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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Heroic Condensed is the graphic embodiment of the idealized, no-nonsense, narrow grotesque.

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Bureau Grotesque reintroduces the tooth and character of the nineteenth-century sans.

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Bureau Grot is now accepted as the essence of tooth and character in an English nineteenth-century sans. The current family was first developed by David Berlow in 1989 from original specimens of the grotesques released by Stephenson Blake in Sheffield. These met with immediate success at the Tribune Companies and Newsweek, who had commissioned custom versions at the behest of Roger Black. Further weights were designed by Berlow for the launches of Entertainment Weekly and the Madrid daily El Sol, bringing the total to twelve styles by 1993. Jill Pichotta, Christian Schwartz, and Richard Lipton expanded the styles further, at which point the family name was shortened to Bureau Grot.

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An antique letterpress typeface digitally recreated with various grunge variations for a versatile font family.

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Balboa is a sans serif display typeface. It incorporates elements of various primitive gothic and sans serif letterforms from the early 19th century and combines them with contemporary touches to make a distinctive modern design.

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Generous curves above and below the straight-sided Railroad Gothic parallel those of Figgins’ elephantine Grotesques, lending both British and American series their monumental qualities.

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Figgins and Caslon may be names familiar to many as Type Founders. Indeed they are, but they are perhaps less well known for the emergence of Sans Serif type styles which have become part of our lives since 1889.

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Based on an early wood type design. An original creation.

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Poplar is an Adobe Originals typeface designed by Barbara Lind in 1990 for the Adobe Wood Type series.

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Digitally engineered by Steve Jackaman. Ludlow, circa early 1900.

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The name says it all. It is aesthetically located between American Gothics and European Grotesques and features small caps, a Central European character set and four number formats plus small caps numerals.

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Richard Miller started out as just a logo for a website/business card. It is a modular sans that works well in both print and web design.

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Gnuolane is a serious headline font in five weights. While it borrows from 19^th Century grotesque models, it possesses a superelliptical sixties sneer. The OpenType format includes old-style numerals, ordinals, superiors, inferiors, f-ligatures and class-based kerning.

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As seen on Typophile.com, DTD Silvertone Woodtype had its roots in capitals and figures from a specimen of Ludlow 6-EC Gothic Extra Condensed woodtype. Thometz interpreted and expanded on the set, adding an original lower case and a set of alternates.

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Jeff Levine’s Newshawk JNL emulates the tall, condensed headline fonts often used years ago when an urgent story broke and a newspaper rushed an “Extra” edition to the streets.

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

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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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A triple condensed gothic based on the letter form of Franklin Gothic.

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Editorial Comment JNL is another wood type in the Grotesk (also spelled Grotesque) style of sans serif faces.

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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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Modern digital typography pushes many designers to try and achieve visual perfection with their lettering.

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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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Stenciling Cards JNL is the digital equivalent of the individual letter and number stencils used to paint markings on walls, crates, boxes, etc.

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Winner of the “no prizes for guessing” category, Overlapper’s main feature is that the letters overlap slightly. I thought it best to just come straight out with it. In case there’s someone just recovering from a lobotomy.

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Grotbox is an interesting, if not startling, distressed punk font.

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Snack Shop JNL draws its basic influence from the capital letters of Jeff Levine’s Two Reeler JNL, but is a bolder, outline design - looking more like sign lettering than a title font from a silent movie.

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Originally ZionTrain was built as a Cyrillic typeface for public transport navigation system. We wanted comprehensible, distinctive letterforms, that can help everybody on the way from Babylon to Zion.

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An old rubber stamp printing set called the Aristocrat Sign Marker was the inspiration for this font from Jeff Levine.

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Chaweng is a coastal region on Ko Samui, an island in the Gulf of Thailand, about 20 miles off the mainland. The design of Chaweng is based on some ‘Latinese’ characters Peter Rosenfeld detected while celebrating Chinese New Years Eve with people from Thailand and China on the beach of Chaweng. Ralph M. Unger took on the idea and developed a completely new typeface, very beautiful, very ‘Latinese’. Chaweng obviously shows some of the typical characteristics of Chinese ideograms, still keeping a high level of legibility. To add something really special, Unger digitized the Chinese signs of the zodiac which change annually, on the occasion of the Chinese New Years Eve.

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Sheet music from the 1921 edition of the Ziegfeld Follies provided the blueprint for this sparkly, sprightly font. Upper and lowercase characters are identical, with the exception of the letter s, which offers a version of the letter with a big caboose rather than an overbite. Named for David Bowie’s 1972 breakthrough album.

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Flat-pen, suitable for quick notes and display work, relaxed yet dignified.

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It is not simple sennit. You know that such Russian lapti? It is footwear plaited of stripes a bark of a linden. My font too all is made from stripes. From the first up to last letter.

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Re-tooled from the QBF Collection.

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In hardware stores across the country are display racks with letters and numbers silk-screened onto self-adhesive aluminum “parallelograms”. These handy and durable items have graced countless mailboxes, office doors, hallway signs and automobiles for years.

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Another of my hand drawn originals now digitized. It started out as a very bold, decorative initial capital letter - a ‘font within a font’ - but got extended to the full alphabet.

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Adapted from Ronsten to make an acceptable chunky, more normal serif font retaining the serif alignment with the letter curves.

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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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This family was inspired by numerous documents and books printed in Paris during the end of the 1700s. Mainly, documents printed by P.G. Simon & N.H. Nyon, “Printers of the parliament” were used for the Normal and italic styles and “Caps”. “Titling” characters were coming from a collection of hymns printed by Nicolas Chapart. In France these Fournier characters, as Baskerville in Great Britain, were the most often in use in the late 1700s, just before the Didot designs.

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While working on our Macs late at night, Our Eyes beheld an Eerie Type: It’s called The Mash!

