The Pixel_Block font-family is specially designed for use with Flash so that it doesn't blur or fill. In contrast to most other pixelfonts Pixel_Block also works well in dynamic and input text fields.

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Mooshine is a crisp clear pixelfont, ideal for smallprint, banners, website buttons, navbars, mobile devices and the like.
Mooshine contains a wide range of accented characters and is optimized for use at (any multiple of) size 10pt without anti-aliasing.

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The Screenfont_8 font-family is specially designed for use with Flash and other
Screendesign applications so that it doesn't blur or fill. In contrast to most other pixelfonts Screenfont_8 also works well in Flash dynamic and input text fields.

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Apollo was designed in 1964 by Adrian Frutiger for the Monotype Corporation and was the first typeface created specifically for the new Monophoto technology. Originally designed for printing on smooth papers by photolithography, Apollo displays an overall lightness that is useful for shorter text settings.

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Tiresias was designed for subtitling by Dr. John Gill from the Royal National Institute for the Blind (RNIB), in the United Kingdom.

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The Pixel_8 font-family is specially designed for use with Flash so that it doesn't blur or fill. In contrast to most other pixelfonts Pixel_8 also works well in dynamic and input text fields.

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Webicon, as the name suggests, is a font full of useful web icons. Covering categories such as navigation, links, email, photos, sound, video, news, contact and shopping.

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The typewriter was patented in 1868 by Christopher Latham Sholes, who sold his rights to the Remington Arms Company in 1873. The first typewriters were initially thought to be replacements for printing and so typewriter keybars utilized printing types; monospaced typefaces, that is, those designed so every letter takes up the same amount of space were a more practical alternative and soon replaced printing types.

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Fedra Sans was originally commissioned by Paris-based Ruedi Baur Integral Design and developed as a corporate font for Bayerische Rück, a German insurance company, as part of their new visual identity. According to the commissioner, the objective was to 'de-protestantize Univers', the typeface which Bayerische Rück had been using since Otl Aicher designed their first visual identity in the 1970s. The typeface reflects the original brief: it humanises the communicated message and adds simple, informal elegance. The most important criterion was to create a typeface which works equally well on paper and on the computer screen, and is consistent across all computer platforms.

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Cyrillic design by Gayaneh Bagdasaryan.

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

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Before 1937, telephone books were printed in a variety of typefaces and consequently were often difficult to decipher. Because of his successful work on the legibility problems of newspaper typefaces, Chauncey H. Griffith was hired to develop a typeface that would compact enough to fit large amounts of information on a page while being legible at small sizes even when printed under less than desirable conditions.

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Galette is a contemporary all-purpose sans-serif for printing and online delivery, allowing the use of one layout both as printed material and online without loss of quality or legibility. Not only a high resolution printing font with extensive kerning, it was designed from the ground up for clear and uniform display on the computer screen. It displays more predictably than the traditional fonts: no overhangs are used, the stroke thickness of capitals and lower case letters is identical, making hinting or antialiasing smoother at any point size and zoom combination.

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The Bitstream version of Bell Gothic designed by Chauncey H. Griffith in 1938 for telephone directories of the Bell Telephone Company.

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Of all his work, C.H. Griffith claimed one type, Bell Gothic, as his own design. Griffith Gothic is a revival of the 1937 Mergenthaler original, redrawn as the house sans for Fast Company.

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The idea behind the font called Chaco originated after testing the deficiency shown in road signs in Latin America.

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Although inspired by the need for, and providing, clarity at low resolutions on the screen, Georgia is a typeface resonant with typographic personality.

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Designed specifically for AT&T to set telephone directories by Chauncey Griffith at Mergenthaler in 1938, Bell Gothic was the standard American directory typeface for forty years. Limited in performance by linecaster matrix requirements, Bell Gothic was replaced by Bell Centennial. Furlong is a version of Bell Gothic adapted for the racing form.

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No monospaced typeface I used for coding development or just plain e-mail correspondance satisfied me. All common monospaced fonts have hinting imperfections from 9 to 12 points and above. All but Pragmata.

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‘LCD’ stands for ‘Liquid Crystal Display’, the information display technology used in products such as digital watches and clocks. An appropriate choice when a futuristic, high-tech look is desired. Designed by the talented British designer Alan Birch.

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The Verdana fonts were created specifically to address the challenges of on-screen display.

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Trebuchet, designed by Vincent Connare in 1996, is a humanist sans serif designed for easy screen readability. Trebuchet takes its inspiration from the sans serifs of the 1930s which had large x heights and round features intended to promote readability on signs.

