R5D8 is seven weights of hot capitals, inspired by events which occurred in the distant past in a galaxy which could be described as being somewhat distant.

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Gerry Powell’s stencil version of Clarendon designed for ATF in 1938.

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Re-tooled from the QBF Collection.

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Great Scott, Marty! This font is charged by the Power of Love!

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Your Mama told you not to do it, so you just KNOW this font will be good for you! In fact, you might say it’s a Cut Above the Rest!

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An elegant face with dashing swash caps, based on an old American Type Founders typeface called Canterbury.

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Ancient Evil! Nazi Spies! High Adventure! Spandex!

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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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Movieland JNL is a re-working of Jeff Levine’s Art Deco-styled Wingate JNL, with more traditional letter shapes; making it perfect for creating (or recreating) the compact look of movie poster production credits.

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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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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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Meet the Letterpress!

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One can never be too tall or too thin, the old adage goes. Sympathique is quite fashionably both.

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Youngblood is a non-connected formal script with tall, sweeping ascenders and two alternates. These alternate forms can be mixed and matched for a custom look, and Youngblood is stronger in weight and is better suited for display work than most script fonts.

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Based on Hispalis from the Spanish foundry, Nacional.

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Influenced by the 1960’s typeface, Design Fineline.

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Designed by Les Usherwood. Digitally engineered by Paul Hickson. Les never released this completed typeface before his untimely death in 1983.

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Mahalia draws inspiration from vintage hand-lettering, but adds a modern, European twist.

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This typeface was created by writing with a brush pen, selecting the best characters, scanning and tracing exactly to maintain maximum character integrity. Extensive kerning ensures an even flow when set as text, so Gizmo appears as quickly-written handwriting.

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

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An original design.

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A new design inspired by the various mastheads used in children’s comic books in England, published by D.C. Thompson of Dundee, Scotland.

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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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Inspired by a piece of cigarette pack lettering by the great A. M. Cassandre, Nick designed the rest of the characters as an experiment. Geetype evokes the 1920s & 30s and is an unusual, eye-catching display face.

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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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Inspired by the ancient carvings chiselled into Trajan’s column in Rome, Byington pays homage to Trajan’s venerable lines but strips away the subtle nuances usually associated with the classic design. Fortified to withstand the requirements of video and other low resolution applications, Byington’s strength lies in its beefier serifs and speedier transitional curves. And what’s this? Recent excavations revealed a lowercase, ten meters below the column’s foundation. Just kidding! Byington’s lowercase is interfused with Sabon and Garamond, mirroring the pared down simplicity of the capitals.

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Designed in 1984 by British designer Neville Brody for a magazine called The Face, Industria is an ultra-condensed sans serif display face that comes with an inline version.

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Trump Gothic is a revival and expansion of two different takes on Signum, Georg Trump’s popular mid-twentieth-century condensed gothic.

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A very dirty, and yet legible type. It comes from an old document that was made in the 70s. Every character was developed as an unique design piece. Perfect for titles, credits and display type.

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Adagio Pro… sounds like music, elegance and classic quality. That’s exactly how Adagio Pro carries the message to the reader. Adagio Pro is a rather formal script with very beautiful, generous and swashy upper case that were redesigned, digitized, completed and expanded as OpenType in the profonts type studio.

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Fantini is the revival and elaborate update of a typeface called Fantan, made in-house and released in 1970 by a minor Chicago film type supplier called Custom Headings International. In the most excellent tradition of seriously-planned American film faces back then, CHI released a full complement of swashes and alternates to the curly art nouveau letters. Fantan didn't fare much among the type scene’s big players back then, but it did spread like electricity among the smaller ones, the mom-and-pop type shops. But by the late 1980s, when film type was giving up the ghost, most smaller players in the industry were gone, in some cases along with little original libraries that existed nowhere else and became instant rarities on their way to be forgotten and almost impossible to resurrect for future technologies.

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Based on the Robert Wiebking design for either Western or BB&S, circa 1918.

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Based on the Morris F. Benton for ATF in 1920, it was not completed for production until 1926. The serif version we released a few years ago was so popular, that we decided to design a complementary sans serif version in three weights, along with three corresponding Swash fonts.

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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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Originally designed by Morris F. Benton for ATF in 1920, it was not completed for production until 1926.

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Based on a turn of the century design.

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Press Gothic is a revival of Aldo Novarese’s Metropol typeface, released by Nebiolo in 1967 as a competitor to Stephenson Blake’s Impact (designed by Goeffrey Lee). Though Metropol enjoyed a few short months of popularity and use in Italy, Germany and France, Impact won the technological outlasting battle by moving on to film type then to computer outlines bundled with mainstream software, while Metropol never made it past the metal state until now. Too bad really, since this is one of the few faces that could have played well with all the horrendous stretch'n'squeezing of the 1970s.

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An original design.

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Loosely based on Prumyslava, an old Monotype design.

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Based on the original design, circa 1951.

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Based on the ATF typeface by Morris F. Benton, circa 1934. Steve created two additional new weights.

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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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While working on our Macs late at night, Our Eyes beheld an Eerie Type: It’s called The Mash!

