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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DavidFarewell is a medium-weight, sans-serif typeface with a fairly large x-height. It has a substantial amount of variation in the weights of the diagonals and verticals.

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A near-sans with legibility proportions and discreet, sharp serifs that add definition at small size, finesse at display size.

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Alinea is a typeface in 3 styles (Sans, Incise, and Serif) conceived for being mixed in the same document. Alinea incise is a flare serif (incise in French). It finds its origin in the roman letters carved in stone. The great advantage of such a style is that it can be associated to any other style of typeface. The most famous flare serifs are: Optima of Hermann Zapf, Pascal of José Mendoza, Amerigo of Gerard Unger and Alinea Incise of course!

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This style mimics the flare or upward fade that comes with the use of a spray paint can, as the tops of the letters flare, and become wider.

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Baumfuss and BaumfussTwo have
small serifs and very few straight lines. They are a bit heavy to be
easily readable at smaller point sizes. Baumfuss has an extreme
x-height, while BaumfussTwo has a more conventional x-height.

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Insigne’s popular Aviano series returns with Aviano Serif.

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In 1972, Herb Lubalin and Tony DeSpigna designed this typeface for the International Typeface Corporation. ITC Serif Gothic combines the readability of serif (roman) faces with the simplicity of a sans serif (gothic). It comes in six weights, providing a flexible range of faces for use in advertising, packaging, billboards, or headlines.

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Inspired by a piece of cigarette pack lettering by the great A. M. Cassandre, Nick designed the rest of the characters as an experiment. Geetype evokes the 1920s & 30s and is an unusual, eye-catching display face.

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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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I've been working on a usable sans serif for body copy since the mid-1990s (though I certainly did not know it at the time).

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This type is almost a sans serif. It has legibility proportions, and a very large, useful family with specially adapted condensed and extended sub-families.

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Berthold Wolpe designed Albertus, his second typeface, for Monotype between 1932 and 1940. Albertus was first available only as a titling font, until 1940, when the lowercase was added. Modeled on letters that Wolpe chiseled out of bronze, the sharp serifs are formed by a simple widening of the stems.

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Appropriately named, Americana was designed by Richard Isbell for American Type Founders in 1966 in honor of the then upcoming U.S. Bicentennial.

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Friz Quadrata was originally designed in a single weight by Swiss designer Ernst Friz for Visual Graphics Corporation in 1978. International Typeface Corporation worked with VGC to produce a bold weight, and now both are available. Friz Quadrata is an unusual design with curved stroke endings and lowercase letters with bowls that do not close.

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Enzia is a friendly and flowing sans serif.

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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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Cardigan is casual enough to be friendly but manages to keep its cool without acting a fool. Three weights plus italics equals six styles: more than enough Cardigans for any designer’s wardrobe.

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Bouwsma Text is what Roman type would look like if it had been designed by calligraphers instead of metalworkers. The formal harmony of the Roman capitals, with tapered stems, graduated curves and serifs which are natural entrances and exits for the broad pen. These serifs seamlessly work in relativity with the stroke weight, decreasing in size when the stroke increases.

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Designed by the renowned Robert Hunter Middleton of Chicago’s Ludlow Typograph Company, this “serifless roman” was first introduced in 1929.

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A three dimensional design has rich textured layers along with a strong drop shadow. This design has four individually drawn outlines to create multiple solutions with layers, colors, gradients and filters. Revenue requires subjective display kerning and compensation.

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Sweater School is a friendly teacher’s font based on Cardigan. The structure is similar to the print style elementary school teachers prefer but with subtle compromises to improve readability.

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Tomato is the digitization and quite elaborate expansion of an early 1970s Franklin Photolettering film type called Viola Flare. This typeface is an obvious child of funk, the audio-visual revolution that swept America and put an end to the art nouveau period we now associate with the hippy era.

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A light hearted comic flare serif typeface inspired by a 1964 Speedy Gonzalez cartoon title.

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An arts and craft design with that trendy retro look.

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Altra is a family based on a tracing of an old clip art font. I liked the gentle calligraphic look. Consider it a sans serif with style.

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This new OpenType pro family has four members so far with 473 characters and glyphs each.

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In 1972, VGC released two typefaces by designer friends Dick Jensen and Harry Villhardt. Jensen’s was called Serpentine, and Villhardt’s was called Venture. Even though both faces had the same elements and a somewhat similar construct, one of them became very popular and chased the other away from the spotlight. Serpentine went on to become the James Bond font, the Pepsi and every other soda pop font, the everything font, all the way through the glories of digital lala-land where it was hacked, imitated and overused by hundreds of designers. But the only advantage it really had over Venture was being a 4-style family, including the bold italic that made it all the rage, as opposed to Venture’s lone upright style. One must wonder how differently things would have played if a Venture Italic was around back then.

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The inspiration source for Monarchy Initials is the 1934 Book of American Types by American Type Founders. In that specimen book, they had created a sophisticated two color initial design they called “Stationers Initials” which was only available in metal type at 24, 36, and 48 points. This wonderfully detailed initial style is now digitally recreated and revived for modern use.

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ITC Quorum was designed by Ray Baker in 1977. The character shapes are essentially oval, with the design falling somewhere between serif and sans; the basic character structure is sans serif, with sharp flared stroke endings that look almost like serifs.

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Emerge BF was inspired by Admiral, c.1900, from the Keystone Type Foundry.

