Plakat is based on lettering by 1920s advertising calligrapher Samuel Welo.

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Mostra Nuova is based on a style of lettering often seen on Italian Art Deco posters and advertising of the 1930s.

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The Eagle series realizes the ideas behind Morris Fuller Benton’s famous titling, Eagle Bold, the symbol of American recovery, drawn in 1933 for the National Recovery Association.

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You have seen El Grande in mid-century comic books, used wherever simple, black-and-white ideas had to be driven hard, all the way home.

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Introducing... SPEEDING BULLET -- featuring SPEED TRAILS for increasing the, ah, speed of your bullets!

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Black Monday is a distressed or “grunge” version of James Puckett’s Recovery typeface. The core of the Black Monday type family is a single Opentype font containing three full character sets of varying degrees of distressing treatment. Every glyph in each of the subsets is unique to provide an organically weathered look and feel.

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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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Inspired by 1930’s Art Deco lettering styles, the Mighty Tuxedo font family comes complete with a Regular, Shortcaps, and AllCaps Luxe version, to give it an impressive range of flexibility & flair.

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Poster type faces from the twenties and thirties are enjoying a new wave of popularity. The summary, even rather hard principle of the sign is required for a view from a distance. The information appearing on the poster must be readable even from the opposite pavement. And, as is often the case with monumental type faces, these type faces are legible even in small sizes. The name Bahnhof suggests the hypothetical use of the type face on railway station buildings. By overlapping the designs Outline and Solid, a two-colour effect can be achieved.

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Morris Fuller Benton’s Eagle, designed for ATF in 1934, which did yeoman-like duty on many WPA posters of the time. This version, unicase as was the original, has been designed to set tight, so that it creates dense and commanding headlines.

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Charles Coiner (1898-1989) was a giant in the history of American graphic design, recognized with the first National Society of Art Directors Annual Award and an AIGA medal. As an art director at N. W. Ayer & Son Coiner commissioned work by great artists of the era including Norman Rockwell, Georgia O'Keefe, and Pablo Picasso. His work for private and government clients helped popularize modernism in the United States.

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Our two Rick Griffin font packages are based on the 1960s psychedelic poster lettering of the Californian artist.

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Inspired by retro lettering on advertising and propaganda posters from the 30s to 50s.

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The Wes Wilson font is an all capitals typeface inspired by the pioneer of 1960s psychedelic poster design, the Californian artist Wes Wilson. A key influence on the letterforms is the work of Austrian Secessionist, Alfred Roller, but this font, like Wilson’s own lettering is more freeform and playful.

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Veranda Poster was derived from a European art supply manufacturer’s logotype done in the Vienna (Wien) Austria style.

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An ultrabold font based on the work of circa 1920s bizarro lettering artist Alphonso E. Tripp. The freeware (TrueType) version has a limited character set. The Pro Set (Postscript) version has a complete character set (Adobe Standard for PC; Macintosh Standard for Mac), and extensive kerning.

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Systematic variation of Art Deco capitals in Cassandre’s posters led to Anisette. Rich contrasts in width and weight of hand-lettered geometry suggested a hidden typographic opportunity.

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The Pacific Sans and the Pacific Serif originated from the Pacific Standard, a space effective type face, especially designed for poster lettering. The implementation of serif strokes in the Pacific Serif and the contrast in vertical and horizontal strokes in the Pacific Sans, gave these fonts a distinct elegance.

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Heretic surrounds itself with an atmosphere of evil, carnival freakshow and no-nonsense thuggery.

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The Julius Klinger alphabets are extrapolated from lettering in a 1925 fabric advertisement drawn by Austrian poster designer Julius Klinger.

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The pattern for this delightful little font was originally released as Bernhard Heavy Antique Cursive by the Bauersche Geißerei of Frankfurt am Main and designed, of course, by Lucien Bernhard.

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Inspired by a characteristic handlettered ad from 1909, as well as the single word “Robusto” drawn for Oz Cooper’s own amusement and a perusal of his better-known work, Christian Schwartz designed Fritz as the friendly text sans serif that Oz Cooper never finally drew, with the addition of an eccentric extra bold face for display only.

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Font mavens of the world unite! These six typefaces recreate the bold graphic design of early Soviet Era Russian Artists such as Rodchenko and Popova. Seize control of the means of desktop production with this revolutionary font collective!

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Run your hand under the tap and then thrust your fingers in the electrical outlet nearest to you* and you'll get the same effect that our latest release, ZZZAP will have on comic book readers everywhere when Electro, The Shocker, Black Lightning, Storm and Darth Sidious turn the dark side of the force on them.

