Karin’s free reinterpretation of the early Renaissance Lombardic tradition, in two different versions. In the upper case the fill is blacker and has a straight pattern with diamond elements; in the lower case the fill is thinner with more white space and has a wavy pattern with rounded elements.

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Ironwood is an Adobe Originals typeface designed by Joy Redick in 1990.

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Penumbra, designed by Lance Hidy in 1994, is an all-capital design. Hidy derived Penumbra from his poster lettering-monoline forms with a blending of contemporary and traditional qualities, which has evolved since the 1970s.

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Questal is an intriguing unicase serif.

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Gothic Initials Two is part of a three font set including Gothic Initials One and Gothic Initials Three.

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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 design of Cyan was inspired by features found in classic Roman and styles like Trajan and Bodebeck. It shows the designer’s personal preference for geometric Roman proportions while incorporating open centers (B,P,R) and compact serifs. Unlike Trajan, Cyan has lowercase characters in the regular version. The characters stay true to the same features as the capitals, resulting in an unusually distinctive style. The Regular Capitals version contains Roman numerals. Cyan’s weight is similar to Trajan’s but the horizontal strokes are slightly bolder resulting in better legibility for small sizes, especially for lowercase characters.

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The inspiration for this typeface family came from my childhood experiences at Monkton, amidst an historic part of the South West of England.

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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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Joachim Müller-Lancé’s Flood is not just another handwritten face. At smaller point sizes it exhibits the natural, dynamic, and spontaneous flow of felt tip marker writing. At larger sizes Flood is immediate, urgent, and provocative in its stylized detailing, without being overly dramatic.

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This collection of pictograms was designed by Martin Friedl as an extension of his final year project at the Stuttgart Academy of Arts, which included a signage project for a community center.

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Originally conceived as part of a unique display design created for Hershey’s Times Square flagship store, the PowerStation family is the perfect choice when looking for a font that speaks of strength, solidity and character. It comes in two “faceted” 3-D versions: “Block” where the dark side is dominant, and “Wedge” where you see more light than shadow. The family also includes both “Solid” and “Outline” versions of the font. They are all available in both normal and wide versions.

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Outliner is a typeface specially designed for use with outline strokes. It is based on Urtd’s unpublished monospace typeface Monoxil, which worked well with outlines applied to it. However, a lot of adjustment and editing was needed to get it to work perfectly, so designing a new typeface was a logical next step.

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In 1997, renowned lettering artist Julian Waters embodied his classical calligraphic roman capitals in a graceful typeface, aptly named Waters Titling. In 2001, the original design was enhanced and unified in the new OpenType format.

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Newcomen is a highly versatile titling face that includes 87 OpenType alternates and 38 ligatures. Newcomen titling, in its default form, evokes the Victorian era and is named for the British inventor of a steam engine for pumping water.

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Taku comes in two styles, Taku regular and Taku Solid.

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Axionhero is an experiment which include a simple grid built font. I took the font, and smashed it into grunge letters.

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A bold sans serif typeface influenced by Ed Benguiat's work for the 1968 movie poster for Planet of the Apes.

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Rusticana was designed in 1992 by Adrian Frutiger for Linotype’s Type Before Gutenberg series. Rusticana is based on very early Roman inscriptions, which were in turn based on earlier Greek forms.

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

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Font inspired from the decorative elements and opening capitals frequently in use in the beginning of 1500s, under Geoffroy Tory’s book “Champfleury” influence, this, especially in Lyon (France). It is an entirely original design.

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They're Sexy DropCaps! They're Saucy Dingbats! They're Lilou’s Naughty AND Nice GIRLS!GIRLS!GIRLS!

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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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Geistig is a set of 26 individual letter monogram designs. Geistig works great for monograms, drop caps, and unique display settings.

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Designed with help and inspiration from legendary tattoo artist Dustin Horan. This beautiful time saver was designed specifically for skin application. Short words and initials can instantly be turned into seamless tribal style tattoos. Each glyph links with the next allowing letters to flow endlessly around limbs and in circles.

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Fidelity Hour is a tall, narrow, all-caps, handwritten typeface that screams retro inspiration.

