The concept behind Anark Stencil is, basically, the contrast between consumption and protest. The choice to make it “modularish” represents not only assembly lines and mass production, but also the protests against the implied mass consumption.

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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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Neubau Grotesque is an upright italics variation of Neubau Sans and is built in three weights. The main difference of this typeface is that it presents a softer and more human look (less techno), while retaining the condensed geometric structure of its counterpart.

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Visoko is a playful, geometric typeface inspired by post-modern fonts designed by Mecanorma from the 80s.

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RiptCure is a futuristic, but usable typeface for everything from logotypes to magazine headlines.

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Sur is a modern minimalist sans-serif typeface available in two weights (normal and bold), with a good shape for big editorial headlines and fashion publications.

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Radium is a versatile geometric typeface drawing influence from sci-fi, graffiti and 70s typography.

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Project Fairfax is a unique stencil typeface designed on a strict grid.

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Exablock is a display typeface based on a 6x6 grid, highly modular and geometric.

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Bifur was originally designed by poster artist A.M. Cassandre in 1929 as a single font and also as a two-part, two-color font.

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Oporto is a modern font which blends the cosmopolitan and bohemian mood from Oporto city in a elegant and timeless design.

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Lucecita was inspired in LED screens.

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Soyo Gogo was conceived to really make the most of OpenType features. Using contextual alternates, the letters change depending on what type of letter they're next to. The changes happen as you type, with stems wrapping round curves of neighbors in a cool graphic style.

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As the name implies, FindReplace is the result of substituting different shapes into the Find and Replace function within the Fontlab software program. Normally reserved for the task of globally replacing unwanted curves or elements, Find and Replace can also function as a design element.

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CA Kink was originally created for a book cover.

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“Brokken” means “chunks” and they're the specialty of the house, prepared by the ship’s cook, DBXL. Nice'n'greasy and monospaced, so you'll always find a decent way to cram it in.

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Wood Body w/ Electric Heart & Synthetic Mind...

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When I first approached this design back in 2003 I wrote myself a design brief that called for a simple sans serif “avec serifs” (with serifs).

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This cool techno font is easily recognizable with its quite unique stroke endings. I have increased the ascenders and descenders slightly (so they would work better with the new diacritic letters) and introduced a few alternate letterforms in addition to generally expanding the character set.
A totally enjoyable reworking of an original design.

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PyeMan is a rounded block typeface influenced by home computer games from the 1980s. Examples include Asteroids, Defender and Pac-Man.

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Applying the principle behind a popular plaything produced this playful approach to the alphabet. The result, as you can see, is a whole lot of fun.

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Noisetoy is an up-to-date font that can be used widely and successfully, as it is a simple, clear, minimal and funky and it clearly depicts 21st Century design.

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Notdef is an uncompromising experiment, based on the common “.notdef” symbol.

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Dr.Black is an extremely fat, square typeface, which looks best set in a very graphic grid. Because of the size, and the white spaces between the characters being so small, it looks good letting an image show through the characters.

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Five years into the 21st century and the promise of nanotechnology, high-end popular culture design seems to thrive on combining opposites and drawing a fine line between traditionally contradictory ideas. This is seen in modern society’s usual cultural frontrunners - like consumer electronics, fashion items, music packaging and publications, where it is evident that traditionally complex marketing statements of fashionability and lifestyle are attempted with simple minimalism. But at the typographic end of this realm, the creative majority still uses old faces that help the modern statement only in passing. Some of the more adventurous creative professionals actively seek new elements to emphasize contemporary impact in their modern design.

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Kubrickle is an unique typeface release by the Discourse Type foundry. It comes in three styles a block, stencil and swash. The swash types comes with an large set of special ligatures that can give you titles an edge.

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The Dutch De Stijl movement (1917-1931) sought to create an art which took abstraction to its logical extreme, as exhibited in the paintings of Piet Mondrian. Inspired by the movement’s philosophy of pure form, P22’s De Stijl set features three rigid, balanced, and angular fonts and a set of geometric extras.

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Taboo is a versatile font family inspired by the magnificent geometric experiments made by Armenian lettering artist Fred Africkian during the late 1970s. Virtually unknown in the west, Africkian was one of the most talented eastern block artists. Though mainly a calligrapher working with traditional tools, he embraced geometry on multiple occasions for the sake of drawing simple modern Armenian and Cyrillic alphabets. Though he normally tried to maintain in his work a certain homage to Mesrop Mashtots (5th century Armenian monk who invented the Armenian alphabet), his late 1970s experiments made use of so many modern elements that the results were hailed as “real art mingled with science.”

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Amber is a minimal font which is built on a grid of 3x3 squares. It was an experiment to see if I could build legible glyphs out of such a small grid. The 3 weights can be layered over each other to create interesting designs.

