SB Byte is a classic bitmap typeface and, like most bitmap typefaces, it started life as an experiment in PhotoShop. Byte was designed as a typeface for projects that require a technological feel.

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For people who know my type design work, Lithium may appear as one of my more unusual typefaces. This was my intention, as it was inspired out of another type design experience, but needs to stand on its own.

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SB Degenerate is a dirty, low-down grunge font. Inky, angry, sticky, smelly and stupid. Ug!

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SB Modem is a retro pixel font. It is suitable for projects that require a techno feel and is ideal for projects involving the internet and communications.

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Nick Cooke’s G-Type foundry continues to trailblaze and top of the sales charts is the fabulous Olicana typeface.

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This typeface was created by writing with a brush pen, selecting the best characters, scanning and tracing exactly to maintain maximum character integrity. Extensive kerning ensures an even flow when set as text, so Gizmo appears as quickly-written handwriting.

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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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Inspired by an example of French handwriting ca. 1935.

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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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Pakenham was inspired by Paul Renner’s 1950s creation, Steile Futura. This sans serif font has an upright, modern look with gently turned corners and generously proportioned loops. The overall appearance is squarish and quite compact but friendly and with 30 styles, there is sure to be at least one that will suit your project.

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This lettering was used by the Pabst Brewing Company for their promotional materials. It was later developed into type for ATF.

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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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Neuzon is an inky, textured font based on a an old metal type called Tempo Bold Extended. The OpenType format features letter pair autoligs to help break up the monotony of obviously-repeating letters.

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Subliminal BF presents a cool, distinctive look that’s a superb selection for a wide variety of uses from music CD covers to packaging.

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Everything is a simple, yet beautiful handwritten font.

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First drawn in 1993 by Tobias Frere-Jones for Neville Brody’s Fuse magazine, FB Reactor combines abraded forms with Tesla’s theory of destruction through accumulating rhythmic points of noise.

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Heruina oozes of feminine handwriting...comes with ligatures for both double letters and the most common letter combinations!

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Alta California became designer steve mehallo’s "vector-based artist’s response" to the early Apple Macintosh bitmapped font San Francisco. Alta California was developed using “sampled” wood type and letters from numerous historical sources.

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This is a “Grunge” style font that looks as if it was overexposed on film. It is funky yet still very readable. It is best used in sizes over 12 points but really looks cool when used over 16 points. This is a favorite for use in video graphics.

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Happy Trails is a font designed by Harry Warren, based on the lettering (all upper case) that was used on most Trailways buses from 1936 through the very early 1960s.

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One of the first messy typewriter fonts to hit the market, Chandler 42 was compiled with forensic care from the voluminous output of a circa 1942 portable.

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Rosa Love is a laid back and legible handwritten font.

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What font to choose when it comes to malevolent, wry or downright bad seeded phrases?

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OMG it’s the funky shed!

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Moja equals fur. If your application allows, you can use multiple layers and colours to create happy letters, each in their own respective hairy letterboxes. For monochromatic situations, use pre-blended regular Moja. BTW: Moja loves Meloche.

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Kurph has got ligatures for both double letters and numbers, along with alternate versions of all lowercase letters.

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Years ago the company that developed Fontographer marketed a program called Font-o-Matic, a program that distorted fonts in various ways. 99% of what it produced was garbage, but every once in a while it would yield something interesting. Since I had designed a lot of typefaces by that time, I had lots of material to feed it and it was fun to see what it produced. This font is one of those rare results that I found interesting enough to save and clean up.

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Hey, what the hey! You'll have to look twice at this unusual typeface from Jeff Levine. Utilizing the sans serif lettering found in Trade Printer JNL, this novelty font combines two staggered outline versions that are blended together to give a double-image effect.

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A font based on handwritten lettering executed with a fine-pointed steel “crow-quill” pen. Designed for use in small sizes of continuous text setting such as poetry. This style was originally designed for a series of hand-crafted calligraphic booklets in 1963.

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A cross between a Roman type face and a slug, a type face with blurred letters, inspired by a tropical snake remotely contained in the letter “g”. Or a mere attempt to come up, at all costs, with something new and original. This type face has a truly avant-garde solution of the enclosed forms; these create horizontal connecting lines which help to hold the line together. It is interesting that Cobra looks good in any size, which cannot be said at all about the majority of respectably-looking letters. This type face is very suitable for posters where its dynamics and softness stand out in large sizes, as well as for small experimental books for bibliophiles where it surprises us with its commendable legibility.

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Ammonia is a simple sans serif made fumey and gloopy.

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Boxajoy drawn with an inky pen and scanned at high resolution - that’s why it looks good, even at large sizes!

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Peppercorn seems to have been thickly painted on a rough surface. Comes in regular and a spattered Black version. Based on the font Hubbub, which compliments it well.

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The Chlorines are two unique fonts, for they look as if they have been corroded with some sort of caustic material. Could it have been chlorine? Who knows? Both fonts have a modern appeal to them and fancy up any document. And when you can pick both of 'em up for only $45 how can you resist that corrosive, yet clean appeal?

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Quickly scribbled grafitti font that has got that bad-boy-feeling!

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(Pronounced ‘Newma’). A slick, dry brush impression excellent for use when a fresh, ‘immediate’ hand-rendered quality is desired. Pneuma has a strong, attention-getting effect, especially in large display sizes. Designed by eminent British calligrapher Timothy Donaldson.

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Bad Girl was designed to appeal to the young consumer and the young-at-heart. While clearly feminine, it manages to combine a charming naïveté with in-your-face rebelliousness.

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Popfork is super handy for massive texts!

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This font is intended for use with simplified Chinese. It contains the GB2312 character set.

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SB Tokyo was designed for an exhibition of Japanese photography in London. The project required a hi-tech typeface with a blurry, photographic optical appearance, and SB Tokyo is just that.

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