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Handlettering on a 1929 brochure for the P&O British-India Steamship Line inspired this tiddly typeface. Art Deco sensibilities combine with a playful attitude to yield a delightful and amusing headline font.

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This double-wide wonder is based on Oswald Cooper’s original drawings for the typeface Cooper Fullface. ATF rejected this offering because they felt that several of the letterforms, and particularly the numbers, were a little too wacky for the mainstream. By now, you know that such an accusation is a "Please don't throw me in the briar patch" plea to ours truly. So, here, proudly and true to their designer’s original intent, are two versions of a really fun font.

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Preissig 1918 was cut by the author in linoleum for purposes of teaching poster design. These warm upper-case letters enrich our palette of expression in magazine and advertising graphics.

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Wittenbach is based on lettering by Rudolf Koch which really embodies the essence of classic gothic-style poster lettering of the 1920s.

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PT Unovis™ was designed for ParaType in 2001 by Tagir Safayev.

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Lucian Bernhard was an artist and teacher who began designing the typefaces that bear his name for the Bauer type foundry in Frankfurt in 1912. Bernhard Bold Condensed was designed in 1937 and released as Bernhard Antiqua Bold Condensed. The lower case has a huge x-height, leaving practically no room for ascenders and descenders. The outlines of the capital and lowercase alphabets are slightly roughened and the edges rounded, giving it the appearance of being rubber stamped. The counters are very narrow with curved tops and bottoms.

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There are many fonts inspired by Lucian Bernhard. I have always admired his 1906 award-winning poster: ‘Priester’— believed to be the birth of the ‘Sachplakat’ (or Object Poster). I have interpreted the hand lettered “Priester” logo into a formal typeface and only hope I have done it justice.

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Breuer Headline exhibits a modern geometric structure tempered with subtle strokes of friendly humanism. Its neutral forms and sturdy rhythm are convincing without being forceful. The lowercase has a slightly casual feel. Set in all caps for a sterner message.

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Boldina consists of 18 fonts with a lot of personality.

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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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Oh,no - Oh, yes.. here is the new font “oh, no”.

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A solid powerful Heavy Serif face, great for Headlines and Sub heads. Brings plenty of punch by yet with great sophistication.

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A geometric design, once rejected as an Emigré font, but published in Rick Poynor’s Typography Now 1 (Booth-Clibborn Editions, London UK,1991).

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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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Digitally engineered by Steve Jackaman. Based on the original Willard T. Sniffin design of 1933 for ATF, this informal brush script was known as Keynote.

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The Submarine family is based on a custom designed typeface for website navigation and headlining purposes, hence its geometric structure. In contrast to most other typefaces, where increase of boldness of the lighter weights expands externally in the width, the Submarine heavier weights expand internally, leaving the length of words and texts pretty much the same. The open structure of the lighter weights make it reasonable text face as well.

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An extra compressed typeface designed at ParaType in 1993 by Alexander Tarbeev. Decorative styles were added in 1996. For use in advertising and display typography.

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A practical yet unique display face designed to offer attention-getting headlines and an alternative to the normal wild west faces.

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What happens when you mix a groovy hippy font idea (like Canada Type’s Janice for instance) with a Western concept such as Playbill? You end up with a groovy hippy western font, of course!

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Umbra was designed by R. Hunter Middleton for the Ludlow Corporation in 1935. This is a three-dimensional typeface, unique in that the main character shape is defined only by its shadow.

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A sign painter’s sans serif, sun-bleached and worn . . . paint barely clinging to the substrate. That’s Bristles.

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Two Stroke is brush font style I have used frequently and still paint by hand today. It has it all: clean lines, nice and bold, easy to read, and lots of character.

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Inspired by logotype of the Paris Resort and Casino in Las Vegas comes the Paradiso typeface, complete with an unusual array of leaning and unusually large capitals versus a petite lowercase that have a loosely drawn feel.

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This is the tallest, skinniest, most condensed, non serif font I know of. I designed this because I felt a serious need for that one big, thin word to fit in a narrow space.

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A spunky slim typeface inspired by a 1958 Dell Comic, The Captain and the Kids featuring the Katzenjammer Kids as a spinoff from the original comic which was in turn inspired by the famous children’s story from the 1860’s, Max and Moritz.

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Cuckoo was first seen in 1988 when I painted it on a record shop’s window. Since then this hand lettered font has been there and done that.

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Herold is a bold Art Nouveau advertising face released by H. Berthold, Berlin, Germany in 1901. It is also seen under the name “Herold Reklame.” The designer is unknown. A herold (‘herald’ in English, ‘heraldus’ in Latin) is one who delivers proclamations and announcements. Medieval heralds are often pictured with a horn with which to get everyone’s attention prior to performing his function. His only PA system was his own voice. Left and right glyphs of a herald with horn may be found at positions 137 and 172.

