Neubau is a condensed geometric display typeface, designed in 2009. The inspiration for this face came from Joost Schmidt lowercase letters developed during 1925-28 in Bauhaus Dessau. Schmidt was one of the proponents of New Typography – a movement advocating the use of only lowercase letters which were constructed strictly geometrically using only ruler and compass.

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Malbeck is a script which is both as elegant as it is unique. Very playful typographic treatments can be produced using the large selection of alternate characters.

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Savage Hipsters was designed by German pinstriper Tom Plate for Sideshow and all you retro kustom beatniks.

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Wrap your chilly fingers around this ultra cool swingin' typeface! Cocktail Shaker is a swanky retro connecting script born out of 1950s lounge culture. Often referred to as the ‘googie’ look, Cocktail Shaker blends a casual loungy script with clean readability and a twist of modern Atomic Age charm.

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Susa is an elegant and flowing brush script typeface.

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Luxus Brut breathes the spirit of hand lettered signage of the Fifties. It’s a formal script, inspired from a well concealed shop portal in Vienna/Austria. Large and distinctive capital letters (that won't share the baseline with lowercase letters), wide spacing as well as a low x-height make it an excellent choice for posters, magazine headlines, logotypes, branding and any design that requires a touch of luxury and sensuality.

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Mullen Hand is the fresh digitization and expansion of a Jerry Mullen metal typeface called Repro, originally published by ATF in 1953.

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Inspired by logotype of the Paris Resort and Casino in Las Vegas comes the Paradiso typeface, complete with an unusual array of leaning and unusually large capitals versus a petite lowercase that have a loosely drawn feel.

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Lombriz attempts to bridge the gap between different kinds of typography - including packaging, signage, and sporting. The result is a heavy, yet casual, 1950s-inspired semi-connected script.

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Inspired by retro lettering on advertising and propaganda posters from the 30s to 50s.

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This is a must read!!!

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A display face with rounded terminals stylized like drops of a liquid. For use in large sizes in advertising matter and decorative headings. The face designed by Natalya Vasilyeva and licensed by ParaType in 2007.

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Early in the 19th century, foundries began releasing a variety of decorated ornamental letters based on the Tuscan letterform. Fancy Tuscan letters quickly became so popular, they eventually came to represent the cluttered extremes of Victorian design. Foundries competed with each other to produce most extravagantly decorated letterforms. As often happens, success turned to excess.

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Shout is a “Hey, Look at ME” font. It is an attention-getting font for posters, flyers and ads. Its lineage includes the Haas Type Foundry’s 19th century advertising font, Kompakte Grotesk, which Jan Tschichold (1902-1974) dryly described as “extended sans serif” and which graphic designer Roland Holst (1868-1938) would have disapprovingly referred to as a “shout,” as opposed to the quiet presentation of information that he believed was the proper function of advertising. In 1963 Letraset released what appears to be an updated variation in multiple weights designed by Frederick Lambert called Compacta. Shout draws heavily on Compacta, as well as other similar fonts of the 50s and 60s like Eurostile Bold Condensed and Permanent Headline. In weight, it falls about halfway between Compacta Bold and Compacta Black, but with a relatively heavier lower case that is not so easily pushed around by the upper case. After all, one can shout while sitting down.

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An original typeface designed for ParaType in 2004 by Armenian designer Manvel Shmavonyan.

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CombiSymbols DV is a complete collection of DVD logos, surround sound logos, “sound mode” icons, plus many other useful symbols. Perfect for people creating artwork, labels or packaging for DVDs and related items.

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Typedesigner Hannes von Döhren created Brevia, a soft sans serif type family consisting of seven weights plus matching italics. The fonts have a hint of a brushed feeling and come across casual and friendly. Nevertheless Brevia’s architecture is straight, making it perfect for longer texts. Because of its big x-height, it also performs nicely in very small sizes. Brevia’s heavier weights are slightly more curved and have an eye-catching appearance. They unfold their strength especially in bigger sizes. This contemporary type family is intended to be used in applications like: Cosmetics, Service, Food and Advertising – basically everywhere where a pleasant feeling should be conveyed.

