Helvetica grew in popularity throughout the 1960s and 1970s, and more versions of the family were introduced. This led to vast confusion: the same weight is often referred to by two different names, design features often vary from one face to another, and so on.

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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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Mentone is a new general purpose typeface, an attempt at extending the line of the great sans-serifs of the previous century, Frutiger - Stone Sans - Myriad.

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When I was in high school, I would wreck my notebooks with multiple layers of graffiti tags, which would start in the margins, and then creep in to cover the entire page. I developed a sensibility towards a very fast, expressive use of my hand, which later easily and naturally translated into brush. I used this style typographically on several projects throughout the years, and even turned it into a signature illustration style. Recently, by repeating letters hundreds of times each with brush on paper, this ad-hoc brush style became Streetbrush.

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The Sonica font family represents a modern typeface that is designed the express fluidity of motion. Sonica is the second font designed by the Sonic Savior team, and was specifically build for the group’s website.

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TX Switch and Switch Box are number 3 of 7 in the series asking how can personality described through handwriting be translated into typefaces? Each element of the analysis was matched by a moment and/or technique found in type history. The strokes of the case study’s pen are constructed and extravagant, indicating creative expressiveness. Geometry and 1920s modernist ideals provided for the perfect base in the early design stage. The observation of dramatic switches in pen stroke directions was represented by using a more condensed and tight construction. At the same time, the typeface is spacious and unmodest. TX Switch Box was designed as a companion typeface, also tapping into the sentiment behind street graphics. This drop shadow was rendered in the same spirit as the craft of sign painting. Both styles were inspired by the art of letterpress printing, old books, comic books, hobo writing and the commercial arts. Open, honest and hard working, Switch’s design is about everyday markings, places and the familar landscape of Main Street, Anytown USA. Attention getting and legibility are the key components.

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Developed for Volkswagen AG in 1979, VAG Rounded is a variation on nineteenth-century grotesque sans serif designs.

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Mustang is a powerfully expressive brush font that combines an edgy urban aesthetic with a smooth feminine flow. Some have suggested that Mustang is romantic. Some say it has something to do with speed or freedom. While precisely what Mustang expresses is up to debate, there’s no doubt that it’s expressing it with intensity.

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The Roos family is a digitization and expansion of the last typeface designed by Sjoerd Hendrik De Roos, called De Roos Romein (and Cursief). It was designed and produced during the years of the second World War, and unveiled in the summer of 1947 to celebrate De Roos’s 70th birthday. In 1948, the first fonts produced were used for a special edition of the Dutch Constitution on which Juliana took the oath during her inauguration as the Queen of the Netherlands. To this day this typeface is widely regarded as De Roos’s best design, with one of the most beautiful italics ever drawn.

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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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Parisine has been designed by Jean François Porchez in 1996 for Ratp to solely fulfil the unique needs of signage legibility. In 1999, the family was revised and extended for use in maps and external communication. Not connected with Ratp, Parisine Plus appeared also in 1999. Much later, Parisine Office was created for Ratp’s internal and external communication.

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Besides all the display and script typefaces I design, my real passion is to design typefaces for copy.

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Beautiful and elegant, Black Swan BF lives equally in bliss as entrance signage for an exclusive housing subdivision, as it does on the cover of a hot new music CD.

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Dutch Mediaeval is a text family based on Hollandse Mediaeval, the 1912 Sjoerd Hendrik deRoos classic, arguably the most popular Dutch text face of the 20th century. Over the years, many typographers and pressmen have gushed loving words about this typeface in metal, and now it comes to digital life in wonderful and expert style.

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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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As marketing research shows, the first thing people read on a page is the handwritten notes; then the captions. Eventually they might read the body copy.

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Inspired by the Froben capitals believed to have been cut by Peter Schoeffer the Younger, son of Gutenberg’s apprentice, this design is neither strictly a Venetian nor an Aldine. The archaic approach and lack of the Aldine model lead us to place the face in the Venetian group. The design owes more to Goudy than to Schoeffer.

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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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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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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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See also BF Fiona Serif and BF Fiona Slab.

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Berling was created by Karl-Erik Forsberg for the Berling foundry in 1951, with other weights added in 1958. The design is an old style roman, particularly useful for books, journals, and other text applications. Although it has higher contrast than most old style typefaces, Berling has the classic features of old style romans with its diminutive x-height, and ascenders that exceed the height of the capital letters. Berling is good for text settings as well as display work.

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MommieBrush is a brush script headline typeface. It is based on the Spencerian Mommie that won the 2008 TDC award.

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Michael Harvey designed Ellington for Monotype in 1990. Ellington (named after jazz musician and composer, Duke Ellington) is a text typeface that has a definite calligraphic influence that creates a lively and interesting page.

