Bremen was designed at Bitstream by Richard Lipton and released in 1992. It is based on German poster art from the period between the World Wars.

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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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MuskitoCaps is a Tuscan (split-serif) font that is rather narrow and a bit awkward. Included is a shadowed version.

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Prague is a strong, angular Roman typeface with classical overtones. It is suitable for use across a wide spectrum of advertising work requiring a traditional or classical approach. The exciting vibrancy of this typeface typifies Letraset Type Designer Michael Gills' work, who was stongly influenced by the Czechoslovakian designer Oldrich Menhart.

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Derived from a photograph Rian Hughes took in Hong Kong, the Roadkill family of typefaces is a literal interpretation of rough and worn road lettering.

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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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‘LCD’ stands for ‘Liquid Crystal Display’, the information display technology used in products such as digital watches and clocks. An appropriate choice when a futuristic, high-tech look is desired. Designed by the talented British designer Alan Birch.

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Copperplate Classic Light Floral is the latest addition to my Copperplate Classic Group of fonts. The floral decorations go perfectly well together with the classic forms of the Copperplate. Your decorative designer Gert Wiescher.

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During the reign of the Emperor Charlemagne in the eighth and ninth centuries, the use of classical roman letterforms was revived. These letterforms were the basis of the highly refined versal capitals of late tenth-century England, which were the inspiration for Carol Twombly’s 1989 Adobe Originals typeface. Charlemagne has spiky serifs, but retains clean lines and proportions.

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Sparrowhawk, a capitals only titling, evokes a suburban English gentility.

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A meeting of Byzantine and Art Deco forms, Aphasia began as a series of handwritten captions to accompany drawings in the early 1990s. The drawings were abandoned to allow the lettering to become the real composition. Playfully set in blocks of verse with each line shaped through free-association, the only visual rule was that all the lines of capitals be of equal length. The challenge of the game required extensive abbreviations, ligatures, small caps, and superiors. With the advent of Letraset’s FontStudio program, the project moved into the typographic realm.

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Developed by Comicraft’s Dutch Masters to give DC’s BATMAN & ROBIN ADVENTURES a crisp, clean, Art Deco look, all four pints of DUTCH COURAGE are available as one font family.

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Nosegrind is a bit of a departure from our usual more traditional font offerings. It’s based on skate-culture graffiti gleaned from various samples of similar style found on walls in Austin and online.

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Octin Prison is a tough headliner in 7 weights: light, book, regular, semi-bold, heavy & black. Octin Prison isn’t just for jail; it’s also great for sports, school, police, construction or military themes. Check out the rest of the Octin families: Octin Sports, Octin College, Octin Stencil, Octin Vintage & Octin Spraypaint

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This typeface was inspired by the popular typeface Machine. It uses straight lines with circles converted to octogons, but uses them in different proportions.

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Futuristic and spacey, Tannarin is a modular, cap-only typeface. Many letters are constructed of repeated components with the added twist of the round characters being shorter than the square characters.

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This caps only font has extreme contrast between the thick and thin strokes. It has a carefree, wobbly look. The two fonts in the package contain four sets of upper case letters; they differ in interior decoration.

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A grafitti and comic like font trapped inside boxes!

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SmokeHaus was inspired by a sign on a smoke house in Gustavus, Alaska.

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An isometric grid of a font, Gridlock takes an italicised modular approach to its letterforms.

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Happy Holly Day is a playful and fun Christmas style font revival, many new characters have been added to make this font complete plus a new Fill font is included.

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The earliest version of this font was released as shareware in about 1990. It has been used extensively by the television series The Appraisal Fair on HGTV. It may look like an old typeface, but it actually is not.

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Big Joe Mufferaw was a legendary Ottawa valley hero; a giant of a man renowned for his strength and simple, good nature. Mufferaw, the font, aspires to the same qualities; strong but friendly and uncomplicated. The well-defined but playful shapes have a slightly rustic bent and low x-heights give the illusion of weightiness without being heavy. The wide letters are easy to recognize at most sizes and bear a comic book friendliness and appeal.

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A black weight decorative typeface with an engraved flare. Merchant was designed for all media and requires subjective display kerning and compensation.

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ALS Rundgang is a decorative font designed specially for advertising purposes that reminds one of electronic display boards and bitmap typefaces.

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A modernistic stencil design with
two sets of capital letters. The bold version was created first and the
plain version was added as an afterthought.

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This informal, all capital open typeface is embellished by an unusual, casual shadow effect. Excellent for use in large display sizes where a strong, informal appearance is required. Created by accomplished brush lettering specialist Martin Wait of Britain.

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In 2007, insigne released Aviano. It’s beautifully drawn extended letterforms were a hit with designers and Aviano quickly became insigne’s most popular offering of early 2007.

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Insigne’s popular Aviano series returns with Aviano Serif.

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Nidex is a caps-only industrial distressed font, ideal for titles, display and headlines, rough and ready, and coming with all the usual accented characters and an extensive set of punctuation.

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Driver Gothic is based on the typeface used for Ontario license plates. Although unique among Canadian provincial license plates, this face is very similar to, if not outright identical with, the face used on car plates in 22 American states: Arizona, California, Connecticut, Florida, Illinois, Iowa, Kentucky, Louisiana, Maine, Michigan, Mississippi, Missouri, Montana, Nebraska, Nevada, New Hampshire, New Mexico, Ohio, Oklahoma, Vermont, Washington, and West Virginia.

