Named after the German Renaissance astronomer, Kepler is a contemporary type family created by Adobe type designer Robert Slimbach in the tradition of classic modern 18th-century typefaces.

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Benton Modern Text was first prepared by Font Bureau for the Boston Globe and the Detroit Free Press. Design and proportions were taken from Morris Fuller Benton’s turn-of-the-century Century Expanded, drawn for ATF, faithfully reviving this epoch-making magazine and news text roman. The italic was based on Century Schoolbook.

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An ultra heavy redesigned Bodoni look, extremely powerful but yet very elegant.

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Ambroise Std Francois is the extra condensed variant of the Ambroise Std family.

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Released in 2000 by Berthold, Whittingham is a new Berthold Exklusiv typeface designed by Günter Gerhard Lange, renowned master craftsman and exclusive artistic consultant to Berthold, and his colleague Dieter Hofrichter, also a Berthold Exklusiv designer (Vergil).

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Formal in appearance, this elegant, condensed, modern Roman typeface is is suitable for a variety of advertising needs. The capitals can be used alone or with lower-case letters. Designed by the important British lettering artist Alan Meeks.

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An elegant take on Bodoni, with its subtle flared serifs that give it a very beautiful distinguished look.

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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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Law Italic was designed as an imitation of a formal style of penmanship used in legal documents. It has a more pronounced angle than standard italics.

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In the late 18th century, Bodoni, Walbaum and Didot removed the angled, broad pen stress of the old style and invented the vertically-stressed modern style of type. However, they kept most of the conventions as to which parts of the letterforms should be stressed (thick) and which should be unstressed (thin). Following type’s origins in pen writing, the notion persisted that “downstrokes” should be heavier than “upstrokes”, so that one side of the cap A is thick (as in the oldstyle), and the other is not.

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Vinegar Pro is a modern, legible serif typeface.

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Hadank is a display typeface developed from hand-lettered words in a German printer’s letterhead from the 1920s.

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Inspired by Sol Hess’s 1938 typeface of the same name.

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Andrade is a new typeface designed by Dino dos Santos in 2005.

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In 1995, David Berlow cut FB Moderno for Esquire Gentleman and Reforma from a TrueType pole of Giza. In 1996 he cut new styles with Richard Lipton for El Norte. In 1997 Roger Black ordered new weights for Tages Anzeiger. Redesign of Baltimore Sun, with FB Ionic as text, required further growth. The whole series was then revised for Louise Vincent, Montreal Gazette, with further styles added in 2005 for La Stampa.

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Designed by Jean François Porchez in 2001, Ambroise is a contemporary interpretation of various typefaces belonging to Didot’s late style, conceived circa 1830, including the original forms of g, y, &; and to a lesser extent, k. These characters are found in Vibert’s typefaces. Vibert was the appointed punchcutter of the Didot family during this period.

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Where Modern is too fragile and Century too boring, Hercules comes with its elegant forms and, at the same time, with sufficient firmness to be usable for longer texts. In its heavy, bold designs it approaches Falstaff, while in the light ones it has some features which are taken over from Didot or from Modern. The text designs have been corrected for small sizes. The range of its use is, therefore, quite extensive - from dictionaries and technical literature through magazines to art posters and advertising materials.

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A breadcrumb trail of highly ornate letters sprinkled throughout Carol Belanger Grafton’s “Art Deco Initials” were the basis for this seriously Art Deco typeface. Best used sparingly, and in large point sizes.

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Ambroise Std Firmin is the condensed variant of the Ambroise Std family.

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A redesign of Torino, a great feel with many possible uses. Also has a matching Italic version.