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The distinguishing characteristics of the serif Clearface family—the slight serifs atop A, and at the stroke ends of V and W; the curves of k and y; the slanted bar of e; and the open 4—are apparent in its companion, Clearface Gothic. Both were designed by Morris Fuller Benton for American Type Founders and released between the years 1907 and 1910. Clearface Gothic is also a legibility typeface and, therefore, is most distinguished when used for text.

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An original design by by Richard Isbell for ATF; in exaggerating the tapered stroke introduced eleven years earlier in Hermann Zapf’s Optima, Isbell created the first flareserif to achieve popularity in the United States.

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An original Bitstream typeface prepared by Gerard Unger to provide a typeface of tapered stroke that will work well at lower resolutions.

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Johnny is the latest addition to the long line of popular psychedelic/hippy/funky art nouveau fonts representing the retro side of the Canada Type library. It is the digitization of a popular 1969 Phil Martin typeface that was known by two different names: Harem and Margit.

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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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A casual gothic easy-to-read font. Relaxed Fit works for so many applications: text, Headlines and anything in between.

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The stenciled version of DavidFarewell.

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Albe Sans is a font family that began life when I was struck by a full-color back page ad in a 1935 copy of Better Homes & Gardens. I loved the readability and general cleanliness of the design. This font is drawn from memory after that experience. It is loosely based on Palton for proportion, but heaviily modified (not to mention, Palton is serif): Lower case numbers, Euro, ballot box in the section slot.

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PT Telingater Display™ was designed in 1959 by a well-known Soviet book designer Solomon Telingater (1903-1969) at Polygraphmash type design bureau.

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Allen Zuk has designed this wacky typeface that he calls KOOKY. Each character has three variants that bounce about the baseline. The effect is a randomly casual appearance that is great for headlines. The OpenType version does this automatically by using contextual alternates, but for the kooks that prefer to do things the hard way, three PostScript fonts are available.

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AltraTwo is a complete redraw of a family based on a tracing of a clip art font from an old printed book. The AltraTwo family adds italic, black, and black italic.

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

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This font, as indicated by its namesake, was designed and started by the late Bob Alonso. It represents the first of his unfinished work to be completed by friend and colleague John Bomparte, following Bob’s passing in December of 2007.

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

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The Embargo font family is a set of stylish, modern typefaces. All typefaces are based on an italic sans-serif typeface that has been altered with angled serifs or flares to give it an aerodynamic and unique feel. Embargo fonts are ideal for both text and headlines, thus making Embargo a truly versatile family of fonts being offered at a great price!

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UUeirdie is weird.

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The inspiration source for Memoriam Initials is the 1934 Book of American Types by American Type Founders. In that specimen book, they had created a sophisticated two color initial design they called “University Initials” which was only available in metal type at 24, 36, and 48 points. This wonderfully detailed initial style is now digitally recreated and revived for modern use.

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Moonglow is an all-cap family with a broad range of faces from light to bold, and from condensed to extended. It adds an accent of drama when set with sturdy text faces, and a flash of light and shade when used in short solo settings.

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ITC Quorum was designed by Ray Baker to neatly fill the gap between serif and sans serif. The typeface displays a distinctive, subtle design that illustrates a gothic simplicity. Baker cleverly combined traditional and formal letterform elements with contemporary design considerations and aesthetics. ITC Quorum is an excellent choice for advertising and publication graphics.

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A narrow, blocky flareserif of low stroke contrast and large x-height designed for ITC by Ray Baker.

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Herb Lubalin’s brilliant application of copperplate serif formation to an Art Deco geometric substructure with lowercase, the series prepared with Tony DiSpigna for release by ITC in 1974.

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ITC Serif Gothic is the joint effort of Herb Lubalin and Antonio DiSpigna. Its distinguishing feature is its uniquely designed serifs, combining gothic simplicity with traditional roman elegance.

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Berthold Wolpes set out to make a print typeface when he began work on the font Albertus. First came an all caps alphabet, Albertus Titling, in 1938 he added the lower case letters and finished the rest of the font’s characters by 1940. The italic version of the font distinguishes itself in its narrow forms, but it is recommended that it be used sparsely when mixed with the roman in longer texts.

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Friz Quadrata is the work of a number of collaborators. The first weight was created by Swiss designer Ernst Friz and made its first international appearance with the design release of Visual Graphics Corporations. ITC then arranged with VGC so that Victor Caruso could add a bold weight to the original. Finally, in 1992, French designer Thierry Puyfoulhoux designed italic weights for both the original and bold weights.

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Americana was designed by typeface artist Richard Isbell in 1965. The typeface family consists of two weights and their respective italics. The generous forms of this typeface contain large inner spaces. Lines of text look light and airy and require generous line spacing. The high cross strokes and the open inner spaces make this font highly legible even in small and very small point sizes. The triangular serifs are a distinguishing characteristic of Americana. These first appeared in the 19th century in France and inspired by the developments in lithography, which allowed for freer forms. The forms were typical for advertisement and display typefaces. The sophisticated Americana is particularly suitable for advertisements and personal correspondence.

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A stylish flareserif of strong personality prepared for VGC in 1965 by Ernst Friz; it was licensed by ITC eight years later.

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Berthold Wolpe’s innovative design undertaken for Monotype in 1932 suggests the texture of letters cut in wood. Albertus can be seen as Morison’s improvement of Othello, Monotype’s 1928 copy of Neuland, executed by Pierpont.

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