-like sans-serif) to provide the organization with a unique and strong identity.

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Five years into the 21st century and the promise of nanotechnology, high-end popular culture design seems to thrive on combining opposites and drawing a fine line between traditionally contradictory ideas. This is seen in modern society’s usual cultural frontrunners - like consumer electronics, fashion items, music packaging and publications, where it is evident that traditionally complex marketing statements of fashionability and lifestyle are attempted with simple minimalism. But at the typographic end of this realm, the creative majority still uses old faces that help the modern statement only in passing. Some of the more adventurous creative professionals actively seek new elements to emphasize contemporary impact in their modern design.

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Quantico is an angular typeface family that was inspired by old beer packaging and military lettering. It utilizes 30 degree angles and completely straight lines to form unique character shapes.

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Santa Fe is a profonts script typeface family supplied in the new OpenType Pro font format. Santa Fe contains six styles as light, medium, bold and the corresponding italics. The character set covers about 500 glyphs for the complete Latin character set (West, East, Baltic, Turkish, Romanian), and a large number of handmade ligatures and alternates to make it a perfect OpenType Pro connecting script.

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Organicon is based on the geometric forms used in chemical formulas and tables.

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Here’s an intriguing mixture of 1930s deco and modern tech fashion.

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Quite unusual, Musenberg started his Raldo design with the italic. However, he managed to preserve the temperament and vividness of the italic in the roman without questioning the stability of the indivdiual characters.

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Furia is a very dynamic handwriting font; use it when you need to generate an impressive and powerful design.

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Tricky is a modern and dynamic design which is enhanced and supplemented by Tricky Tracky following soon.

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Eurobrush Pro is a new handwriting script designed by German type designer Ralph M. Unger. He produced not only the standard Western character complement, but added all of the Eastern European Latin glyphs and, on top of that, even the complete Cyrillic characters. Born and grown up in Thüringen, former East Germany, Unger has a fair knowledge of Polish and also Russian (Cyrillic).

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Ubiquity: the possibility to be in several places at the same time; this could be the definition of a typeface like Ubik. Its applications are numerous and various: books, magazines, posters but also architecture and signs.

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This delicate condensed typeface evokes a distant 1930s style with its pointed and sloping capital letters. The splayed capital M gives the design a very a definite retro flavor. But deco quickly becomes modern day with the use of slab serifs.

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Legende was originally designed by Friedrich Hermann Ernst for the Schneidler foundry.

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When approached to give informal advice on the redesign of the leading German weekly Der Spiegel, Luc(as) de Groot offered to design a completely new headline font. A newly developed typeface, he argued, would lend an unmistakable personality to the magazine. He worked late nights for a week and sent in sketches; the designers immediately ordered six weights. Says Luc(as): "I get a weekly free copy of the magazine as long as the typefaces are being used - it’s been ten years now."

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This typeface is based on Albrecht Dürer’s work “Die Underweysung der Messung” (Institutiones Geometricae, Instruction in Measurement). Please note that this font needs special treatment when typesetting text. If you need black text, you need to type just capital letters separated by spaces. If you need coloured text, type both lower case and upper case (with the lower case character first), and then assign a colour to the lowercase letters only.

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Mixed designs of Futura and Bodoni (Fudonis) are quite popular. Apart from being contemporary, such fonts provide excellent readability. However, most of the existing ‘mixtures’ were not good enough in terms of balance for P. Kraft. He was finally inspired by a noticeable ‘mixture’ in a Japanese fashion magazine.

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Get your goggles on. You're on your way to the Metaverse, where no subject is off limits, everyone has an avatar, and reality is subjective. The world can be turned off or on at your very whim. Never mind the markets, resource counters, national inflations, caviar-loaded barons, environmental surprise, or who will nuke whom first. In 2D it’s all peace and understanding. This is the great escape, shell, shield, your real fury against furious reality. One fist in the air is the start of a revolution. Two fists are the end of a victory. You are in between.

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A semi text type with thin stresses, in Granite Semi Stencil the overall weight of the Granite Regular has been decreased by a set unit which has obliterated the stress to leave white space. This gives the typeface an idiosyncratic almost arbitrary take on the utility Stencil aesthetic.

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Aminta is an eclectic and expressive take on the Courier aesthetic. Aminta mixes the utility aesthetic of Courier, the default computer typeface and subversive piece of non-design graphic designers are presented with in the top left hand corner of Quark documents, and eclectic and expressive letterforms derived from drawing and handwriting.

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