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The concept of the Baroque Roman type face is something which is remote from us. Ungrateful theorists gave Baroque type faces the ill-sounding attribute “Transitional”, as if the Baroque Roman type face wilfully diverted from the tradition and at the same time did not manage to mature. This “transition” was originally meant as an intermediate stage between the Aldine/Garamond Roman face of the Renaissance, and its modern counterpart, as represented by Bodoni or Didot. Otherwise there was also a “transition” from a slanted axis of the shadow to a perpendicular one. What a petty detail led to the pejorative designation of Baroque type faces! If a bookseller were to tell his customers that they are about to choose a book which is set in some sort of transitional type face, he would probably go bust. After all, a reader, for his money, would not put up with some typographical experimentation. He wants to read a book without losing his eyesight while doing so.

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The hand composition typeface was developed at the Ossip Lehmann type foundry (St. Petersburg) in 1904-07 (after designs by Alexander Leo?).

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ReneFont is strong, heavy design which looks quite technical. Originally planned as a caps-only, Breil changed his mind and also drew the lower case alphabet.

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This typeface incorporates round smooth corners and distinct design elements in several characters like ‘a, g, k, m’, without compromising legibility. In order to retain its sharpness, inner corners as well as junction points were left steep. This is a balanced typeface which works very well in long texts at small point sizes. Since its first release it has been used in numerous magazines, advertising campaigns and corporate applications. Handbook Pro comes loaded with a number of special features. The family consists of 14 fonts -from black to extra thin- including true italics. It supports 21 special OpenType features like small caps, fractions, ordinals, etc. and offers multilingual support for all European languages including Greek and Cyrillic. There is also a set of very interesting stylistic alternates which can be used to add a refreshing flair to your designs. Finally, every font in this family has been completed with 270 copyright-free symbols, some of which have been proposed by several international organizations for packaging, public areas, environment, transportation, computers, fabric care and urban life.

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This typeface is based on ISO 3098, a technical documentation issued in 1974 by ISO (International Organization for Standardization), which proposed a set of characters for use on technical drawings and associated documents. Isotext is based on the original standards but is completely redesigned to fit typographic requirements. This new ‘Pro’ version is further improved and now comes with a complete set of redesigned true-italics. Furthermore, the width of the glyphs has increased in order to establish a more balanced and readable text. The result is a contemporary font which works well in small sentences as well as long texts. Isotext Pro is loaded with all the good stuff a designer needs to create documents with attitude. It supports 19 special OpenType features like small caps, fractions, ordinals, etc. and offers multilingual support for all European languages including Greek and Cyrillic. Finally, every font in this family has been completed with 270 copyright-free symbols, some of which have been proposed by several international organizations for packaging, public areas, environment, transportation, computers, fabric care and urban life.

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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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This is a contemporary typeface which may function as the perfect alternative to several overused classic sans. Encore Sans Pro does not pretend being different but it does claim its own personality. It is simple and stylish. Encore Sans Pro is a humanistic sans serif which projects an image of reliability, authority and competence making it ideal for corporate applications. A functional typeface which combines utility with style. It’s subtle round characteristics such as the slightly curved-in edges, create a distinctly contemporary look, blending effectively traditional with modern details.

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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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One of the classic old German large x-height Grotesques revised and still in use, identifiable by the rounded form of certain diagonal strokes.

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The typeface was designed at the Design Studio of Igor Nastenko by Igor Nastenko.

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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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A new gothic with the great new look for today.

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The first elements of the Subinter font were designed for a transportation company. Then we spent almost a year on refining and completing the entire font package. The final result is a unique sans-serif font with subtle curves.

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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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Sometimes you get an idea stuck in your head and the only way to get rid of that demon is to put something down on paper. A year later the doodles became a skeleton, and then the skeleton had a body, then the body had a name, then the name got a personality.

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Cape Arconas legendary obsession to create a DIN-like font substitution brings us to CA BND, named after the German Intelligence Agency.

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Mein Schatz’s (in English: Darling) characteristic feature is the availability of ligatures in the expert set. The font offers – among others – the ligatures sh, sp, st, tz and alternatives for f, l and z.

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Strict, strong and narrow, Perpetuity is clean and perfectly designed to be used as a more formal display face.

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A modernistic stencil design with
two sets of capital letters. The bold version was created first and the
plain version was added as an afterthought.