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Trade Gothic was designed by Jackson Burke between 1948 and 1960 for Linotype. In the nineteenth-century grotesque style, like News Gothic, Trade Gothic has a large x-height.

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It was our initial intention to develop a suitable lowercase for Les Usherwood's Elston typeface, based on a few characters from an old German typeface called Hermes Grotesque (Woellmer, Berlin).

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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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Flavour is an elegant brush script headline typeface.

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Whether you prefer Drip or Automatic, there is nothing quite like quality Coffee Service!

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Phoenica offers a high quality alternative to contemporary humanist sans serifs. It is a flexible family for editorials and corporate branding.

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Schoko is a brush script headline typeface. It is elegant and still clear and self-confident.

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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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La Portenia pays homage to the spirit of early 20th-century show card writers and type designers.

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Colo Pro is a custom font which is applicable for any type of graphic design - web, print, motion graphics etc and perfect for t-shirts and other items.

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Get creative with the adventurous new brush casual Alpine Script from Charles Borges de Oliveira. This stunning typeface contains 29 alternate characters waiting to be explored.

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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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The Rotis family was designed in 1989 by Otl Aicher for Agfa; his last type design.

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CamingoDos is provided with tight shapes and elliptic roundings. With the aspect of legibility on mind these attributes were applied carefully. Along with a subtle contrast between thick and thin strokes CamingoDos has a strong, humanistic appearance. It comes in a wide range of seven weights from ExtraLight to Black which makes it perfectly suitable for editorial and corporate design.

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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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Hans Reichel designed Barmeno for H. Berthold in 1983.

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

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The dynamic design duo of Koziupa and Paul strikes again.

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MVB Solano Gothic Bold was originally designed as a display face for the City of Albany, California, located on the San Francisco Bay facing the Golden Gate Bridge and bordering the the Berkeley hills. Named for the City’s main street, the typeface needed to work on signage in proximity to older buildings, in contemporary settings, and for general print and web use. Rather than creating a neutered design to cover all bases, Mark van Bronkhorst chose to develop a simple, strong, condensed face that would offer flexibility of style by providing both retro and neutral forms.

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Tasty is an strong self-confident brush script headline typeface.

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Neubau Grotesque is an upright italics variation of Neubau Sans and is built in three weights. The main difference of this typeface is that it presents a softer and more human look (less techno), while retaining the condensed geometric structure of its counterpart.

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Hiruko is a full family of 16 different styles. Inspired by the early Swiss movements, Hiruko offers creativity and clarity within many media. Influenced by Japanese culture, Hiruko is based on the idea that less is more, however this applies in other directions when referring to the amount of work gone into producing the type family.

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Insigne’s popular Aviano series returns with Aviano Serif.

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An elegant, contemporary and quirky handwriting font inspired by fonts such as Satisfaction and Nothing. There are many handwriting fonts out there, almost all of them tending to highlight the individuality of a particular person’s handwriting. I wanted to go beyond this.

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Designed by German graphic designer and professor Friedrich Poppl, Laudatio was released by Berthold in 1982, the year of Poppl’s death.

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Dolce is the next step in Elena Albertoni’s ongoing exploration of handwritten letterforms that started with her typefaces Dyna and Scritta.

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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 the United Kingdom, Virgin Trains uses various weights of Generation Gothic extensively.

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The Player family started as a straight-forward revival of a film face called Ivy League, an early 1970s VGC classic that was very popular with designers of sports paraphernalia. A few hundred liters of coffee later, the revival of a single condensed font has become an 11-font ambitious attempt at being the last word in athletic lettering.

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The Rotis family was designed in 1989 by Otl Aicher for Agfa; his last type design.

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The Rotis family was designed in 1989 by Otl Aicher for Agfa; his last type design.

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Mahalia draws inspiration from vintage hand-lettering, but adds a modern, European twist.

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When Baka and Baka Too did very well commercially (Baka was named the Best Cursive Rough Script in 2005), I shied away from doing rough, handwritten scripts in fear as being seen as a one-trick-pony. A few years have passed and some early sumi-e brush ‘doodles’ kept appealing to me. I initially thought this new font would just fall under the Baka mantle and just become a new sibling, but as brush hit paper over and over again, the letters took on a different personality from Baka.

