Arte Critique JNL was modeled after an alphabet in an early 20th Century French lettering book spotted online at an image sharing site.

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Rondka is a sentimental reminder for those who have not forgotten what is a pen with a broad, flat nib. Digitalized from a brochure of letter patterns for teachers and clerks, published between the world wars, it is most appropriate for books of folk songs.

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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 object of Grover was to join two distinctive typeface designs: the basic European gothic of the late nineteenth century and the ‘rounded’ style found in 1960s America.

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This early 1900s type is from the German foundry of Schelter & Gieseke, and is typical of early twentieth century design.

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Everyone in each member country of the European Economic Community is represented by a Member of the European parliament. An MEP.

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Jeanne Moderno is a revisionary type family.

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Secca is a fine and simple typeface honoring the roots of early German grotesque type designs but mastered for the needs of today.

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In 1952, Aldo Novarese and A. Butti designed Microgramma for the Nebiolo foundry. It was a popular face, but was available only in capitals. In 1962, Novarese produced a full character set, including lowercase letters, and the foundry renamed the family Eurostile.

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Karmina Sans follows the steps of its successful award winner cousin, Karmina Serif. It shares the same technical excellence and it achieves similar stylistic features, but the new sans serif version proposes a much more versatile tool for editorial designers.

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Houschka has the humanist qualities reminiscent of Gill and Johnston but is quite unique. It is more monolinear with rounded corners giving it a softer appearance, and has a few interesting character quirks like the capitals A, G, Q, W and lower case u and w.

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An original design.

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Youngblood is a non-connected formal script with tall, sweeping ascenders and two alternates. These alternate forms can be mixed and matched for a custom look, and Youngblood is stronger in weight and is better suited for display work than most script fonts.

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In Cooke’s ongoing quest for simplicity and elegance he developed this striking alternative sans family.

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Based heavily on Gill Sans especially in the mid weights, Astoria has a subtle top left serif which makes it not quite a Roman and not quite a Sans. Designed specificaly as a text face it still works very well as a headline font.

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Montag is an extended, rounded sans-serif.

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Designed by Les Usherwood. Digitally engineered by Steve Jackaman. Originally in one weight, Steve designed and produced three additional weights.

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

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Adagio Pro… sounds like music, elegance and classic quality. That’s exactly how Adagio Pro carries the message to the reader. Adagio Pro is a rather formal script with very beautiful, generous and swashy upper case that were redesigned, digitized, completed and expanded as OpenType in the profonts type studio.

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Loosely based on Prumyslava, an old Monotype design.

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Inspired by a piece of cigarette pack lettering by the great A. M. Cassandre, Nick designed the rest of the characters as an experiment. Geetype evokes the 1920s & 30s and is an unusual, eye-catching display face.

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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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In spite of its name, this font family embodies the ultimate classic modern advertising typeface, rather than concern itself with revivalism or Didone authenticity. Naturally the spirit of the original Didot faces still exists in this family, but over twelve years of work on it have made it more fitting to the luxurious expression of our day and age, rather than nineteenth century Europe.

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In spite of its name, this font family embodies the ultimate classic modern advertising typeface, rather than concern itself with revivalism or Didone authenticity. Naturally the spirit of the original Didot faces still exists in this family, but over twelve years of work on it have made it more fitting to the luxurious expression of our day and age, rather than nineteenth century Europe.

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Updated in 2009, Chennai has new weights and OpenType features. Chennai is a simplified sans-serif with a full complement of OpenType alternates. The typeface is rounded, slightly extended and geometric. Over fifty OpenType alternate characters are available, including swashed lower forms, traditional caps and a traditionally formed lowercase. Chennai also includes seven style sets, oldstyle figures, and small caps. Please see the sample .PDF to see these in action.

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Although a sans serif, Colosseum owes its style to the original Trajan Roman form. Borrowing some characteristics from Friz Quadrata, in its san serif form it is more adaptable to text usage whilst still having a modern and original look which works well in headlines.

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In 1995, FontHaus came upon a rare opportunity to create a revival of Aries, a little known and previously unavailable typeface by the legendary Eric Gill. Discovering a lost typeface by one of the major designers of the 20th Century, was the discovery of a buried treasure, and being the first type company to release it was an honor.

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Created in 2009 by V.H. Fleisher, Monod is a geometric sans serif typeface.

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Created in 2009 by V.H. Fleisher, Monod Brun is a geometric sans serif typeface.

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Ballerina Pro… sounds like music, ballet, elegance and classic quality. That’s exactly how Ballerina Pro carries the message to the reader. Ballerina Pro is more of a formal script, light-weighted and quite beautiful, redesigned, digitized, completed and expanded as OpenType in the profonts type studio.

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Chennai Slab is an extension of the original Chennai.

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Based on a turn of the century design.

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The story of Serena is a unique one among revivals. Serena was neither a metal face nor a film one. In fact it never went anywhere beyond Stefan Schlesinger’s 1940-41 initial sketches (which he called Saranna). A year later, while working with Dick Dooijes on the Rondo typeface, Schlesinger was sent to a concentration camp where he died, along with any material prospects for the gorgeous letters he'd drawn.

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In searching for a Roman to use there were bits of Bembo,Times,Garamond etc., that I liked and bits that I did not. So I set out to take the best bits of all my favorite Romans and tried to create the ultimate Roman typeface.

