Ink Gothic is a contemporary slab serif with a split personality - a mix of heavy industrial with light typographic twists. Unique letterforms evolve the typeface into a class all its own.

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A very rare metal face made a brief appearance in Lanston Specimen books and has all but vanished from use. In fact no examples of the font in use seem to exist.

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A slightly more refined revival of the Fat Face, as supervised by Chauncey Griffith at Mergenthaler one year after ATF’s Ultra Bodoni.

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A strong powerful face that really works well for any application a distinguished clean look. Headlines, subheads, and text anything goes Vinchenso also has a matching Bold weight.

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Tim Donaldson, creator of Banshee and Coriander, brings us Postino - a quirky display type modeled roughly on the typewriter face, Courier.

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Banco is a strong, expressive display type that was designed by Roger Excoffon for the Olive foundry in 1951. An all-capital typeface that is slightly inclined, Banco has broad sign-painter style strokes that are very subtly tapered. Banco is well-suited for sparing use in display work such as signage and posters.

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A heavy graffiti-inspired font! Don't drop it, 'cos it’s weight might crush the floor!

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Gargantua is the definition of Tuff Type.

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Duro was inspired by the shape of today’s common electronic devices such as mp3 players and cell phones. The smooth shapes work nicely with branding. Duro features bold rounded-corner rectangular shapes.

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Mercurius is indeed mercurial - animated and lively. Designer Adrian Williams’ typeface has the flowing appearance of a script face, but the readability of a roman.

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Kab has a big impact, is very legible and at the same time has plenty of details that makes it really unique.

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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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Designed by Carl Reissberger for the Monotype Corporation in 1962, Forte is a bold display script that has no connections between the letters of the lowercase alphabet.

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Brrrrrr is supposed to represent snow-covered letters, though it could also be letters covered with frosting. The lower case letters are identical to the upper-case letters.

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An older typeface belonging to a family of sans serif fonts known as Grotesque (or Grotesk in the classic spelling) has been re-drawn by Jeff Levine and released as Album Cover JNL. The font’s name is derived from the fact that this typeface was found on many long-playing record jackets during the 1950s and 1960s.

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After the Graphic Art Conflict of 2525, the dust and toner settled. The survivors were discovered the only print resource left was a majestic grove of rubber trees growing from the heap of destroyed 22nd century print technology. Designers reminisced about the days when printing was a simple as feeding a piece of paper to a printerbot but times had changed. Rubber stamps enjoyed a renaissance becoming the print tool of choice for eye-catching headlines. Artful use of the irregular texture of the stamp became the hallmark of the individual imparted through the subtle pressure of the stamper’s hand. It became an art unto itself and the Scrapbookers guild was formed to teach the intricacies of the mystical rubber stamp.

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

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Undercurrent is a handwriting typeface inspired by an architectural look.

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BillieBoldhand was written at once with a fat marker. That’s all there’s to it...

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Designed for ParaType in 1990 by Lyubov Kuznetsova. A bold square-serif style. For use in advertising and display typography. The decorative style was added in 1993 by Lyubov Kuznetsova and Alexander Tarbeev.

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A dark, condensed, nineteenth century sanserif made popular by Linotype, the capitals deriving from Barnhart Brothers and Spindler, the lowercase from Farmer.

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The design for Titulata was based on the need for a titles of extreme weight, dynamics and soft morphology. Strong and clear, it takes graceful form in the line and is legible even in small bodies.

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This robust, roly-poly typeface is patterned after a 1974 release from the Ludwig & Mayer foundry of Frankfurt am Main named Big Band, and designed by Karlgeorg Hoefer.

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Avenue is an eleven font family with five synthesist serif faces, five humanist sans serif faces, and one old style face. It is designed as an extrememly versatile body copy set. There are many special dingbats for bullets, and so on. It has oldstyle numbers and the small caps versions have lining numbers and small caps numbers.

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Barnhard Brothers and Spindler called this typeface Congo when it appeared in their circa-1910 type catalog.

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A decorative display face suitable for short headlines, drop caps or banners. Erasurehead was designed for all media and can be used in a wide range of point sizes. Erasurehead requires subjective display kerning and compensation.