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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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A display typeface, a didot in upper case only, but with a set of decorative alternate characters mixing semi-cyrillic and lower case influences.

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Wild and free as usual, but now with a touch of sharp focus presented in
curled ascenders and descenders, swashy care-free caps, and very unique
figures.

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Weird Bill is Squid’s tribute to his most prominent influence, Bill Campbell, model kit box illustrator extraordinaire and creator of the Weird-Ohs!.

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An elegant face with dashing swash caps, based on an old American Type Founders typeface called Canterbury.

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Enjoy Fertigo Pro. The font nobody was waiting for.

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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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Paradise is a script font thought to be used in a wide range of pieces of design. From packaging to invitations, Paradise really looks elegant and sometimes playful at the same time.

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What started out as my thesis project is now a complete sans serif typeface family in 14 styles.

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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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Font designed after the face of a few characters of a real old 1913 small portable typewriter.

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Originally designed by Morris F. Benton for ATF in 1920, it was not completed for production until 1926.

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This frilly script has been acid dipped, scratched and destroyed for use in grungy design jobs or any other use that calls for a ragged script.

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The Rotis family was designed in 1989 by Otl Aicher for Agfa; his last type design.

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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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It was our initial intention to develop a suitable lowercase for Les Usherwood's Elston typeface, based on a few characters from an old German typeface called Hermes Grotesque (Woellmer, Berlin).

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CamingoDos Pro is provided with tight shapes and elliptic roundings. With the aspect of legibility on mind these attributes were applied carefully. Along with a subtle contrast between thick and thin strokes CamingoDos has a strong, humanistic appearance. It comes in a wide range of seven weights from ExtraLight to Black which makes it perfectly suitable for editorial and corporate design.

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Amorinda is a connected script that manages to be wild and disciplined at the same time. It can scream wildly within a design or smoothly blend in to make it more human. With its versatile character and a complete set of alternates, Amorinda is the perfect display face for everything from product branding to signage.

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The unmistakable hand of Angel Koziupa and the technical expertise of Alejandro Paul brings us once more the kind of calligraphy that reads softly yet commands attention.

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What started out as my thesis project is now a complete sans serif typeface family in 14 styles.

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These 3 weights were developed as the corporate typefaces for a design company in 1997. The starting point was the word ‘accent’ in lower case. It is essentially a sans typeface with the thick/thin contrast of a serif and is the only family in the G-Type collection that was designed for a client.

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Neon Bugler is a font based on the third 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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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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Based on the hit album by Glen Campbell, Southern Nights is the font with a style that’s “free as a breeze,” as the song says.

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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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Decima Mono is a subfamily addition to Decima, a new face by TipografiaRamis.

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CamingoDos Pro SemiCondensed fills the gap between CamingoDos Pro and CamingoDos Pro Condensed and combines them to a homogeneous and versatile type family.

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Based on the Morris F. Benton for ATF in 1920, it was not completed for production until 1926. The serif version we released a few years ago was so popular, that we decided to design a complementary sans serif version in three weights, along with three corresponding Swash fonts.

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Based on character shapes with origins rooted in the work of 19th Century American wood type makers, DST Mechanic Gothic draws influence from the poster types found in the impactful advertising during the Industrial revolution.

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Natalya is a flashy and rhythmic script. The script has more space between characters than most for better legibility, and the basis point for the ornate swirls is the golden ratio. This makes for an especially harmonious typeface with timeless appeal.

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Decima+ is a subfamily addition to Decima, a new face by TipografiaRamis.

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Elena Albertoni on Dyna: “While studying in Paris, I worked for a design studio specialized in packaging. French supermarkets are full of lettering with an handwriting flavor, which seems to go very well with a wide range of very different products. With the aim to analyze and summarize the qualities of these letterings in one typeface, I faced choices and limits similar to the ones encountered with handwriting. The letters a sloped at different angles, which gives them rhythm; their open shapes suggest movement and gesture. Letters want to dance!”

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