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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Folsom JNL is one of the many stencil fonts Jeff Levine has recreated from original sources.

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The boss of extended typefaces, Brian Bonislawsky, has belted out this ultra wide design, EuroMachina, that looks like an odd meld of OCR-A, Microgramma and Bank Gothic. And if that wasn't enough, Brian then felt the need to distort it in various ways, creating Broken, Eroded and OverGreased. A little something for everyone.

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

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Designed at ParaType in 1997 by Andrey Kryukov and Dmitry Kirsanov.

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Militia Sans is the sans-serif version of Militia. A heavy sans serif with very distinct stenciling, Militia Sans is ideal for strong designs that settle for nothing less than total obedience. A few alternates are sprinkled throughout the character set.

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

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Nantua is inspired by the Russian Constructivism from the early 1920s. Artists like Aleksandr Rodchenko used typography as forms.

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Choob Stripes is reminiscent of pipes and tubes, and other mechanical works.

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Breuer Text is a simple geometric sans with relaxed curves and slightly condensed proportions suitable for moderate lengths of body copy. The italics are optically adjusted obliques with a selection of augmented lowercase glyphs for a warmer read.

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The introduction of Tekton Pro, an Adobe Originals design expanded for OpenType, makes one of Adobe’s most popular typefaces even more useful.

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Cardboard Cutouts JNL is a blocky sans serif font re-drawn from some old “kiddie” stencils from the 1950s or 1960s acquired by Jeff Levine.

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Chunkfeeder was inspired by the many vernacular forms of lettering created for high speed printing and electronic displays found in our modern techie world such as postal packing slips, airline tickets and informational video displays. Many of these type of fonts are designed by engineers and interface designers who presumably do not have a background in letterform design and consequently these glyphs have many quirky idiosyncrasies.

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Tuxedo is a display & logotypes typeface. It is however suitable for short texts. Its design is inspired by the Bauhaus works. Tuxedo has been created directly on the screen without any sketch. Because of its “mechanical” structure, this typeface endure anamorphosis distortions nicely.

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A computerized typeface inspired by the Matrix trilogy.

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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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The Sommet series has been updated with a rounded variant.

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Etelka was designed in summer 2005 for purposes of corporate style, product package design and electronic publishing.

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Colo Pro is a custom font which is applicable for any type of graphic design - web, print, motion graphics etc and perfect for t-shirts and other items.

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Project a powerful image with Sommet.

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Le Havre is a geometric sans serif inspired by the golden era of the passenger ship, when getting to your destination was a delight in and of itself.

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A set of square capitals developing from the interest in geometric forms stimulated by the Bauhaus, Bank Gothic was designed by Morris Fuller Benton for ATF in 1930, the same year that Georg Trump designed City for Berthold.

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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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Stencil fonts often evoke rigid and sterile images such as packing crates or military vehicles, but Super Duty is somewhere between serious and fun. Super Duty is designed with sharp mechanical angles which give the letterforms a square-jawed and ready-for-action feel. A rounder companion version is included that has the sharp edges smoothed out.

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Breuer Condensed is a mechanical sans ideal for captions and headline settings, and may also be suitable for moderate lengths of body copy with its comprehensive offering of OpenType features. The italics are optically adjusted obliques with a selection of augmented lowercase glyphs to provide a warmer read. The overall design ensures a distinct aura of technical precision in a personable tone.

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The Player family started as a straight-forward revival of a film face called Ivy League, an early 1970s VGC classic that was very popular with designers of sports paraphernalia. A few hundred liters of coffee later, the revival of a single condensed font has become an 11-font ambitious attempt at being the last word in athletic lettering.

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Uniwars is 16 styles of Japanese corporate technical minimalism: ideal for electronics, military, robots, spacecraft, videogames, construction or sci-fi.

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Refrigerator Deluxe is an expanded and enhanced version of Refrigerator, a condensed, geometric sans serif inspired by mid-20th century vernacular styles from America and Europe.

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Dienstag is an extended sans-serif and a new companion to insigne’s popular Montag family.

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The Le Havre series is a series of geometric sans serifs inspired by the dignified era of the passenger ship, when getting to your destination was a delight in and of itself.

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A longtime font favorite of his, Michael felt that a set of lowercase characters would make Bank Gothic a more universally useful font. He set out on this ambitious task always mindful of the huge presence of its original designer, Morris Fuller Benton, hoping that whatever he did would live up to the high standards of this former giant of the font world.

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All has been said, unless words change their meanings and meanings their words.

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Changeling is a redesign and expansion of China, a Visual Graphics Corporation typeface from the mid 1970s designed by M. Mitchell. The original face had only one weight (similar to Changeling’s Bold), caps only, with a few alternates. In Changeling, many characters have been redesigned for better setting and more even color. Lowercase-style variants have been added to nearly all the uppercase forms, offering endless “unicase” combinations. Four more styles--Light, Regular, Stencil, and Inline--were added, as well as full character sets, alternate characters for A, M, V, and W, and extensive kerning tables for perfect '70s-style “tight but not touching” spacing.

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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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Nidex is a caps-only industrial distressed font, ideal for titles, display and headlines, rough and ready, and coming with all the usual accented characters and an extensive set of punctuation.