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Bomb is a heavy futuristic industrial font that doesn't like being pushed around.

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This font is intended for use with simplified Chinese. It contains the GB2312 character set.

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The Eagle series realizes the ideas behind Morris Fuller Benton’s famous titling, Eagle Bold, the symbol of American recovery, drawn in 1933 for the National Recovery Association.

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Strenuous isn't just a sturdy display font inspired by the poster for the 1974 blaxploitation movie, Black Eye. Scientists have recently discovered that it’s full of “soul” and leading experts consider Strenuous to be somewhat “superbad”.

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Designed by Alan Meeks under the art direction of Colin Brignall as a medium weight complement to the highly successful Aachen Bold. Categorized as a slab serif Egyptian, it has the unmistakable Aachen pedigree. Because of its less weighty features, it can be used in much smaller display sizes. To maximize the full potential of this typeface, letter and word spacing should be very tight.

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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 powerful yet elegant script a unique look.

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LD Christmas Ale represents an old world feel with a simple holiday twist. Letters and numbers are wrapped in cord to add to that clean elegance.

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This face was recommended to me by Mark Solsburg, president of FontHaus. At first I was a bit reluctant to revive it, if for no other reason than Frederic Goudy’s admission that he created this design “in a moment of typographic weakness.” However, I put the sample that Mark sent me up on my bulletin board, and over a period of time, it grew on me. It finally got to the point that I had to recreate the face, and from the response that I’ve gotten, I’m glad I did! Uppercase only with numerals and punctuation.

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

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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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Halfron is a first release. There is also an Italic version.

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The hand-hewn Islander looks like it could have been liberated from granite blocks.These demonstrative letter forms leave no doubt when it comes to conveying your message, yet they remain playful.

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Gno is unashamedly bold.

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A late nineteenth-century type specimen catalog from Farmer, Little & Co. yielded this droll little typeface, originally called “Arbor”.

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Big, thick and chunky, Bastinado is imposing, but the bat-like, scalloped edges give it a sinister presence. Bastinado is an ancient Asian method of torture in which the bottoms of the victim’s feet are beaten until he can no longer walk. This font looks like it wants to catch other fonts in a dark alley.

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In the world of interior design, a Highboy is a tall chest of drawers with legs. Although this font is wide and bold, it seems ideal for storage.

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A round modular typeface inspired by British movie posters of the 1970s such as Stanley Kubrick’s A Clockwork Orange.

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Odditype is a font that surely lives up to its name... Odd, quirky, techno...yet not.

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The tdBastard family is a modern caps-only display typeface with OpenType features.

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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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You have seen El Grande in mid-century comic books, used wherever simple, black-and-white ideas had to be driven hard, all the way home.

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Meloriac is a pseudo-retro, unicase display font. An obvious tribute to Futura Ultra-Mega-Freakin’-Black and Avant Garde Heavy Heavy Heavy Heavy; Meloriac is ideal for tight headlines and logos. Squish! When we say tight kerning, we mean disco-slacks-tight 1970s kerning . . . track it wider on subheadings. Japanese katakana letters are included so you can grace your designs with pretentious new rave slash J-pop flair.

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Introducing... SPEEDING BULLET -- featuring SPEED TRAILS for increasing the, ah, speed of your bullets!

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Rosadelia is a family of Calligraphic grunge origin, consisting of 4 styles: Uno, Dos, Blanca and Dingbats (Dingbats includes 26 illustration characters).

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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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Numbskull contains an expanded character set including: Central, Eastern and Western European languages, The Baltic, Cyrillic, Esperanto, Greek and Turkish.

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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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Corpulent is a display font whose forms are extremely thick, up to the extent of being nearly illegible. In the 1980s, these construction principles were explored to their very limit.

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Designed to be layered, DeepFried is a multi-weight geometric sans-serif with a 70’s pop feel.

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Pop Manta delivers the perfect punch when impact is needed. Useful on everything from boxes of bubble gum to pro wrestling posters.

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Force is a contemporary sans serif ultra-black family designed by Ricardo Esteves.

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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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Follow us to the future.

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CA Kink was originally created for a book cover.

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Mondiale is a three-flavor unicase family with a tasty hand drawn feel.

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