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The aim was to make a font that looks like the ones on airplanes. And Cape Arcona Type Foundry needed an Airline anyway. For more options in typesetting, some upper and lower cases differ. For the best effect of the 3D version, write the desired word with ‘fill’, duplicate it and change it’s style to ‘shadow’.

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This font thicker than my Fatman.

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Another in a series of typefaces (Joost a Gigolo and Modern Art) based on the works of comic-book artist Joost Swarte, which continues in a long-standing Dutch tradition of unconventional lettering design.

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Movieland JNL is a re-working of Jeff Levine’s Art Deco-styled Wingate JNL, with more traditional letter shapes; making it perfect for creating (or recreating) the compact look of movie poster production credits.

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On the sides of freight cars, passenger trains, trolleys, buses and cable cars was once found identifying letters and numbers with a bold, yet quaint hand-painted look.

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A 1931 travel poster for Pommern, Germany, designed by Willy Dzubas provided the inspiration for this charming typeface. Sets tight, large or small.

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Named for his childhood neighborhood in Brooklyn, NY, Jeff Levine’s Crown Heights JNL is a lightline all-caps titling font excellent for short words or phrases.

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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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A real powerful look great for headlines, a true heavy weight.

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Estilo Script is the perfect companion to Estilo.

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Now that’s tight.

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Designed at ParaType in 1997 by Tagir Safayev. Based on Gasetny Chorny (“Newspaper Black”), of Ossip Lehmann foundry, St.-Petersburg, 1874, and Kompakte Grotesk of Haas.

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Amateur Printer JNL is comprised of letters and numbers from one of the rubber stamp sign printing sets that were popular with children up until about the 1960s.

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The Sideshadow family has 4 weights, Regular, Bold, Light and Half Light (which is intermediate between Regular and Light). The distinguishing feature of the font (you don't actually need me to explain this, do you?) is the partial shadow to the side of the main character, giving it a distinct and eye-grabbing look.

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Display Intense is a display font designed specifically for display, headline, logotype and similar applications.

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Designed by Les Usherwood. Digitally engineered by Paul Hickson. Les never released this completed typeface before his untimely death in 1983.

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Designed at ParaType in 1997 by Tagir Safayev.

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First designed in 1999 Large now becomes LargeOT and it’s available in Regular, Extra and Italic.

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Gurkner can take on two forms: First, there’s the straight form, a ruly Gurkner with all its ducks in a row—an obedient army of Caspers. Then there’s a quixotic form, a demented Gurkner that bounces around the house like a poltergeist on crack. If you buy the OpenType format and use an application which properly supports OpenType fonts, custom letter pairs will magically wedge themselves into position to create a jumbled portergeist on crack effect.

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Squarity JNL is an ultra-bold font derived from Jeff Levine’s Yorso Square JNL.

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Project a powerful image with Sommet.

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Goldenbook is based on the logotype of a literary magazine from the late 1920s called The Golden Book Magazine. It is meant to be used large and includes fonts with both old style and lining numerals in each weight.

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An ultra heavy redesigned Bodoni look, extremely powerful but yet very elegant.

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

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Zapatista is derived from a typeface that I designed in 1998 but never released. It is a playful slab serif with a texture that is sometimes subtle and reminiscent of the irregularities of letterpress printing.

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Schwung is a brush script headline typeface. It has round elegant swirls that get stronger in the alternate version.

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This decorative, headline or logotype geometric font consists entirely of uppercase letters. The glyphs of uppercase are rounder than their lowercase counterparts, allowing playful interaction within words, contrasting round and square shapes.

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Boldina consists of 18 fonts with a lot of personality.

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While browsing through a Dan Solo type reference book, Jeff Levine fell in love with the multiline stylings of one particular typeface, then sat down and re-drew from scratch his own interpretation of the design.

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A bold-face font with unusual lower case letter forms.

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Franklin Gothic, one of the most popular sans serif types ever produced, was designed by Morris Fuller Benton in 1902 for American Type Founders. In 1979, under license with ATF, Vic Caruso began work on more weights of the design for ITC.

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Inspired by handlettering used on many WPA posters of the 1930s, this monocase display font has stylish lines and graceful curves that will add period charm to any project they grace. Available and normal and bold weights.

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Fiendstar Outline has been designed to complement the Fiendstar family of fonts.

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Sinuous but sturdy; ornate but legible - Gambit Nouveau is modern-day design created in the spirit of Art Nouveau.

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Another variant of Bayer’s Universal Alphabet, resembling ITC Bauhaus in design, ITC Ronda in proportion and fit, prepared by FotoStar in the mid 1970s.

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Coldfield JNL is the revival of an old wood type font from Jeff Levine.

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Turlock JNL is a more traditional-looking slab-serif Western Font along the line of Brogado JNL.

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Whoosh JNL is a basic character set font with no foreign or extra characters.

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Record Title was designed by Frederic Goudy in 1927 as a proprietary commission for the Architectural Record magazine.

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Once I ate a knuckle sandwich after saying some things about some guy’s pregnant girlfriend. It turns out she wasn't pregnant at all. I felt like a real knucklehead. So I made this font.

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Rysse is a primitive art-college grunge font, completely legible but quite unsophisticated. Unashamedly. The typeface comes in two main styles: one a standard hi-case lo-case version & the other an all caps version. There’s also three versions which give an apparently random lighter/bolder printout when decreased uniformity is the order of the day.

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This typeface was inspired by the popular typeface Machine. It uses straight lines with circles converted to octogons, but uses them in different proportions.

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The Flyer family consists of two very heavy condensed sans serif faces, Black Condensed and Extra Black Condensed. Excellent for headlines or packaging, Flyer is geometric and quite similar to Tempo Heavy Condensed.

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