Since Mommie I gradually got more into swirly ornaments. The massive contrast in the neoclassic style is perfect for thin swirly extensions to the characters. Even in an upright typeface. Narziss is very elegant in big headline sizes.

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Buttermilk is the first font from illustrator/designer/typographer Jessica Hische. It’s a wonderful display script that is feminine but bold.

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The tradition at the New York Times magazine has been to dedicate the year’s last issue to the people who passed away during the year, especially those whose lives have affected us. Art director Nancy Harris Rouemy, whose typographic design sense has earned her many prestigious awards over the years, decided on an all-type magazine cover for the 2008 issue, and commissioned Canada Type to do a new typeface especially for that project. Now Memoriam is finally here in retail form—not least because hundreds of people have asked for it.

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Kari Display is the product of a long standing idea I had to give the well-received Positype typeface, Kari, plastic surgery. Just referring to giving a typeface plastic surgery, or letter lipo, stuck in the back of my head until I was able to pick the project up.

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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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While Din Display seems to retain DIN’s basic characteristics, it shines with its sharper corners and contemporary look. Completed in 2002, it was first released and published in Parachute’s award-winning 2003 catalog and immediately was a hit.

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Benton Modern Text was first prepared by Font Bureau for the Boston Globe and the Detroit Free Press. Design and proportions were taken from Morris Fuller Benton’s turn-of-the-century Century Expanded, drawn for ATF, faithfully reviving this epoch-making magazine and news text roman. The italic was based on Century Schoolbook.

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Mittwoch is an extended modern serif and a new companion to insigne’s Montag and Dienstag extended sans serifs.

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Ambroise Std Francois is the extra condensed variant of the Ambroise Std family.

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Glosa Display is a high contrast typeface with plenty of style, suited for very large display sizes in magazines and newspapers.

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Leitura Display is part of Leitura Type System and was specially designed for editorial purposes.

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As a unique example of late nineteenth and early twentieth century Victorian type, Zinc Italian emits a strikingly beautiful and twinkling luminescence. Oversized initial caps, each containing intricate swirls and curlycues, vibrate stunningly alongside a variety of amusing lowercase letters. Also known as Zinco, this typeface is generously equipped with a charming set of alternate characters including capital figures and some easier-to-decipher lowercase letters.

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Bifur was originally designed by poster artist A.M. Cassandre in 1929 as a single font and also as a two-part, two-color font.

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Lavigne Display is the first release of a type-family aimed at publications such as interior design and women magazines—anywhere a touch of distinction is to be desired. In the opinion of its designer, glossy magazines have been boring us with the same type families for years, with only a small group of fonts being used to denote refinement and sophistication.

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Finura was inspired by American lettering from the 60s, specially the Stunt Roman for ruling pen and compass presented in the Speedball Textbook for Pen & Brush Lettering by Ross F. George, but also by looking carefully to University Roman characteristics.

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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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The specimen book Alphabete: ein Schriftatlas von A bis Z identified the pattern for this typeface as Stymie Black Flair. Although neither the designer nor the original foundry is identified, it bears a strong resemblance to the work of Dave West for Photolettering in the 60s and 70s.

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Poster type faces from the twenties and thirties are enjoying a new wave of popularity. The summary, even rather hard principle of the sign is required for a view from a distance. The information appearing on the poster must be readable even from the opposite pavement. And, as is often the case with monumental type faces, these type faces are legible even in small sizes. The name Bahnhof suggests the hypothetical use of the type face on railway station buildings. By overlapping the designs Outline and Solid, a two-colour effect can be achieved.

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Our familiar Caslon Bold headletters were invented around the turn of the twentieth century in the United States and were only loosely based on William Caslon’s romans.

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British designer Alan Meeks has brilliantly captured the sophisticated elegance of the 1920’s and 1930’s jazz era with this Art Deco typeface. The bold roman style is enhanced with an interior design reminiscent of a piano keyboard. An excellent choice where an Art Deco look or a refined, polished effect is desired.

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Miserichordia evolved from photographs taken on a trip to Venice and instigated a sharp turn left into more idiosyncratic and decorative serif fonts.

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Eduardo Danilo’s dramatic redesign of El Universal, a leading Mexico City daily, introduced Cyrus Highsmith’s Zócalo.

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Hadank is a display typeface developed from hand-lettered words in a German printer’s letterhead from the 1920s.

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Baby Fat, designed by Milton Glaser in 1964, saw a lot of action during the psychedelic poster phase. This little dumpling is based on that workhorse, and takes its name from a phrase that also got around a lot in the 60s.

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Is a very bold display alphabet having a slightly aggressive expression. That is why it is suitable for book covers, posters and headlines in magazines. It is only very vaguely inspired by “Latin” of the type foundry Stephenson Blake, which evokes a similar period atmosphere.