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Unusual decorative capitals from embroidery work in a German church.

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Sailor is the digital rendition of a film type that was popular in the early- to late-1970s. The type was called West Futura Casual.

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These are the classical arabesques published in Ludwig Petzendorfer’s Schriften-Atlas. Eine Sammlung der wichtigsten Schreib- und Druckschriften aus alter und neuer Zeit nebst Initialen, Monogrammen, Mappen, Landeskarten und heraldischen Motiven fur die praktischen Zwecke des Kunstgewerbes, 1889. See Frompac 1889 Arabesques for another example of these arabesques.

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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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Gill Floriated is based on a single character which Eric Gill drew as a decorated initial for use on a specimen setting of his Perpetua type. Although Gill was at first reluctant to produce a full alphabet, Monotype advisor Stanley Morison was able to persuade him to draw a few more characters from which the Type Drawing Office was able to create a full set.

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Boldoni is like a caricature: it brings with itself exaggerated elements of the modern typefaces, that has as main names Giambattista Bodoni and François-Ambroise Didot.

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A comfortable tuxedo, a bright boutonniere, and a spring in your step. With Magnolia, Mark van Bronkhorst’s aim was to convey a sense of formality without stiffness.

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Studz was inspired by ornamental lettering from an 8th-century manuscript, to which Michael Harvey, British type designer, has given a “riveting” contemporary flair.

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Designed in 1990, ITC Beesknees is the sort of letter one might expect to see from a type designer who started his graphic arts career as an apprentice sign painter. Its broad brush-like strokes make it a good choice for a wide range of designs, from flamboyant posters to business cards (for a very unstuffy business, obviously). That young sign painter is Englishman David Farey, who has designed over two hundred typefaces.

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This font family is based on original Roman capitals created by Ludovico Vicentino Arrighi in the 16th century.

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The Limine family was designed to give a 3D effect; to look like engraved letters.

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Michael Harvey first drew the lettering that became the foundation for Andreas in 1988 as part of the book jacket design for The Studios of Paris, a Yale University Press publication. In keeping with the book’s subject, Harvey wanted letterforms that reflected the Art Nouveau period. In addition, the type had to be narrow enough to fit the title across the top so as not to intrude on the Van Gogh painting that filled the rest of the jacket. To accomplish this end, he drew the letterforms freehand, giving them shapely stems and the high-waisted look characteristic of Art Nouveau lettering. He also added distinctive junctions to the D, P, and R. The jacket’s design further required that the title reverse out in white. Harvey felt that a solid letter would have been too heavy, so he drew it in outline, which contributes to its graceful, ethereal impression.

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Ponderosa is an Adobe Originals typeface designed by Kim Buker Chansler in 1990 for the Adobe Wood Type series.

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This multipurpose display alphabet combines medieval-inspired uppercase letters drawn by famed book illustrator Walter Crane with charming, if somewhat quirky, lowercase letters by J. W. Weekes.

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The font here used is the Intellecta’s Frompac joined and art worked with the classical arabesques published in the Ludwig Petzendorfer’s Schriften-Atlas. Eine Sammlung der wichtigsten Schreib- und Druckschriften aus alter und neuer Zeit nebst Initialen, Monogrammen, Mappen, Landeskarten und heraldischen Motiven f¸r die praktischen Zwecke des Kunstgewerbes, 1889.

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Pitshanger is loosely derived from a shop sign in Limogues, France.

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"I digitized and to revivalize NurnbergSchwabacher by the extinct Haas'sche Schriftgiesserei, a German/Swiss foundry established in 1790 and based in Basel/Münchenstein. Many of its shares were acquired by D. Stempel in 1927. In the Luc Devroye site this foundry is on the Extinct Foundries of the 18th century page. This design is very simmilar to another Intellecta best seller: Hostetler Fette Ultfraktur Ornamental, both researcheds in the classical type specimen book from Hostetler. The ornamental frame who completes the font is a fantastic barocke ornament wich I found in another old book, unaffortunally, lost now. Luc Devroye tell us about Rudolf Hostettler (your book is the source from any of my fonts): He was a swiss type designer. Author of “The Printer’s Terms”, designed by Jan Tschichold. And of Technical Terms of the Printing Industry (5th edition was printed in 1995) and Type: eine Auswahl guter Drucktypen ; 80 Alphabete klassischer und moderner Schriften (Teufen, Ausser-Rhoden: Niggli, 1958). He also wrote "Type: A Selection of Types" (1949, fgm books, R. Hostettler, E. Kopley, H. Strehler Publ., St. Gallen and London) in which he highlights type made by European houses such as Haas, Enschedé, Deberny and Nebiolo. Jost Hochuli wrote his biography.