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A Slap Happy font for Wrong Doers you just haveta smack in the face!

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1913 Typewriter Carbon is the bold version of GLC foundry’s 1913 Typewriter. It is available in two styles: Normal, and Underlined (Bold).

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Pauline is a sans serif with a strong influence from retro scripts. Pauline is a geometric face formed with slow and deliberate rounded brush strokes. The tall ascenders give it a useful touch of naïveté. It’s a face suitable for some interesting titling and short bits of copy.

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Before the ‘talking’ motion picture was the era of the Silent Movie Stars like Buster Keaton, Lon Chaney, Mary Pickford, Douglas Fairbanks, Clara Bow, Rudolph Valentino, and Colleen Moore. In the early 1900s, star struck movie goers would flock to the local movie houses to see the latest release in glorious black and white. Twenty-five cents bought a ticket, a soda and a bag of hot buttered popcorn enjoyed as the flickering images on the screen transported the audience to another place and time for an hour or two. Short blocks of text told you where the story took place, who the heroes and villains were and other important details. When the actors and actresses, whose expressive faces filled the screen, had more to say, intertitles conveyed their message to the spellbound viewers. Now, you can convey your message with the same glamour and panache with two new fonts created to revive those unsung stars of the silent screen era, the intertitles.

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In the United Kingdom, Virgin Trains uses various weights of Generation Gothic extensively.

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Font designed after the face of a few characters of a real old 1913 small portable typewriter.

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Designed by the famous English (type designer) Eric Gill, it was created specially for the Silver Jubilee Wedding Anniversary announcement of George VI and Queen Mary.

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Winthorpe is a transitional text font which includes Regular, Italic, SemiBold, SemiBold-italic and Bold in small-caps and regular. Included: lining numerals, old-style numerals, fractions, superiors, inferiors & ordinals.

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Sweet Upright Script is the first release for Sweet Fonts Collection, published by MVB Fonts. It is an interpreted revival of a vintage, social engraving lettering style that was popular during the 20th Century. It is probably the first digital version of the design.

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Designed by Les Usherwood. Digitally engineered by Paul Hickson.

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Based on the design ‘Phosphor’ by J. Erbar, for Ludwig & Mayer, circa 1922-30.

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Based on an early wood type design. An original creation.

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A font inspired by 40s movie posters.

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The flower children of Canada Type are at it again. This time we went above and beyond the call of duty and right into the land of reconstruction in order to make this font. When we saw a few letters from an early 1970s film type called Jefferson Aeroplane, we had the sudden urge to bring their beauty to digital life. But since further research revealed no more letters or information, we just had to “wing” the rest of this Aeroplane. Now this Genie is out of the lava lamp, and it’s nothing short of groovy. A few symbols and alternates come within the font, so make sure to check out the very full character set.

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The Torquemada family marks the return of eminent American calligrapher Philip Bouwsma to the type scene after almost 7 years of hiatus, and he is certainly coming back with a lot of bells and whistles!

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In 1995, FontHaus came upon a rare opportunity to create a revival of Aries, a little known and previously unavailable typeface by the legendary Eric Gill. Discovering a lost typeface by one of the major designers of the 20th Century, was the discovery of a buried treasure, and being the first type company to release it was an honor.

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This collection of pictograms was designed by Martin Friedl as an extension of his final year project at the Stuttgart Academy of Arts, which included a signage project for a community center.

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Natalya Swashes provides a diverse set of flowing swashes and ornaments originally designed to complement the popular insigne script Natalya.

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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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Occasionally a designer needs the combination of caps and lower case glyphs for a particular purpose, visually or otherwise. Designer’s Gothic was designed with the Caps equal to the x height of the Lower Case.

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The Fred family is based on the casual hand lettering of Fred G. Cooper: cover artist, cartoonist, and letterer for Life magazine in the 1920s and '30s.

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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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One would think the whole hippy thing would have died out after the knighting of Mick Jagger and the selling out of the The Who. Not at Canada Type. We still occasionally read Burroughs and Ginsberg, listen to Dylan and Hendrix, and use the backyard to pretend (um, like run barefoot with the dog). And we're always happy to make another psychedelic font. This one is based on an early 1970s film type that went by the names Hoopla and Scorpio.

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Is it a Bird? Is it a Plane? Is it a Rocket?

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A semiformal “ribbon” script designed by Robert Hunter Middleton, Coronet was first released by Ludlow in 1937. The small proportions of the lowercase letters are part of the elegance implied by the name and work best at medium or large point sizes, such as short blocks of display copy or headlines. The face has a soft, comfortable quality that lends itself to a wide range of applications, from invitations to bubble bath packaging.

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A nice readable Headline and Sub head face, great for movie credits.

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Get a can of soda and grab a bag of hot-buttered popcorn, 'cause it’s Lights! Camera! Action!

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A bold sans serif typeface influenced by Ed Benguiat's work for the 1968 movie poster for Planet of the Apes.

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As seen on Typophile.com, DTD Silvertone Woodtype had its roots in capitals and figures from a specimen of Ludlow 6-EC Gothic Extra Condensed woodtype. Thometz interpreted and expanded on the set, adding an original lower case and a set of alternates.

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