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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Dracena is based on a sixteenth century German fraktur typeface.

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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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Melcheburn is a classic late-medieval gothic font based on original lettering by Samuel Welo.

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Adalbert von Chamisso wrote that wondrous story about the man who sold his shadow to the devil. Walter Thiemann recovered that shadow when he put a thin line and a shadow line around his Tiemann Fraktur.

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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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Inspired by posters of the early 1900s, Revue was designed for Letraset in 1968 by Colin Brignall.

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Designed by Les Usherwood. Digitally engineered by Steve Jackaman. Many of the weights and the italics were created after Les’ death.

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Designed by Heinz Konig, Waltari was released by the Rudhard'schen Giesserei of Offenbach A.M., Germany in 1900, and reflects all the flamboyant exuberance of that period. Waltari is a Jugendstil rotunda, combining its blackletter roots with a strong Roman influence in an effort to achieve a broader appeal than the traditional forms. As a rotunda, Waltari is easily read by readers who are not comfortable with the schwabachers and frakturs in common use in German printing. Waltari, with its decorative flourishes, has the amazing ability to be both traditional and youthful at the same time. Especially useful for for scrapbooks and invitations.

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Twentieth Century was Lanston Monotypes answer to Futura. In fact Saul Hess’s redrawing of Futura is so close that this new digital revival includes alternates of the long lost original letterforms originally designed by Paul Renner for Futura, but were left out of the released version that has become so popular. 20th Century is a modern sans serif with apparent geometry yet still a certain warmth in its design.

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Gradl Highstep is an archetypical Art Nouveau face by the prolific and mysterious Max J. Gradl. It epitomizes the visual language of elegance and sophistication. It seems strange that so little information is available today about Max Gradl: He seems to have been well known in his day. In addition to his jewelry design, he did advertising work for customers in Naples, London and New York in addition to customers in cities all over Germany.

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C. Winkow designed Reporter for the Wagner foundry in 1938.

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Wilhelm Klingspor Gotisch was designed by Rudolf Koch from 1924 to 1926 for the Klingspor foundry. Koch was a talented calligrapher, and he put this skill to use in this blackletter design.

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Stuttgart Gothic is based on early 20th century hand lettering samples developed by Ernst Schneidler at the Stuttgart School of Design.

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Designed in 1992 by Karlgeorg Hoefer, Notre Dame is part of the Linotype Type Before Gutenberg series.

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Sibyl is a beautiful display letter rich in structure, sumptuous in finish, and exquisitely detailed throughout. What amounts to a rarity among rarities—an inline schwabacher—required many hours study of traditional schwabacher fonts. The resulting Sibyl type hews much closer to authentic schwabacher forms than its “scanned and fonted” progenitor, the Verzierte Schwabacher designed by Carl Kloberg, 1891.

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Pull up your Jackboots and check out this Teutonic title font designed by Richard Starkings for Rob Liefeld’s controversial relaunch of Marvel’s CAPTAIN AMERICA.

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New Bayreuth is a new and improved version of the original Bayreuth font (Friedrich Hermann Ernst Schneidler, 1932).

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A blackletter font of decorative style and of obscure origin which was rescued for all devotees of these old hot-metal letters.

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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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Helvetica is one of the most popular typefaces of all time. It was designed by Max Miedinger in 1957 for the Haas foundry of Switzerland (the name is derived from Helvetia, the Latin name for Switzerland).

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Herb Lubalin and Tom Carnase based their 1970 design of ITC Avant Garde Gothic on Lubalin’s logo for Avant Garde Magazine. The condensed fonts were designed for the International Typeface Corporation in 1974 by Ed Benguiat. ITC Avant Garde Gothic is a geometric sans serif type, that is, the basic shapes were made with a compass and T-square; the design is reminiscent of the work from the 1920s German Bauhaus movement.

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The Corporate ASE typeface trilogy was designed by Prof. Kurt Weidemann, a well-known German designer and typographer, from 1985 until 1990.

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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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Sketch Block is a hand-sketched headline font. The family contains a light and bold weight; both complement each other perfectly. The mundane, constructed basic forms of the egyptienne typeface get their charming touch by the handmade hatching. Impressions of dominance and warmth are equally created.

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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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Narziss is a very popular display typeface. People really love the thin hairlines and the swirls.

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Optima is elegant and highly readable, qualities remarkable in a sans serif design.

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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 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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The Corporate ASE typeface trilogy was designed by Prof. Kurt Weidemann, a well-known German designer and typographer, from 1985 until 1990.

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Jeanne Moderno is a revisionary type family.

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Secca is a fine and simple typeface honoring the roots of early German grotesque type designs but mastered for the needs of today.

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In 1952, Aldo Novarese and A. Butti designed Microgramma for the Nebiolo foundry. It was a popular face, but was available only in capitals. In 1962, Novarese produced a full character set, including lowercase letters, and the foundry renamed the family Eurostile.

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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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The Corporate ASE typeface trilogy was designed by Prof. Kurt Weidemann, a well-known German designer and typographer, from 1985 until 1990.

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Meet the Letterpress!

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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 letters DIN refer to the Deutsche Industrie-Norm, the German Industrial Standard; among their many uses, these typefaces are seen on most road signs and license plates in what was formerly West Germany. One of the primary criteria for the DIN Schriften design was a facility for reproduction. There are four geometric sans serif typefaces, of roughly the same weight but of various widths, from quite round to condensed.

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Insigne’s popular Aviano series returns with Aviano Serif.

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John Baskerville spared no effort to create the ultimate typographic book. He prepared deep black inks and smoothed paper to show to full effect the letters that he had John Handy cut from his own brilliant designs, based on a lifetime of calligraphy and stonecutting. Punches and matrices survive at the Cambridge University Press.

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Designed by Rudolf Koch and released in 1927 by the Klingspor foundry in Germany, Kabel is named in honor of the laying of the first trans-Atlantic telephone cable.

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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 1992, Red Rooster Typefounders created Block Gothic Extra Condensed based on the TP Collection Block Gothic.

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Based on Hispalis from the Spanish foundry, Nacional.

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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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Hemingway designed by Alessandro Segalini was inspired by the prize winning novel The Old Man and the Sea by Ernest Miller Hemingway.

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The first version of Libris I designed in London in 1997 when I worked for Frank Magazine. Later Libris was used in the magazine for text and display.

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Montag is an extended, rounded sans-serif.

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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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Authentic Ink is an old fraktur font, translated into the 21st Century, with the ease of urban street art. This OpenType font contains 3 styles: Ink Normal, Ink Drips, Ink Initial. Each style contains ligatures, 3 stylistic-sets with alternates and swashes, ornaments and icons.

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The present font project is inspired by a tombstone inscription on one German grave in northern Bohemia. Suitable combination: Plagwitz, Modell.

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Re-tooled from the QBF Collection.

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URW Grotesk was designed exclusively for URW by Prof. Hermann Zapf in 1985. At the same time, Zapf designed URW Antiqua to go with URW Grotesk. At that time, we were working with a large German publishing house (Axel Springer) on type design solutions to replace certain of their newspaper fonts. Test pages of large German newspapers (e.g. Bildzeitung) were printed with URW Grotesk and URW Antiqua font families. For reasons not disclosed to us, the project was dropped and Springer never used URW Grotesk and URW Antiqua for that purpose.

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Produced by ATF in 1904, Morris Fuller Benton’s personal version of the heavy sanserifs first made popular by Vincent Figgins in 1830. Franklin Gothic remains popular after nearly a hundred years of use.

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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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