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A contemporary interpretation of grotesque (historic) typestyle, relying on geometric shapes applied to a grid. Idiosyncrasies within the typeface are based on how this grid is constructed and applied rather than those inherent in drawing type with a pen or cutting from a block of wood. Other grot types retain the quirks of original woodcut typefaces. Elephant has a different vocabulary of quirks that remove it from being too reverential or constrained to a historic context.

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Typefaces without serifs were known in nineteenth-century England as Grotesque (or Grotesk in German) because they seemed so unusual to most readers. Monotype Grotesque is a straightforward 1926 design that is among the earliest sans serifs cut for hot-metal machine typesetting.

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Designed by Vincent Connare, this is a face based on the lettering from comic magazines.

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Prima is a series of fonts designed at Bitstream by Jim Lyles (Sans and Serif) and Sue Zafarana (Sans Mono), released in 1998.

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SB Liquid is a rendition of a typeface used on Liquid Crystal Display panels and was originally designed for a mobile phone hire company. I opted to produce two versions of the typeface, open and solid, to give the designer more choice in how the font is used.

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Vactic recalls the era of room-sized computers and ticker tape parades.

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Tahoma is one of Microsoft’s new sans serif typeface families. It consists of two Windows TrueType fonts (regular and bold), and was created to address the challenges of on-screen display, particularly at small sizes in dialog boxes and menus.

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Margaret Calvert’s typeface is a contemporary interpretation of the slab serif style, less mechanistic than many, and owing more to humanist letterforms. Designed in 1980 for Monotype, Calvert is based on letters Margaret Calvert originally drew for the signage system of Britain’s Tyne and Wear Metro system.

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Originally released by the Stephenson Blake foundry in England, Doric is modeled on one of the sans serifs of William Caslon IV, who was the first to interpret sans serif letterforms into a typeface (1816).

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Raster Bank is a pixelized version of Bank Gothic that retains the jagged look of a bitmap font. Perfect for on-screen use, including Flash animations, web graphics, or any time anti-aliasing is not desired.

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Lucida, designed and produced by Kris Holmes and Charles Bigelow in 1985, is one of the first typefaces designed with both bitmapped display screens and laser printing in mind.

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The best of both worlds: good for small screen resolutions and nice output at larger sizes.

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A collection of 174 rhome website button icons and designs.

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The best of both worlds: good for small screen resolutions and nice output at larger sizes.

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Basis is a bitmap font family which is happy being used at both small and large sizes.

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Squarish could have been the Universe or Helvetica of the 1980’s, if only it was designed then.

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Contemporary websites look fresh with a rounded sans fonts and for good reason: rounded stroke ends harmonize with today’s Web 2.0 rounded box shapes and shiny plastic buttons. The same rounded sans font on every web site? Not acceptable. Turn on Headlight. Not your everyday, straight-up rounded sans. Signature design features: Warm, unique letter forms, familiar stroke widths, inorganic line treatment.

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Hermann Zapf designed Aldus for the Stempel foundry in 1954 as a companion to his Palatino typefaces. Originally designed as a display typeface, Palatino gained popularity as a text typeface as well. Believing Palatino to be too bold for settings at small point sizes, Zapf designed the lighter weight Aldus to better suit text settings.

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CHEAPO is based on the old cash register reciepts. Now you too can make fake receipts and return all your stolen merchandise.

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Pico is a typeface suitable for many applications and is perfect for places where space is minimal and text needs to be legible.

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In the 1980s, the Linotype Corporation worked with the Design School in Basel, Switzerland, to create a new legibility typeface.

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Based on handwriting studies by its designer, Gerard Unger, ITC Flora is a unique design that blends the structure of a chancery italic with the simplicity of a sans serif. Unger originally produced ITC Flora, named for his daughter, for the Dr. -Ing Rudolph Hell Company in 1985, and it was released by the International Typeface Corporation in 1989.

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SB Message is for use when dealing with text messaging, mobile communication or projects that require a up-to-date urban feel. A typeface for modern living...

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Originally designed as a bitmap font in 1986, and loosely based on Alternate Gothic, Raster Gothic Condensed is a series of outline fonts that retain the aliased look of a bitmap font. The original was retooled for better consistency across sizes, and expanded to include two more sizes and bold for all sizes. Small caps can be made by using caps from the next size down. Perfect for on-screen use, including Flash animations, web graphics, or any time anti-aliasing is not desired.

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A typeface derived from a logotype designed for New-Age electronic band System 7 in the early 1990s. Metsys is a soft-tech take on the monoline aesthetic. Letterforms are purified, rounded almost abstract graphic shapes.

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