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The typeface was designed at ParaType (ParaGraph) in 1989–2003 by Vladimir Yefimov and Olga Chaeva.

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Busted is the very strange and out-of-character outburst of Bill Troop, a guy who was classically trained in everything, from classical piano and literature to classical photography and type design. As far as we could tell, Bill Troop is the kind of guy whose appearance and voice instantly trigger thoughts of black and white photos, fedoras, and pre-industrial age Europe. A few years ago, he even moved from the United States to England, where it took him less than a week to feel at home and start sounding like a Norwich native. Then something happened and the poor dude just snapped. Busted is the controversial result of the blood rushing to his head. If you know what exactly happened to him, please let us know.

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The Ehrhardt name indicates that this typeface is derived from the roman and italic typefaces of stout Dutch character that the Ehrhardt foundry in Leipzig showed in a late-seventeenth-century specimen book. The designer is unknown, although some historians believe it was the Hungarian Nicholas Kis.

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Based on character shapes with origins rooted in the work of 19th Century American wood type makers, DST Mechanic Gothic draws influence from the poster types found in the impactful advertising during the Industrial revolution.

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Originally conceived as part of a unique display design created for Hershey’s Times Square flagship store, the PowerStation family is the perfect choice when looking for a font that speaks of strength, solidity and character. It comes in two “faceted” 3-D versions: “Block” where the dark side is dominant, and “Wedge” where you see more light than shadow. The family also includes both “Solid” and “Outline” versions of the font. They are all available in both normal and wide versions.

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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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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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Stubble is a distressed grunge font with many useful variations that make things easy. It comes in both a Regular and Bold version, and a Smudged version as if the print block has slipped a little bit just at the vital moment. Also there’s 2 jumbled versions with the letters and numbers, and some punctuation, at odd angles and slightly off-whack; there’s 2 versions with little bits of overprint on most of the main characters (as if the corners of the block or stamp have just caught the paper); a couple of Caps Only versions; plus condensed and expanded versions of the main faces. The Bold version is not an exact expanded version of the Regular version, please note, the characters are different (i.e. the misprinting is different) in the two weights.

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This revival of the Bruce Foundry’s No. 11 is typical of the nineteenth century types derived from the work of Didot and Bodoni; the face remains popular with lawyers and government printers. In fact, Theodore Low De Vinne opposed this kind of design as hard to print and read; he had Century designed to replace it.

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Created by Adobe type designer Carol Twombly, Chaparral combines the legibility of slab serif designs popularized in the 19th century with the grace of 16th-century roman book lettering.

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A typeface made from vintage typewriter samples and meticulously compiled into a complete character set.

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A modern digital typeface inspired by the 1976 sci-fi film Logan’s Run.

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Digitalis was created from a desire to make an original æsthetically pleasing rounded typeface using the minimum of strokes. Each character has been reduced to only the most essential elements, yet retains its own beauty and elegance. Due to the contrast between thick and thin it is surprisingly legible when set as text.

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

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Disgrunged is a distressed grunge font, as you might guess, and industrial sans-serif in feel. The Disgrunged-1234 family has ink blotches and spills, along with misprinted letters, and the typeface has four versions (1, 2, 3, 4) giving increasing amounts of chaos, jumbledness and irregularities.

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Smart, sharp Hybrea is seven stages of pure progress: from laser-thin to industrial-fat.

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Kvant is a custom font which is applicable for any type of graphic design - web,
print, motion graphics etc. and perfect for t-shirts and logos.

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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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Chelp is a grunge display font, in 4 different styles: there’s a Regular and All-Caps version, plus a Dirty version which has little bits of overprint like the edge of the stamp has accidentally marked the paper, and a Jumbled version where the characters are misaligned in various small ways, or are at slightly odd angles.

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Colo is a custom font which is applicable for any type of graphic design - web, print, motion graphics etc and perfect for t-shirts and logos.

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Based on the Ludlow/ATF versions of this great typeface.

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Terfens is a sans serif with inspiration from chancery scripts like Stefania. Subtly rounded and eschewing harsh technical lines, Terfens is a warm and inviting typeface. Its tall x-height gives it a friendly but not overly informal feel.

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Rolka is a custom font which is applicable for any type of graphic design - web, print, motion graphics etc and perfect for t-shirts and logos.

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Dovde is a custom font which is applicable for any type of graphic design - web, print, motion graphics etc and perfect for t-shirts and logos.

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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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A typeface made from vintage typewriter samples and meticulously compiled into a complete character set.

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Runway is the font that will satisfy the need for speed in your design. Simple lines and curves, a commanding slant, and big sturdy shapes made to cruise at any speed or altitude, through summer breeze or horrible snowstorms.

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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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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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Assembly line efficiency tempered with softly rounded curves makes Kleptocracy purr where other factory-made fonts rattle and buzz. The cursive elements weld the warmth of soft curves to the utilitarian lines to create playful elements like g, y and l keeping it from appearing stark and cold.

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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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Airbrake is a robust stencil style typeface, its characters have cuts to reduce its weight and give it a unique feel.

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Structia pays tribute to the classic font, Machine. Structia includes four styles: regular, italic, panel and war. Panel features thin stencil lines. War has a spraypainted stencil effect.

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