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Many fonts have carried this name. Ours goes back to just before 1900 in France. This general style had considerable popularity among job printers all over Europe. We have even seen it used for name imprints on medical school diplomas, which seems a bit grotesk.

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A modern geometric typeface influenced by the Dutch designer Wim Crouwel.

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Amity is a unicase type design in the spirit of Bayer Universal and its 1970’s child, Bauhaus. The lower case combines capital and lower case letterforms in a slick, inherently chuckable set led by a bespoke monocular “a”. An upper case of lining “capitals” compliment the lower case. The deftly-worked-out modular structure, employing quarter rounds and the seldom-used principle of overhead underhang, ensures great fit with very little need of kerning—most letters are strictly lining and occupy a square footprint.

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Gelato is expressive, and fun fusion between calligraphy and stencil producing a unique and exciting effect.

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Veranda Poster was derived from a European art supply manufacturer’s logotype done in the Vienna (Wien) Austria style.

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Helvetica Inserat is a heavy condensed face with short ascenders and descenders. It was released in 1966 by the D. Stempel foundry. “Inserat” is German for advertising and, accordingly, is ideal for display uses such as advertising, billboards, and news headlines.

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New Telegraph is designed for daily use on any good occasion. This typeface keeps a fine legibility even in small sizes.

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A linear modern typeface suited for branding & advertising projects. The variations in weight give great contrast when used across body
copy & headlines.

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Created in 2008 by V.H. Fleisher, the Jerzy Gothic font is a geometric sans serif typeface.

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A modern digital typeface inspired by the 1976 sci-fi film Logan’s Run.

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Phe Prin font is hand-drawn.

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Kairengu is a casual and lively rounded sans serif. The characters are “gloopy” as if ink was poured onto page surface. Kairengu is a great choice whenever you need an amusing face with a lot of character.

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Just as paella is more than a dish of rice and seafood, Vigo is more than the sum of its parts. It’s a spicy mix of old and new; a modern take on a 20^th century sans serif letterform. A blend of primitive lines, brutal curves and a pinch of beefy serifs gives Vigo a hearty weight with a touch of bravado. It feels masculine, modern and timeless all at once. Get a fork and let Vigo satisfy your appetite. ¡Ola!

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The object of Grover was to join two distinctive typeface designs: the basic European gothic of the late nineteenth century and the ‘rounded’ style found in 1960s America.

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Created in 2007 by V.H. Fleisher, the Jules font is hand-drawn.

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This sans serif type was completed in 1985, a descendant of the earlier serifed Congress shown for the first time at the Association Typographique International Congress, which proved to be so popular in 1980 at Kiel; designed to present a style equally appealing in European languages.

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The Raoul font was hand-drawn. It is ideal for posters and is legible at smaller sizes as well.

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Copacabana is heavily based on one of my favourite typefaces Goudy Old Style Italic. It is sharper and more clearly defined than Goudy yet still retains it old style characteristics. The face is slightly angled so is basically upright whilst still retaining Italic characteristics.

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Designed by M. Fahrenwaldt for the Schriftguss foundry in 1929, Minister is a contemporary design based on Garalde types.

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Very unique 14 weight family comprising serif Caps and semi-serif lower case.

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A geometric san serif typeface influenced by Theo Van Doesburg and the De Stijl movement.

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Designed by Les Usherwood. Digitally engineered by Paul Hickson.

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This is another of those early 20th century, post art nouveau types from Europe. Probably German.

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

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Created in 2008 by V.H. Fleisher, the Lazlo font is hand-drawn.

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The Rosenfeld font was hand-drawn.

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Based on the original design, circa 1927.

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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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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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An original design, loosely based on a typeface from an old wood type specimen book from the turn-of-the-century.

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This typeface is derived from capital letters found on an old grocery store sign in southern France. The word épicerie means grocery in French.

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This typeface has been influenced by the ongoing traffic congestion in Melbourne, and its lack of functional and reliable public transport as a possible solution.

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Genovaite Baroniene is former school teacher and a native of Lithuania who loves fancy letters. When she writes, she likes to add extra flourishes to her handwriting and printing. It simply appeals to her to do so. While living in the United States a few years ago and working in the health care field, she put pen to paper to provide a specimen of her writing from which a font could be developed. The process has taken longer than either of us expected. Now we are finally able to present Baroniene ML, a stylishly unique example of what we call Lithuanian Folk Baroque.

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Loosely based on an early 20th century type from the Brussels foundry of Van Loey-Nouri.

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A technical square-edged font influenced by modern architecture and computer aided design.

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Created in 2009 by V.H. Fleisher, the Eldra 90 font is hand-drawn. Eldra 90 is ideal for posters and is legible at smaller sizes as well. The font has an opentype feature, arbitrary fractions, that can be accessed in programs like the Adobe Creative Suite. Supported languages include: Albanian, Czech, Danish, Dutch, English, Faroese, Finnish, French, German, Icelandic, Italian, Norwegian, Portuguese, Spanish & Swedish.

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The Eldra font was hand-drawn. Eldra is ideal for posters and is legible at smaller sizes as well.

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Sava is a calligraphic capitals and small capitals design by Jovica Veljovic. Available in six weights — light, regular, medium, semibold, bold and black — it includes support for most western and central European languages, as well as for Greek and many Cyrillic languages. Typographic features include a series of non-standard ligatures and a large collection of specialized Byzantine ornaments.

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