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Inspired by American sportswear graphics, this ‘Comstock’ or inline san serif style incorporates wedge-like cut-outs instead of curves. An excellent graphic option for work related to sports. Designed by Colin Brignall in the Letraset Type Studio.

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Designed by the outstanding British designer Alan Birch, this dramatic typeface conveys all the immediacy, impact and effect of a stencil or rubber stamp on paper. Suitable for many large display applications, and any work that would be enhanced by a stencil, branding or rubber stamp effect.

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Letraset Type Studio developed this impactful typeface in response to the growing need to convey competance and speed through typography. In order to create an impression of velocity, Slipstream is based on an italicized sans serif letterform with horizontal lines, which can be slightly overlapped in tight letter spaced settings. Ideal for service-oriented advertisements where efficiency and fast customer service are priorities.

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Copperplate was the classic nineteenth century engravers typeface, consisting of capitals and small caps only. Among others (for example Deberny & Peignot) F. W. Goudy’s cut for ATF around 1901 is probably the most widely known.

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In the nineteen-twenties and early thirties, all forms of display typography flourished in Europe, and nowhere more than in Germany and Austria.

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Octin Stencil is a tough headliner in 7 weights: light, book, regular, semi-bold, heavy & black. Octin Stencil is perfect for police, sports, prison, construction, school or military themes. Check out the rest of the Octin families: Octin Sports, Octin College, Octin Prison, Octin Stencil & Octin Spraypaint

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These Charming letterforms, filled to the brim with the pop sensibility of late sixties je-ne-sais-quoi and the high camp detachment of the early seventies, scream out ‘I am THIN and GORGEOUS!’

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A new gothic; great for books and magazines.

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Based on the original Stephenson Blake design, circa 1950.

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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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A typical set of American Tuscan capitals cast by ATF in the middle of the nineteenth century.

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This typeface is patterned after the lettering produced by the Marsh Stencil Making Machine, which was an indispensable part of industrial shipping departments in the mid-twentieth century.

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Sets of Art Deco capitals shot full of holes for display effect by by J. Looney at VGC.

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Run amuck and head on down to Toon Town with us to enjoy some Madcap Laffs with our latest Frolicking Font, 'THAT'S ALL FOLKS'.

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This strange novelty font is descended from one of the very first typefaces I designed.

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Fatman is such big thick person. To me it seems to the most interesting font Fatman BL. I name it fatman with the broken leg. The letter A is similar to it.

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Rosemont is a playful new font which hovers on the bordeline between Arts and Crafts style and Art Nouveau style. It has the narrowness of Art Nouveau fonts like Adresack, Spoonbill and Coloma, with the curls and unique character forms of Art Nouveau fonts like Beauvoir or Acadian.

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This font was inspired by the swirling and spiraling art from various cultures such as the ancient Celtic and Pictish tribes of Ireland and Scotland, and the Maori moko tattoos of New Zealand.

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A rough-edged comic text font, suitable for massive text or large headlines or cry-outs!

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Designed at ParaType in 1995 by Tagir Safayev. Based on informal handwriting (caps-only). For use in advertising and display typography.

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Edda Pro is another art nouveau revival by German type designer Ralph M. Unger.

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This three-dimensional design comes from traditional architectural shop front heritage. This design has four individually drawn outlines to create multiple solutions with layers, colors, gradients and filters. Putney requires subjective display kerning and compensation.

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InduXtrial was developed for a poster project which needed a modern, degenerated look.

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The popular all-caps-monospaced 7 days font is back!

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Teapots with letters on them.

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Mostra is based on a style of lettering often seen on Italian Art Deco posters and advertising of the 1930s. Each weight of Mostra includes three fonts. The basic font includes the most conventional letterforms. Two secondary fonts provide alternate versions of some characters. The different letterforms represent commonly-found variations in Italian Art Deco lettering. Though they are spread over three fonts, they can be used in any combination to capture a particular mood or style. There are five weights ranging from Light to the ridiculously bold Black. Mostra features a full character set (caps only) and kerning tables for display setting.

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Le Havre is a geometric sans serif inspired by the golden era of the passenger ship, when getting to your destination was a delight in and of itself.

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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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Gothic capitals of the same form as Copperplate Gothic, lacking only the oversharpened corners.

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Aviano is an extended titling face with influence from the power and timeless beauty of classical letterforms.

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Sweet Gothic is a 2009 addition to the Sweet Collection of engraved lettering styles from the 20th Century. 

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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 tdBastard family is a modern caps-only display typeface with OpenType features.

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Hey, buddy! You’re just in time. The show’s about to begin. What’s your poison? A martini? Fabulous!

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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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Designed by Les Usherwood. Digitally engineered by Steve Jackaman. This typeface is used by a famous European car company in all their marketing!

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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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Inspired by Goudy’s original from 1905, Biondi maintains the classic wide and squarish shape that made Copperplate Gothic a design staple and moves it forward to the 21^st Century.

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Carta Marina is based on the titling found on the famous map drawn by Olaus Magnus in 1539. The map of northern Europe took 12 years to complete, and the total size is a huge 1.7 meters tall by 1.25 meters wide. More information about the map, as well as the high resolution reference document used to create the typeface and illustration set can be found at the James Ford Bell Library, University of Minnesota.

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The classical nineteenth century engravers’ form, with corners sharpened with a flick of the burin. F.W. Goudy captured the design as a typographic series for ATF in 1901.

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ITC Machine was released in 1970.

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An old extended Grotesque.

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