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Named after the collaboration of Frank Sheeran, Ian Chai and Glenn Chappell that produced the FIGlet application, FIG is set of three postscript typefaces in the spirit of early email and ASCII art explorations. Written in 1991 using the programming language C, the FIGlet application allows users to create fonts with basic ASCII characters. The FIG types capture the simplicity of the FIGlets with a family that includes a sans, a serif and a script.

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These four typefaces, Berlinette NB, Lyonette NB, Marseillette NB and Parisette NB, were designed from the same basic shape, a fanciful geometric form that avoids strict horizontals and uses more offbeat triangular shapes. Berlinette is the medieval Gutenbergian version of the four. It’s like a weird black letter font from the 1930s. It would work well advertising an obscure brand of German beer on the side of a Zeppelin as it circles the soccer stadium during the last match. In a William Burroughs novel.

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Cascabel was built on a modular harmony and creates visibly maze-like geometric structures. When typeset in complete words, it conveys an unmistakable architectural approach to a design project.

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Quadrate is a simplified grid typeface that retains legability fairly well at smaller sizes.

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One of the odder things I remember from high school (40+ years ago) is the tile floor of hexagons in the bathroom. There is something fascinating with the way hexagons fill the plane.

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PILLS is a modular font based on overlayed circular and square forms, the characters have been spaced mathematically.

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This set of typefaces was produced in conjunction with the Guggenheim Museum and the Josef Albers Foundation. Josef Albers was one of the most important artists and educators of the twentieth century. He was a member of the Bauhaus first as a student and then as a teacher from 1920 until its closing in 1933. He then emigrated to America, where he continued making art and teaching at numerous institutions until his death. Known principally as an abstract painter, he was also an accomplished designer, draftsman, typographer, and photographer. His works explore permutations of form, color, and perception using a restricted visual vocabulary. Created when he was at the Bauhaus, his Kombinationschrift alphabets exemplify the school’s ethos. Using 10 basic shapes based on the circle and the rectangle, he created a system of lettering that was meant to be efficient, easy to learn, and inexpensive to produce. These 10 shapes in combination could form any letter or number. The letterforms of this computer version were taken directly from Albers' drawings and notes.

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Gridiot is a constructed, semi-serif, two-weight stencil family that expands an approach taken by Josef Albers.

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The design of Boqueta was inspired in stencil and modular forms. The project was selected for Bienal Letras Latinas 2006.

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Segmenta, a sans serif typeface developed from the gridbased type of the Hamburg S-Bahn (metro). The type is originally used for diplaying informations about the trains.

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the endless possibilities of pure geometric lettering allows the designers to constantly return to this very basic way of designing letterforms. As display type, Bs-Retchnov consists in three weights; light, regular and bold. It’s a ‘unicase’ type with many alternate characters placed in the lowercase. It was designed in 2001.

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It was an unlikely union. Reka was a Maori maiden who made her home on the shores of Piha. I was a struggling actor who had spent the last six months in Bangkok, working as a cross-eyed prostitute.

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These four typefaces, Berlinette NB, Lyonette NB, Marseillette NB and Parisette NB, were designed from the same basic shape, a geometric form that avoids strict horizontals and uses more offbeat triangular shapes. Parisette is a fanciful type that is both bouncy and biting. The frivolity and quirk of the narrow width is offset by the razor-sharp, hatchet horizontals, which require protective gloves when type setting. This is a good typeface for enigmatic signs at postmodern student demonstrations.

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These four typefaces, Berlinette NB, Lyonette NB, Marseillette NB and Parisette NB, were designed from the same basic shape, a fanciful geometric form that avoids strict horizontals and uses more offbeat triangular shapes. Marseillette is the nasty one, with sharp hook terminations that require careful use. Don’t slip and accidentally stick one in your hand — it will hurt pretty bad and make you blubber like a baby. It’s good for surreal warning signs on dark, forbidding docks where gooey monsters live.

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Clotilde Olyff challenges and surprises us.

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Humboldt is an ultra fat headline face.

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Simple and effective font for various graphic designs, type treatments and others.

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KAH is a font which is based on a strict LCD-style grid.

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Rigid girds and narrow design parameters might result in beautiful and useful typefaces. Bs-Mandrax consists in three weights in upright and an italic to match with the regular weight. Four fonts that might solve a lot of typographic problems. Bs-Mandrax proves that legibility and readability might be achieved in many different ways. Designed in 2000.

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That’s what people call ‘an experimental typeface’. Yes it is! It consists in letterforms designed in very strict geometrical parameters. I was not thinking about ‘reading’ when I’ve drawn this typeface — rather on different way of projecting our mental image of the words. Do not try to set a book with this type, please! One single version, one single font designed in 2000.

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Here’s an intriguing mixture of 1930s deco and modern tech fashion.