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Juniper is an Adobe Originals typeface designed by Joy Redick in 1990.

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This font draws its inspiration from handwriting, in order to maintain a certain dynamism and irregularity.

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Gothic Initials Six is part of a three font set including Gothic Initials Four and Gothic Initials Five.

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Gothic Initials Four is part of a three font set including Gothic Initials Five and Gothic Initials Six.

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Gothic Initials Five is part of a three font set including Gothic Initials Four and Gothic Initials Six.

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Gothic Initials Three is part of a three font set including Gothic Initials One and Gothic Initials Two.

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Gothic Initials One is part of a three font set including Gothic Initials Two and Gothic Initials Three.

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Voussoir, the perfect heavy display font.

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Waters Titling is the work of lettering artist Julian Waters, a typeface of classical calligraphic roman capitals. This broad-tipped pen design is related to other historically-based titling alphabets but offers a wider range of weights and widths, making it extremely versatile for movie titles, book jackets, posters, banners, calendars, etc.

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Penumbra´s style range from a Futura-like sans serif to a Sistina-like serif can be successfully used in myriad display situations.

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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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Penumbra´s style range from a Futura-like sans serif to a Sistina-like serif can be successfully used in myriad display situations.

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Penumbra´s style range from a Futura-like sans serif to a Sistina-like serif can be successfully used in myriad display situations.

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Gill Floriated is based on a single character which Eric Gill drew as a decorated initial for use on a specimen setting of his Perpetua type. Although Gill was at first reluctant to produce a full alphabet, Monotype advisor Stanley Morison was able to persuade him to draw a few more characters from which the Type Drawing Office was able to create a full set. Issued in 1937 for display casting, it was revived by Monotype in 1995 for electronic publishing. Best used sparingly as dropped initials.

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Rusticana is a part of the 1990 program “Type before Gutenberg”, which included the work of twelve contemporary font designers and represented styles from across the ages. Linotype offers a package including all these fonts on its web page, www.fonts.de. Rusticana was designed by Adrian Frutiger and appeared with Linotype in 1993. Its historical roots go back to the Roman Capitalis, the all caps engraved writing of ancient Rome which reached its peak in the first century. From this style evolved other Roman forms, and one, Rustica, proved particularly good for text on bronze, as opposed to in stone. The Rusticana of Frutiger has open, seemingly irregular forms which lend a distinctive rhythm to text.

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Ponderosa is a joint work of the typeface designers K.B. Chansler, C. Crossgrove and C. Twombly, who also created Rosewood, Zebrawood and Pepperwood together. As the name suggests, it is so-called wood type. The origins of this kind of typeface can be found in the early 19th century. Called Italian or Italienne, these typefaces quickly became very popular. They are distinguished by square serifs whose width is larger than the stroke width of the characters. When the letters are set together, the heavy serifs build dark horizontal bands. The distinguishing characteristic of Ponderosa lies in its extremely fine figures between heavy serifs. The designers approached the boundaries of the impossible with this contrast. The typeface is reminiscent of the Wild West with its shootouts and heroes as well as of the 1970s with their platform shoes and wild hair-dos. When used carefully in headlines, Ponderosa will surely attract attention.

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ITC Beesknees is the work of David Farey. He credits a number of sources as inspirations for his work, including Pushpin Studio, Peter Max, Bob Zoell and the Marx Brothers, whose typographic titles he admired as much as their cinematic humor. He was going to name the font ‘Horse Feathers’ or ‘Monkey Business’ after Marx Brothers films, then the name got shortened to ‘Business’, which then got transformed to ‘Beesknees’. ITC Beesknees contains a capital and small caps alphabet.

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