Barge is massive and compact. Bold, non-retro monoliths with smooth chamfers deliver bunches of punches.

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Geogrotesque is a semi modular with a subtle rounded finish typeface. All the characters are based in the same formal principle with its corresponding optical adjustments in order to adapt the system to an alphabet for texts. Although the type family has a geometric or “technological” construction, the rounded finish provides it a warm appearance, making the typefaces nicer and nearby.

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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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Geogrotesque Stencil is the newest member of the popular Geogrotesque family, it has been thought as a display typeface, but it goes one step further and tries to solve some of the typical problems of stencils fonts.

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Secca Art recovers some of the expressive forms of early art nouveau and art deco grotesques — not copying it, but carefully adapting it for today.

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In the United Kingdom, Virgin Trains uses various weights of Generation Gothic extensively.

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Originally designed by Morris F. Benton for ATF in 1920, it was not completed for production until 1926.

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

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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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Based on the Morris F. Benton for ATF in 1920, it was not completed for production until 1926. The serif version we released a few years ago was so popular, that we decided to design a complementary sans serif version in three weights, along with three corresponding Swash fonts.

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A strong geometric style specifically designed for very close letter and word spacing. This condensed typeface is ideally suited for large headline settings where space is limited.

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Born as a revival of an Egyptian typeface, this hand-drawn typeface is is perfect for headers and even as a body text.

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Based on Hispalis from the Spanish foundry, Nacional.

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In spite of its name, this font family embodies the ultimate classic modern advertising typeface, rather than concern itself with revivalism or Didone authenticity. Naturally the spirit of the original Didot faces still exists in this family, but over twelve years of work on it have made it more fitting to the luxurious expression of our day and age, rather than nineteenth century Europe.

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Press Gothic is a revival of Aldo Novarese’s Metropol typeface, released by Nebiolo in 1967 as a competitor to Stephenson Blake’s Impact (designed by Goeffrey Lee). Though Metropol enjoyed a few short months of popularity and use in Italy, Germany and France, Impact won the technological outlasting battle by moving on to film type then to computer outlines bundled with mainstream software, while Metropol never made it past the metal state until now. Too bad really, since this is one of the few faces that could have played well with all the horrendous stretch'n'squeezing of the 1970s.

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Riposte is a powerful and carefully-integrated handwriting font. You should use it where you want to create a strong impact but want to avoid heavy, boxy, formal fonts.

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Based on the original design, circa 1951.

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Breuer Headline exhibits a modern geometric structure tempered with subtle strokes of friendly humanism. Its neutral forms and sturdy rhythm are convincing without being forceful. The lowercase has a slightly casual feel. Set in all caps for a sterner message.

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A revival of the Ludwig & Mayer type design from 1930.

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Shababa is a hand-drawn 3-D font. The linework is still kept fairly relaxed, mostly smooth with some distressed edges. There is lots of texturing from the pen strokes which becomes more evident at larger point sizes. This looseness enhances the smooth technicality of the properly extruded forms.

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In spite of its name, this font family embodies the ultimate classic modern advertising typeface, rather than concern itself with revivalism or Didone authenticity. Naturally the spirit of the original Didot faces still exists in this family, but over twelve years of work on it have made it more fitting to the luxurious expression of our day and age, rather than nineteenth century Europe.

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Japanese Brush Master was developed directly from the hand-written brushstrokes of experienced calligrapher, Shigeru Nomura.

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Based on the design ‘Phosphor’ by J. Erbar, for Ludwig & Mayer, circa 1922-30.

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This is the revival, repair and expansion of Thomas Hollingworth’s Informal Gothic, one of the winners in VGC’s National Typeface Design competition in 1965.

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There has never been a publicly available digital version of Cooper Black’s original swash characters.

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Although Los Alamos was originally designed as a complementary sister typeface to Grand Canyon, it evolved into a comprehensive and unique type family in its own right.