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Helvetica grew in popularity throughout the 1960s and 1970s, and more versions of the family were introduced. This led to vast confusion: the same weight is often referred to by two different names, design features often vary from one face to another, and so on.

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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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Klavika is a flexible family of sans serifs for editorial and identity design.

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The design of Beau Sans was inspired by Bernhard Gothic which is considered one of the first contemporary American sans serifs and was designed by Lucian Bernhard in the late 1920s.

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Alright Sans is a contemporary sans-serif. Inspired by both grotesque and humanist models, it’s clean and prudent with an warm, friendly tone.

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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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Pill Gothic walks the tightrope between a heads down, hard working, utilitarian sans and something that stands out, saying, “Look at me!” Designers looking for a type that will work in blocks of text for callouts, captions and headlines will find that unique balance with Pill. Pill Gothic asks the question: what is the effect of a few truly unique characters on the meaning of a type? In particular, the ‘a’ and the ‘g’, while relating strongly to the forms of the other characters, stand out from the traditional milieu of sans serif types. The name Pill Gothic came from early studies of the condensed weight where the lower case characters had the shape of a pill capsule.

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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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To best extend the range of the ITC Officina family, Erik Spiekermann and his team at MetaDesign added a sans serif companion face in two weights.

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While Din Display seems to retain DIN’s basic characteristics, it shines with its sharper corners and contemporary look. Completed in 2002, it was first released and published in Parachute’s award-winning 2003 catalog and immediately was a hit.

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This font takes its name and the overall shape from modern bentwood furniture, namely Scandinavian designs since the 1940s. The curved corners of the letterforms are practically hyperbolic, to convey the tension and strength of the bent plywood. These curves are meant to appear more dynamic than circular or elliptical segments of traditional sans serif fonts.

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In 1987, Sumner Stone completed his designs for the Stone type family. ITC Stone solves the problem of mixing different styles of type on the same page. Most combined type styles, because they aren’t designed to work together, often have radically different characteristics such as cap heights, stem weights, and proportions. The ITC Stone family consists of three subfamilies, Serif, Sans, and Informal, each consisting of three weights plus matching italics.

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Stratum is a family of typefaces built from a synthesis of contemporary and historical sources. The austere geometry of early 20th century display faces paired with a desire for a contemporary lowercase have merged to produce this family of six weights.

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Montag is an extended, rounded sans-serif.

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Register Sans is a typestyle family inspired by the draft-letter handwriting samples from old Speedball booklets, with a little variation for a more friendly flair.

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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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Preface vs. Helvetica/Futura/Gill: a different strategy of text color.

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William A. Dwiggins designed Caledonia for Linotype in 1939. Initially, he had intended to blend the elements of Scotch Roman and Bulmer typefaces, but ended up with a design that bettered both his models. Dwiggins describes it as having “something of that simple, hard-working, feet-on-the-ground quality that has kept Scotch Roman in service for so many years.”

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The object of Grover was to join two distinctive typeface designs: the basic European gothic of the late nineteenth century and the ‘rounded’ style found in 1960s America.

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As the philosopher and typographer Geoffroy Tory considered during the “Renaissance”, each character can be drawn by a circle and a straight line.

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

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Based on the original Stephenson Blake drawings.

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Considerable heft and clean lines—with a few whimsical grace notes—characterize this font, based on a typeface originally named “Ryter Night”.

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Recently the Rogue family was designed as an accompaniment to Paralucent for Loaded, London’s notorious lads-mag that had found its design being cloned by the competition and sought something unique to set it apart.

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Arca is a whimsical font, based on a Brazilian children’s album cover.

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Tenby is a series of modular geometric display sans serif fonts with a hint of Art Deco combined with a 1980s finish.

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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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Rounded, two was designed with a simple idea in mind: the basis for the majority of the characters is a perfect circle. That circle is then intersected and cropped to make unique, modern and stylish letterforms.

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Flabioga may look like your every day stencil font - but it’s not.

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