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A gothic with a contemporary look very powerful.

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A compressed wood poster type from the mid-1800s. Certainly handy for excessive copy on a single line.

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Futura ND is part of Neufville Digital’s BAUER CLASSICS collection.
Futura ND Black was completely digitized anew from the original sources of the Bauersche Giesserei, now hold by FT Bauer in Barcelona.

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Luzaine is a slightly rounded sans-serif face; and to give a more even distribution of emphasis the difference between thick and thin strokes in this font is minimised to a certain extent. We think this helps make it attractive and slightly different.

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Winner of the “no prizes for guessing” category, Overlapper’s main feature is that the letters overlap slightly. I thought it best to just come straight out with it. In case there’s someone just recovering from a lobotomy.

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Known to many eastern artists as the California Poster Letter because it originated in the West, this old 1930s style has reappeared in digital form.

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Letters “borrowed” from punk fliers, logos and album art. Now you too can promote yourself or your band the old fashioned way!

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Our first font of Grecian was so old that it had been cast in a hand mold.

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OakPark is a series of decorated typefaces with a bold Art Deco feel to them.

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Mostra is based on a style of lettering often seen on Italian Art Deco posters and advertising of the 1930s. Each weight of Mostra includes three fonts. The basic font includes the most conventional letterforms. Two secondary fonts provide alternate versions of some characters. The different letterforms represent commonly-found variations in Italian Art Deco lettering. Though they are spread over three fonts, they can be used in any combination to capture a particular mood or style. There are five weights ranging from Light to the ridiculously bold Black. Mostra features a full character set (caps only) and kerning tables for display setting.

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University Roman is based on Speedball hand-lettering. Designed at the Letraset Type Studio in 1983, University Roman is notable for its narrow capitals with crossbars that sit well above the median line.

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Akimoto is a fat slab typeface.

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Cooper Black is a very heavy version of Cooper Oldstyle (also known simply as Cooper), an innovative typeface with rounded serifs and long ascenders designed in 1919. The Cooper family was the work of Oswald Bruce Cooper, co-owner of the Bertsch & Cooper design firm in Chicago. Cooper Black was first released by the Barnhart Brothers & Spindler foundry of Chicago in 1922. Oz Cooper was fond of saying that the Black fit the needs of “far-sighted printers with near-sighted customers.” Cooper Black set a trend in ad types which prompted such designers as Fred Goudy (one of Cooper’s early teachers) to follow suit with their own black faces (compare Goudy Heavyface).

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Willard T. Sniffin designed this extra condensed art deco typeface for American Type Founders in 1932.

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In 1928, the application of pure geometric form to sanserifs and slabserifs was in full swing. Morris Fuller Benton applied geometry to the Modern letterform to arrive at Parisian and Broadway for ATF.

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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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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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Inspired by posters of the early 1900s, Revue was designed for Letraset in 1968 by Colin Brignall.

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Sudsy has been copied out of that school project you did when you were 12. Spending two weeks of homework time on the headings got you the most unfair C ever!

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

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A light hearted comic and clumsy typestyle inspired by an old pulp novel called “The Astronaut”.

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HOLD THE FRONT PAGE! STOP THE PRESSES! We have a new Headline for our Cover Story! DAVE GIBBONS is all over the tabloids, the trades AND the quality papers today.

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Nomad so that small craft fisherman wouldn't get busted at the Canadian border for not having their rowboats listed with the required serialization of letters and numbers most beer drinkers, card players and bait casters would rather not deal with.

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Regime is based on 19th century slab serif British ‘Empire’ letterforms. Redrawn, made a little more contemporary, a little more playful and with alternate weights featuring more experimental characters.

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Lil Rhino is the more reserved but still slightly offbeat sister to the quirky comic Fat Rhino typeface. You can see the resemblance, they work well together, but they also each hold their own.

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Document is an easy-to-read sans serif with large lower-case letters, but with one difference - it is slightly slanted to the right, but a lot less than a conventional italic angle. This is intended to give it a more informal and modern look than a perfectly upright font would be, and which also contributes extra dynamism while reading.

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Coffee Script is a digital version of R. Middleton’s Wave design for the Ludlow foundry, circa 1962.

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This jaunty display face was discovered in one of the many books on sign writing produced by Eric Matthews. The work was signed “King Cole,” hence the font’s name.

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The Hondo Grunge fonts are a collection of ultrabold eroded slab serif typefaces with a dynamic look and extended functionality. Accented with decorative and functional inktraps and complete with Slant and Backslant styles, this heavyweight has a high performance hardcore edge to it. Ideal for titling, poster work, logos, and small bits of copy.

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