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Cooper Black is a very heavy version of Cooper Oldstyle (also known simply as Cooper), an innovative typeface with rounded serifs and long ascenders designed in 1919. The Cooper family was the work of Oswald Bruce Cooper, co-owner of the Bertsch & Cooper design firm in Chicago. Cooper Black was first released by the Barnhart Brothers & Spindler foundry of Chicago in 1922. Oz Cooper was fond of saying that the Black fit the needs of “far-sighted printers with near-sighted customers.” Cooper Black set a trend in ad types which prompted such designers as Fred Goudy (one of Cooper’s early teachers) to follow suit with their own black faces (compare Goudy Heavyface).

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The Wild West meets Russia and India in this heavy duty display face. Although it’s uppercase only, most of the characters vary between the uppercase and lowercase alphabets, so it’s easy to give your text a hand-made feel by mixing up your cases. OpenType savvy applications can really exploit the extra features of this font. Engage contextual alternates, and G, C, L and alternate form of E will change when placed before a letter with a crossbar to create some cool effects (see the CK and LE combinations in the poster). There are standard ligatures for ff and FF combinations, and discretionary ligatures for ‘and’, ‘the’, ‘No’, ‘Mc’ and ‘Co’. Engage stylistic alternates for a reversed 3 version of E, and the obligatory backwards R for that faux-Russian effect. Also included in the font is a host of ornaments.

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BaselSans is a discrete, legible typeface, inspired by the international typographic style, with a humanistic touch.

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Based on an early wood type design. An original creation, that kept growing...!

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This series of faces was designed initially by Morris Fuller Benton, circa 1900.

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Downturn was most directly inspired by letters painted on the wall of an old medical warehouse in Washington, D.C.. Other inspirations include lettering on manhole covers, metal signs and machinery in New York and DC.

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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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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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Cooper Black, commissioned by Barnhart Brothers & Spindler, is the best known of Oswald Cooper’s typefaces. Bitstream has expanded the 1921 original into a complete series of round-edged text faces.

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Bapalopa is inspired by classic graffiti “blockbuster” letter forms. These letters are made to look as big and as wide as possible. Bapalopa’s linework is kept very loose & relaxed, mostly smooth with some distressed edges.

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The design process of OkayPaint began as hand-painted letters on paper. Thus, a variety of distressed paint effects can still be seen in the details, from splatters to dry-brush. This makes for a textured, artistic look.

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Fantablock is a bold, high impact text. The edges are beveled to create the illusion of 3D raised text. The bevel effect makes it easy to create an embossed or engraved look.

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A heavy one.

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When I decided to design my own font for my new firm I wanted it to be as simple and legible as possible and for that I took a square with rounded corners, i.e. the letter ‘o’, as its basis.

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Merc is a four-letter word that stops just one y short of Mercy. Merc is also the standard street abbreviation for mercenary, or a soldier for hire. Now that the global security business has become a two hundred billion dollar industry, we thought you would like to have your very own affordable merc.

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Stephanie is a rounded geometric display font and works best in display applications, such as posters, headline, magazine, product branding, corporate branding, signage, logos and titles.

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This unique type treatment was born after working in a mixture between a pixel based font and a retro logo. With lot of details it looks great a bigger sizes, but you can also apply it to write long sentences or even as body text!

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Absinette takes us straight back to 19th century France. Its a decorative family of Roman faces in three widths as well as a more elaborate inline style, ideal for posters with an Edwardian or Victorian theme.

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The original Ronsard Crystal began its life as a single-weight VGC photo display font in the 1950s.

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Based on a font design called Eldorado, we had to change the name because Linotype has a disimilar typeface of the same name!

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

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Bitstream Cooper was designed at Bitstream in 1986 by means of adding light, medium, and bold styles, with the corresponding italics, to the existing black ones.

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Designed by Douglas C. McMurtrie. Digitally engineered by Steve Jackaman. Based on the original Ludlow drawings, circa 1928.

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Hiroformica is a typographic family composed by eight different fonts configured for integrated combat.

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In the early 1980s, Steve worked at Typographic House in Boston, Massachusetts. At the time, ‘Typo’ House, as it was affectionately known, was the largest type house in New England. This font was designed and produced during his tenure. The design was so popular that it became available commercially through VGC, and was known as TH Alphabet Soup.

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An original design.

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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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