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An ultrabold font based on the work of circa 1920s bizarro lettering artist Alphonso E. Tripp. The freeware (TrueType) version has a limited character set. The Pro Set (Postscript) version has a complete character set (Adobe Standard for PC; Macintosh Standard for Mac), and extensive kerning.

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There is just one subtle difference between these two fonts. The A version has a straight lowercase ‘e’; the B version has an angled lowercase ‘e’.

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Systematic variation of Art Deco capitals in Cassandre’s posters led to Anisette. Rich contrasts in width and weight of hand-lettered geometry suggested a hidden typographic opportunity.

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Leitura Headline is part of Leitura Type System and was specially designed for editorial purposes.

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Designed by Jean François Porchez in 2001, Ambroise is a contemporary interpretation of various typefaces belonging to Didot’s late style, conceived circa 1830, including the original forms of g, y, &; and to a lesser extent, k. These characters are found in Vibert’s typefaces. Vibert was the appointed punchcutter of the Didot family during this period.

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Tha Falace family, a contemporary interpretation of the Didone typefaces, is designed for text applications.

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A typeface with characteristics of roman and italic, fat face and stencil, modern and script. It was designed by Hans Bohn for Ludwig & Mayer in 1936.

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Run your hand under the tap and then thrust your fingers in the electrical outlet nearest to you* and you'll get the same effect that our latest release, ZZZAP will have on comic book readers everywhere when Electro, The Shocker, Black Lightning, Storm and Darth Sidious turn the dark side of the force on them.

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The design of Cheltenham, believed to be the first original type contracted to Linotype, began in Boston in 1900. Ingalls Kimball sketched the basic weight while architect Bertram Grosvenor Goodhue completed drawings in 1901.

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In September, 2003 I was contacted by MTV for the restyling of mtv.it I started from the beginning to work on a radical simplification of its visual elements, to achieve a better usability. It didn't take me so much to realize the basic design I attempted would have called for a notable reduction of the rich imagery distinguishing MTV’s visual identity. As a visual aid to help me in this process I designed Virna, a headline "op-art" inspired face with the ability to create both vertical and horizontal ligatures between single words among two text lines, with the same ease of linking letters in handwriting or a linked script typeface.

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A breadcrumb trail of highly ornate letters sprinkled throughout Carol Belanger Grafton’s “Art Deco Initials” were the basis for this seriously Art Deco typeface. Best used sparingly, and in large point sizes.

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Ambroise Std Firmin is the condensed variant of the Ambroise Std family.

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Antelope is bulky, dexterous and technical. Included is an italic style to push this already bounding, muscular font 10 degrees faster.

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This double-wide wonder is based on Oswald Cooper’s original drawings for the typeface Cooper Fullface. ATF rejected this offering because they felt that several of the letterforms, and particularly the numbers, were a little too wacky for the mainstream. By now, you know that such an accusation is a "Please don't throw me in the briar patch" plea to ours truly. So, here, proudly and true to their designer’s original intent, are two versions of a really fun font.

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Benicia is serif typeface. It reflects my ongoing fascination with the Golden Type/ATF Jenson design genre of the late 19th and early 20th centuries. Designed for display, it also works well at small sizes. It is named after a historic town in northern California.

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Designed by the young Morris Fuller Benton for ATF in 1906, Century Bold Condensed packs plenty of text into every line. It rapidly became one of the most popular headline typefaces for American newspapers and magazines of our time.

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Hopeless Diamond is a contemporary display type inspired by the dimensionality of 19th Century carved lettering and signage.

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Decorative three-dimensional display font with cap and lowercase. Originally designed for a shoe company. Works with colors, gradients and filters. Cullens Shoes was designed for all media and works best at 30 point and above. Cullens Shoes requires subjective display kerning and compensation.

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The typeface was designed at ParaType in 1993 by Alexander Tarbeev.

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Aldo is a 5 font family. A bold stylized type face re-worked from the original 1970s movie poster The Battle For The Planet Of The Apes.

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Type designer Luc(as) de Groot has a large archive of lettering he drew by hand, often to accompany the quirky cartoons which he made in his visual diaries. Only a few of these alpahabets have been digitized into full-fledged typefaces. Punten (Dutch for “points” or “spikes”) is one of them. It comes in three styles of varying legibility: Punten Straight, Punten Extremo, and Punten Rondom (Dutch for “all around”).

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The raw emotional energy of German Expressionism is evident in this font, based on Judith Type, designed by C. H. Kleukens in 1923.

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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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Shàngó is CastleType’s beautifully-rendered interpretation of Professor F.H.E. Schneidler's elegant titling typeface released in 1936 with the name 'Schneidler-Mediaeval mit Initialen'. This latter design is usually referred to as Schneidler Initials.

