Museo Sans is based on the well-known Museo.

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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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Future Bugler is a font based on the second logo created by Harry Warren in early 1975 for his sixth grade class newsletter, The Broadwater Bugler, at Broadwater Academy in Exmore, Virginia, on Virginia’s Eastern Shore.

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Neon Bugler is a font based on the third logo created by Harry Warren in early 1975 for his sixth grade class newsletter, The Broadwater Bugler, at Broadwater Academy in Exmore, Virginia, on Virginia’s Eastern Shore.

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Coconut is a round and heavy unicase font with the techno, squarish, grid-based squeeze that of late seems part of almost every contemporary pop designs. It works as the 21st century display substitute to tired last-century horses like Frankfurter, VAG, or the rounded Helveticas, Futuras, and DINs out there.

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Alpha is a modern Sans Serif design, very elegant and readable but still also economic. Alpha is offered in regular, bold and italic, with the bold italic still in the works. Alpha is strikingly clear and without any flourishes. Its pretty large x-height guarantees excellent readability, and the design is easily recognized.

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StapleTXT is a transformation from the monospaced typewriter font Staple mono into a text type.

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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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The standard American sanserif of the first two thirds of the twentieth century, prepared for ATF by Morris Fuller Benton in 1908 under the name News Gothic, with a matching lightface known as Lightline Gothic. Linotype’s Trade Gothic follows News Gothic except for its widely-spaced straight-sided boldface based on ATF Alternate Gothic No.3. Linotype matches News Gothic Bold, a boldface version that originated at Intertype, with Trade Gothic Bold No.2. Ludlow Record Gothic follows News Gothic more loosely.

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Houschka has the humanist qualities reminiscent of Gill and Johnston but is quite unique. It is more monolinear with rounded corners giving it a softer appearance, and has a few interesting character quirks like the capitals A, G, Q, W and lower case u and w.

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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 Cooke’s ongoing quest for simplicity and elegance he developed this striking alternative sans family.

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MVB Solano Gothic Bold was originally designed as a display face for the City of Albany, California, located on the San Francisco Bay facing the Golden Gate Bridge and bordering the the Berkeley hills. Named for the City’s main street, the typeface needed to work on signage in proximity to older buildings, in contemporary settings, and for general print and web use. Rather than creating a neutered design to cover all bases, Mark van Bronkhorst chose to develop a simple, strong, condensed face that would offer flexibility of style by providing both retro and neutral forms.

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Designed to Swiss principles by Alessandro Butti and Aldo Novarese for Nebiolo in 1952 as an improvement on the squared-off Bank Gothic capitals.

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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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A Swiss Sanserif designed for FotoStar with traditionally straight elements deliberately curved.

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Long-awaited softer new companion to the original Houschka sans font family.

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Vox, an extensive monoline sans serif family, is the manifestation of the idea for a typeface that can be both precise and friendly, yet contain enough choice of totally interchangeable variation for a more defined appearance, ranging from the clean and nondescript information relayer to the angular, futuristic and sleek headline maker.

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Here is an extremely efficient and uncluttered typeface that you can use in a variety of situations.

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A set of three condensed sanserifs prepared for ATF as text and titling by Morris Fuller Benton in 1903 and popular for the next half century.

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News Gothic was the standard American sanserif of the first two thirds of the twentieth century with narrow proportions and a large x-height.

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In 1908, Morris Fuller Benton designed News Gothic for American Type Founders. The original design, with two condensed faces, is essentially a light version of Franklin Gothic.

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Driver Gothic is based on the typeface used for Ontario license plates. Although unique among Canadian provincial license plates, this face is very similar to, if not outright identical with, the face used on car plates in 22 American states: Arizona, California, Connecticut, Florida, Illinois, Iowa, Kentucky, Louisiana, Maine, Michigan, Mississippi, Missouri, Montana, Nebraska, Nevada, New Hampshire, New Mexico, Ohio, Oklahoma, Vermont, Washington, and West Virginia.

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Welcome to the end of the tunnel, where the real electricity is. Forget about sliced bread, the wheel was what got us here in the first place. And fire is what we're full of. And don't we just love it!

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An elegantly proportioned, crisply modern sans serif with true italics and two sets of figures (lining and old-style numerals).

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The Heinemann fonts were initially developed by the in-house design team at Heinemann educational publishing out of the necessity to find the perfect font for use in early primary reading books and literacy products.

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A rounded sans-serif with even stroke thickness, based on the standard round-pen ink lettering used on technical drawings in the middle of the 20th century. Accented letters for Western and Central European languages are included.

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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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Amity is a unicase type design in the spirit of Bayer Universal and its 1970’s child, Bauhaus. The lower case combines capital and lower case letterforms in a slick, inherently chuckable set led by a bespoke monocular “a”. An upper case of lining “capitals” compliment the lower case. The deftly-worked-out modular structure, employing quarter rounds and the seldom-used principle of overhead underhang, ensures great fit with very little need of kerning—most letters are strictly lining and occupy a square footprint.

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A simple rough font. Kraft is a rough techno-style sans serif meant for setting text in all capitals.

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Snather is a simple, slightly square sans-serif with modern (if not futuristic) clean lines, giving great clarity and legibility.

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Gala is the digitization of the one of the most important Italian typefaces of the twentieth century: G. da Milano’s 1935 Neon design for the Nebiolo foundry.

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SB Vibe started life as a piece of custom lettering for a UK based techno label and was also used for a house and garage mix compilation before being developed into a full typeface. Vibe was designed, primarily, as a typeface for the music industry, taking its inspiration from the current fashion for retro styles.

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Living in the 21^st century has its drawbacks. Just when you thought you were finally living in the future, a client who isn’t quite with it wants packaging design or merchandising to match their old-school material from the 20^th century. Geared to fill such anachronistic holes, Meloche mimics the style and feel of grotesk sans serif classics from yesteryear. The typographic ideal passed down from the 18^th century was never more generic, with semi-condensed forms, even width capitals, middle-of-the-road line contrast and curled-in stroke ends. Meloche covers a likely range of uses with regular, semi-bold and bold weights. Upper and lower case with numerals, punctuation and accents and a selection of monetary symbols.

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Hydrogen is a clean geometric unicase family that expresses the mechanics, expansive technologies and conflicted ethics of the rapidly changing 21st century. By popular demand, it is the round and streamlined counterpart of Oxygen. Coupled with the right measure of Oxygen, Hydrogen becomes water, the ace of elements — rhythmic, dynamic, ever-flowing, and understood by everyone.

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On the border between formal and informal, Amescote is a fairly conventional sans-serif but it’s a font which has a bit of its own personality.

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Quickle is a square-ish sans-serif, and the design principle is to have clean upright lines and very few round characters - in fact it’s the rounded corners that contain all the curves.

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Copperplate Deco is my sparingly decorated version of my Copperplate fonts. They can be used as standalone fonts.

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Moja equals fur. If your application allows, you can use multiple layers and colours to create happy letters, each in their own respective hairy letterboxes. For monochromatic situations, use pre-blended regular Moja. BTW: Moja loves Meloche.

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AndrewAndreas is a plain, geometric sans-serif typeface in three weights.

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Copperplate Modern is my personal version of Copperplate with lowercase letters that contrast the standard rounded capitals.

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JetJaneMono is a large family of sans-serif faces which are monospaced. It is very plain (plain=plane=jet).

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Game over. Insert coin to continue. 1 coin, 1 play. Credits 00.

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This typefaces was not designed for any particular purpose. It began as a very condensed, sans serif face, and then I played with it to see what else it could become.

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