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Hexagona Digital is based on a net of regular hexagons, thinking of a Liquid Crystal Screen whose pixels are illuminated to conform the letters.

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Dina Stencil is geometric sans serif stencil typeface, an addition to Dina family. Dina Stencil consists of two styles (weights)—regular and bold.

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Fine-built, straight but not official, with soft corners is suitable for short texts, placards and advertising.

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Monospaced become very popular among graphic designers. Nevertheless, I’ve noticed that in most cases that designers use monospaced typefaces is not because of their particular features caused by the strict rules of design — all characters share the same advanced width — rather because of it’s ‘electronic derived’ appearance. So, I decided to create a typeface that keeps the characteristics that, in my opinion attract designers to this particular sort of types, but deliberately break the main rule: characters do not share the same width — but they they look like they do! Characters are better balanced compared to truly monospaced types, giving more even typographic color while used in text setting. One weight might enough to please electronic type lovers. Designed in 2000.

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These four typefaces, Berlinette NB, Lyonette NB, Marseillette NB and Parisette NB, were designed from the same basic shape, a geometric form that avoids strict horizontals and uses more offbeat triangular shapes. Lyonette is a fanciful type, gentle and precocious. It seems aloof at times but isn’t really. The frivolity and quirkiness of the narrow width is offset by the fey, finger-like horizontals, vaguely reminiscent of strange encounters and dark closets. It’s great for fashion advertising with literary pretensions. Or maybe a kinder, gentler sci-fi movie.

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Designed in 1999, Bs-Archae plays with the concept of the ‘popular’ ‘bitmaped’ ‘screen’ fonts. While preserving some of the characteristics of those particular ‘styles’, it goes beyond the idea of making something that looks good on the screen by using the ‘dot’ language in an random way and making steam widths deliberately inconsistent — therefore, no matter how it looks on the screen, it’s always ‘faithful’ to the original outlines!. Bs-Archae consists only in uppercase with some alternate letters placed in the lowercase. It’s available in three weights: regular, Bold and Heavy.

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I just loved the design idea behind this font, but the original font had a lot of ugly artifacts - so I have completely redrawn ALL the letters, before expanding the character set.

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Prozac takes the alphabet down to six basic shape which are either flipped or rotated to make the whole alphabet. Prozac forms were designed by scientists in sterile environments without ethics. Prozac is a way of simplifying your life. Prozac take things back to basics. Prozac is a foolish experiment. Prozac affects the meaning of what you say. Prozac is available without prescription in lite and max versions.

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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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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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Updated in 2009, Chennai has new weights and OpenType features. Chennai is a simplified sans-serif with a full complement of OpenType alternates. The typeface is rounded, slightly extended and geometric. Over fifty OpenType alternate characters are available, including swashed lower forms, traditional caps and a traditionally formed lowercase. Chennai also includes seven style sets, oldstyle figures, and small caps. Please see the sample .PDF to see these in action.

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Nikona is a typographic family composed of eight fonts. The leading thread that typifies this family is its “mutant spirit”; a result of my personal and typographic interpretation of the three robotic laws created by Asimov in 1940, and reflected many times in sci-fi movies, comics and Japanese anime.

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

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NovaSans is a modern geometric sans-serif font which captures the spirit of Bossa Nova, a noble Brazilian music style. Music and typography presents several things in commom, so the idea behind the font is show some of bossa nova’s characteristics, like melody, cadence, softness, metric, simplicity, waves, subtleties. Some gaps in representing the source of irregular alignment scores.

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This typeface was inspired by the train stations displays.

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Zekton was inspired by the futuristic fonts found on electronic gadgetry. Zekton imparts a serious, high-tech look by its rounded curves and even line widths.

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A generic set of capitals built on the gothic even width principle, built from squared forms and a simplified finish, Big Noodle Titling delivers excellent clarity in any medium. Big Noodle’s key features are its utility and unremarkable appearance. Patterned after countless squared grotesks and linears, the type is industrial in essence with a contemporary treatment, a robust work-a-day typeface subservient to the message. A companion oblique font and a block shadow oblique font are included with the base font. One weight fits all

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Mesa Pointe is a collection of pointing hand designs. Most of the hands have been re-drawn from old printing sources dating back to the 1800s.

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Jesus Saves is a font designed by Harry Warren based on the familiar old logo that has “JESUS” hidden within a maze-like set of multi-branched vertical bars.

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Modulogue is a modular display typeface designed for logos.

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A modern geometric typeface influenced by the Dutch designer Wim Crouwel.

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A linear modern typeface suited for branding & advertising projects. The variations in weight give great contrast when used across body
copy & headlines.

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Richard Miller Rounded started out as just a logo for a website/business card. It is a modular sans that works well in both print and web design.

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Richard Miller started out as just a logo for a website/business card. It is a modular sans that works well in both print and web design.

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