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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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Based in Manuel Corradine’s handwriting, Salpicon is a very spontaneous font.

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Impact wide was developed from the designer’s original drawings for the production of ‘Impact’ metal type, with many detail changes because of the density of the letters. These include the restoration of the bevelled i and j dots of the original. Character maps show some useful alternative characters in both roman and italic. Included are a crossbar numeral 1, mirror quotes and some sorts which were cast in metal but never reproduced in digitized versions of the typeface. There is also a font-specific Euro symbol. (Impact is a trademark of The Type Museum, London).

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Introducing Springsteel, a new display sans serif with an unusual construction: curved lines on the outside with only a few straight lines on the inside.

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FG Bethany is really decorative spontaneous handwriting.

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David Siegel began thinking about Graphite in 1982, looking for an architect’s handwriting with a “chiselled pencil” look, much like Tekton exemplifies the architect’s “pen and ink” metaphor. The handwriting of San Francisco architect Anthony Celis LaRosa became Siegel’s choice.

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Based on the S. H. de Roos design, Amsterdam Foundry circa 1923.

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Here is an extremely efficient and uncluttered typeface that you can use in a variety of situations.

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In case you find yourself looking for an erratic, inconsequent and loose free-style calligraphy font, I guess you need to look no further and try fancyPens.

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And now something completely different. Keks has broken elements like a blackletter typeface, but the actual forms are roman. That keeps it very legible although there is no curve at all.

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BAQ Rounded is a fully developed solid typeface which contains full Latin characters, is highly legible, and always good for extra impact.

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Sweet Upright Script is the first release for Sweet Fonts Collection, published by MVB Fonts. It is an interpreted revival of a vintage, social engraving lettering style that was popular during the 20th Century. It is probably the first digital version of the design.

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Based in Manuel Corradine’s handwriting, Masato is a very spontaneous font.

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Used in advertising posters for the Soviet state foreign trade company named ‘Soyuzchimexort’ in the early 1980s.

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In 1995, FontHaus came upon a rare opportunity to create a revival of Aries, a little known and previously unavailable typeface by the legendary Eric Gill. Discovering a lost typeface by one of the major designers of the 20th Century, was the discovery of a buried treasure, and being the first type company to release it was an honor.

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Softmachine is an OpenType font designed to facilitate an outline stroke that is even in thickness and smoothly curved, avoiding hot spots and pointy artefacts. It does this by the shape, spacing and kerning of letters, and by using the Contextual Alternates feature to control adjacent glyph combinations.

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A new design inspired by the various mastheads used in children’s comic books in England, published by D.C. Thompson of Dundee, Scotland.

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A cousin of Galette, Tertre derives its inspiration from the French signage tradition.

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Jesus Saves is a font designed by Harry Warren based on the familiar old logo that has “JESUS” hidden within a maze-like set of multi-branched vertical bars.

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Based in Manuel Corradine’s handwriting, Mucura is a very spontaneous font.

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Mary Read is a modern handwritten typeface inspired by the wind and the sea. Harsh curves are combined with graceful swashes.

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Copa Sharp is a dynamic typestyle with sharp, pointed terminals and a quick flare to it. It comes complete with several variants to add to its impact, namely a dropshadow style.

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The Fuel Extended typefaces are a modern update on the techno sans extended for stronger impact, complete with soft rounded corners as well as decorative inktraps. Stylistic Alternates included within all styles are alternates for the capital B, E, G, and R characters, as well as all of their accented siblings.

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ALS Direct is an open and dynamic typeface with clear-cut letterforms that make it instantly readable. It lends text a neutral, yet agreeable and modern feel.

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Antique Olive was designed by Roger Excoffon for the French typefoundry, Olive, which it issued in different weights and widths from 1962 to 1966. In France, “antique” is the generic term for sans serif designs. Antique Olive was initially designed to rival the popular sans serifs Helvetica and Univers, but is almost humanistic in its design approach, with no indication of a mechanical look. Although the x-height is large and the ascenders and descenders are short, the design maintains an elegant, statuesque quality. Antique Olive is a distinctive typeface that can be used in a variety of ways, from text work to display.

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Geoffrey Lee designed Impact for the Stephenson Blake foundry in 1965. The sans serif display typeface is very heavy and condensed in the grotesque style, similar to Helvetica Inserat.

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Rumba is ideal for any informal projects when youthful and free style are required.

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I am a huge Moleskine notebook fan - This font is named Diario to celebrate everyone that uses a journal and everyone that appreciates a cool handwriting style.

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Handwriting fonts have a great disadvantage when it comes to double letters: they look fake.

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Here’s a unique new sans that’s infused with the discernible flavor of Blackletter Style.

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