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Herold is a bold Art Nouveau advertising face released by H. Berthold, Berlin, Germany in 1901. It is also seen under the name “Herold Reklame.” The designer is unknown. A herold (‘herald’ in English, ‘heraldus’ in Latin) is one who delivers proclamations and announcements. Medieval heralds are often pictured with a horn with which to get everyone’s attention prior to performing his function. His only PA system was his own voice. Left and right glyphs of a herald with horn may be found at positions 137 and 172.

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Calluna was born more or less by accident.

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Breuer Condensed is a mechanical sans ideal for captions and headline settings, and may also be suitable for moderate lengths of body copy with its comprehensive offering of OpenType features. The italics are optically adjusted obliques with a selection of augmented lowercase glyphs to provide a warmer read. The overall design ensures a distinct aura of technical precision in a personable tone.

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A little cartoony, a little retro, a little coquettish, Miss Kitty Delux is ready for fun. Used in a non-OpenType aware application, she’s a lively little typeface. Use her in an OpenType aware application and she really shines: Contextual Alternates automatically dress her up the way she was meant to be. Gussy her up even more with swashes, ornaments, and more ligatures than you can shake a stick at. Use Stylistic Sets to dress her down or dress her up even more. Take her out to play!

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The newest addition to the Outside the Line collection of picture Doodle fonts...

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Ecliptica is an extended family of five very condensed typefaces in a single bold weight. The creation of Australian designer Robert Bell. Ecliptica has a Sans, a Semi-Serif, a Serif and a single Cursive that can be used with any of the other three styles. As an added bonus, Robert also designed a modern Blackletter companion.

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Tiza is a rough take on informal faces and handwriting, brought on by the recent demand for scripts and brush lettering. Its flow leaves traces simulating runny pen ink, which makes it very suitable for handwriting-like paragraphs as well as casual greeting card and invitation setting. The bold weight, Tiza Negra, fits very nicely on book covers as well as large signs. Tiza is the proverbial reminder that typefaces can sometimes be more human than they are normally perceived. Designed by lettering great Angel Koziupa, and digitized and completed for Sudtipos by Alejandro Paul.

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Semi-formal and eye-catching elegance is the name of the game, says Aguafina Script, Koziupa and Paul’s latest creation.

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Crewekerne is a typeface family which speaks of the villages that are at the heart of English life. It is inspired by the arts and crafts movement of the early twentieth century, and is complimented by two other families, Crewekerne Magna and Crewekerne Magister.

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Whomp takes its inspiration from the work of an American master in sign painting and alphabet manipulation: Alf Becker.

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Coda Pro is a simple but decorative and controlled sans serif design.

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An apt title for a bold egyptian style typeface that effectively captures all the power and strength of a steam locomotive whilst portraying overtones of Cyrillic influence within certain individual letterforms.

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Uni Sans is a custom sans 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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Aphrodite Slim Pro is not just a lighter version of its sister Aphrodite Pro. Aphrodite Slim Pro has duplicated the quantity of characters of its partner, and that means more than 500 new glyphs, reaching a total of more than 1000.

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Geogrotesque is a semi modular with a subtle rounded finish typeface. All the characters are based in the same formal principle with its corresponding optical adjustments in order to adapt the system to an alphabet for texts. Although the type family has a geometric or “technological” construction, the rounded finish provides it a warm appearance, making the typefaces nicer and nearby.

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Aphrodite Pro is an amazing handmade font full of alternate and ligature forms designed by Sabrina Lopez and Maximiliano Sproviero.

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This revival of Harry is based on the original design by Marty Goldstein (and C.B. Smith).

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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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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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Buffet Script is based on fantastic calligraphy by Alf Becker, arguably the greatest American sign lettering artist of all time.

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Carrosserie is made for display use, inspired by the shapes of the 30s.

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Meet the Letterpress!

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Constellation started with a simple geometric concept in the manner of Art Deco which gradually developed to a complete typeface, both upright and italic, total of seven weights. The concept allowed the font to be designed from Ultra Light in both very light and quite black styles.

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With Spud AF relive those fun-filled childhood days of potato printing - but without the mess!

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Geogrotesque Stencil is the newest member of the popular Geogrotesque family, it has been thought as a display typeface, but it goes one step further and tries to solve some of the typical problems of stencils fonts.

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CamingoDos Pro Condensed was designed to achieve a more powerful impact for the use in headlines. The compact appearance and the tight letter spacing makes it an ideal solution for display settings on a limited space.

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Grim is a display family with a lot of room for application, most obvious being the tightly fitted headlines with impact. It works especially well as a counterpart to a serious, refined serif font. Each family member comes with a set of useful pictograms: arrows, triangles, hands, smilies and a heart.

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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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