Familiarity lies at the heart of legibility. Interstate is based on the signage alphabets of the U.S. Federal Highway Administration, letterforms absorbed at a glance everywhere we drive.

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Back in 1936 the German Standards committee Deutsches Institut Normung (DIN) proposed DIN 1451 as the standard type of lettering for road signage. As the original manual states ‘the purpose of this standard is to lay down a style of lettering which is timeless and easily legible’.

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Parisine has been designed by Jean François Porchez in 1996 for Ratp to solely fulfil the unique needs of signage legibility. In 1999, the family was revised and extended for use in maps and external communication. Not connected with Ratp, Parisine Plus appeared also in 1999. Much later, Parisine Office was created for Ratp’s internal and external communication.

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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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Back in 1936 the German Standards committee Deutsches Institut Normung (DIN) proposed DIN 1451 as the standard type of lettering for road signage. As the original manual states ‘the purpose of this standard is to lay down a style of lettering which is timeless and easily legible’.

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In 1994 I took a picture of an old movie marquee in Times Square, New York City. 7 years later, I decided to design a typeface based on the big plastic letters found in those old marquees. I scanned in the picture I took and began to draw the letterforms. Like most of my font designs, the initial inspiration came from an urban environment.

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The legendary sans serif design developed by Edward Johnston for the London Underground system in 1916 is available for the first time as a commercial font in an exclusive arrangement with the London Transport Museum. The font, as well as the all-caps bold version, is true to the original design, plus full international characters are also included. The extras feature graphic elements inspired by the design motifs of items including maps, tile patterns and seat covers.

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Transport New is a redrawing of the typeface designed for British road signs. In addition to the familiar Heavy and Medium weights, Transport New extrapolates and adds a previously unreleased Light weight font originally planned for back-lit signage but never actually applied. Originally designed by Jock Kinneir and Margaret Calvert beginning in 1957, the original Transport font has subtle eccentricities which add to its distinctiveness, and drawing the New version has involved walking a tightrope between impertinently eliminating awkwardness and maintaining idiosyncrasy.

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A clean and simple sans-serif, Informatic was designed as a friendlier alternative to DIN.

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ALS Direct is an open and dynamic typeface with clear-cut letterforms that make it instantly readable. It lends text a neutral, yet agreeable and modern feel.

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Here’s the follow-up to my Route 66 series, patterned after the typeface used on signage on the U.S. interstate highway system for fifty years.

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The idea behind the font called Chaco originated after testing the deficiency shown in road signs in Latin America.

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Koehler Sans JNL was inspired by a set of cardboard sign kit letters made by the Koehler Sign Company of Missouri (presumably) in the late 1940s or early 1950s.

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Endless Journey JNL is Jeff Levine’s interpretation of the ever-popular lettering found on highway signage; giving it a slightly handmade look.

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A modern sanserif typeface

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AndrewAndreas is a plain, geometric sans-serif typeface in three weights.

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Two fonts plus several EPS files, featuring mapping symbols, highway number shields, outline US maps and white-filled maps of each state.

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A font with all the symbol signs used by the U.S. Department of Transportation, as provided for in the MUTCD (Manual on Uniform Traffic Control Devices). Drawn to meet the US DOT’s exact specifications for highway signs.

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Museo Sans is based on the well-known Museo.

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Mentone is a new general purpose typeface, an attempt at extending the line of the great sans-serifs of the previous century, Frutiger - Stone Sans - Myriad.

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Orotund is a digitization and considerable expansion of the cheeky and enormously popular 1970s/1980s film type called Eight Ball.

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VIP is a humanist sans serif uppercase and figures combined with a freshly redrawn revival of the classic Constanze initials originally designed by Joachim Romann for Stempel in 1956.

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Prolific calligrapher Angel Koziupa and designer Alejandro Paul charm us once again with an imaginative typeface.

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Cuisine originated from a how-to lettering book from the 1950s. It suggests the script style found on food and beverage labels in the early 20th century.

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Signage mandated by the Americans with Disabilities Act of 1990, plus additional accessibility signs, in both font and EPS format in the same package.

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Happy Holly Day is a playful and fun Christmas style font revival, many new characters have been added to make this font complete plus a new Fill font is included.

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A light destructive western slab serif typeface inspired by Astro Zombies, the 1968 Cult Cinema Classic.

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This typeface was inspired by the popular typeface Machine. It uses straight lines with circles converted to octogons, but uses them in different proportions.

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Originally designed by Sol Hess as just a roman and italic for Lanston Monotype, circa 1920-23.

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Antman is a bold serif font consisting of caps and smallcaps.

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Are you feeling a little dazed, silly, or light-headed? Are you talking incoherently as if you've received repeated blows to the head? Would you perhaps describe yourself as punch-drunk? Happy-go-lucky? Have you recently been sleep deprived or are experiencing excessive feelings of fatigue or tiredness? Have you become prone to inane semi-maniacal rambling? Have you been making strange and/or meaningless remarks? Are you demonstrating fits of random and inexplicable behavior? Did you just give yourself a wedgie? Experiencing bouts of uncontrollable laughter -- at your own jokes? Standing on a silver surfboard holding a hot dog and wondering why?!

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Uni Sans is a custom sans 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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In 1968, Adrian Frutiger was commissioned to develop a signage system suited to the architecture of the new Charles de Gaulle Airport outside Paris; he designed a simple, clean, robust sans serif type that is highly legible. In 1976, Frutiger completed the family for the Stempel foundry.

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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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Geogrotesque is a semi modular with a subtle rounded finish typeface. All the characters are based in the same formal principle with its corresponding optical adjustments in order to adapt the system to an alphabet for texts. Although the type family has a geometric or “technological” construction, the rounded finish provides it a warm appearance, making the typefaces nicer and nearby.

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As a student in Zurich, Adrian Frutiger began work on Univers, which would eventually be released in 1957 by the Deberny & Peignot foundry in Paris. The design is a neo-grotesque, similar to its contemporary, Helvetica.

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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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This revival of Harry is based on the original design by Marty Goldstein (and C.B. Smith).

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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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The Sommet series has been updated with a rounded variant.

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Get creative with the adventurous new brush casual Alpine Script from Charles Borges de Oliveira. This stunning typeface contains 29 alternate characters waiting to be explored.

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In 2007, insigne released Aviano. It’s beautifully drawn extended letterforms were a hit with designers and Aviano quickly became insigne’s most popular offering of early 2007.

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The design of Graublau Sans Pro took Georg Seifert over 5 years. With 7 weights and over 1000 glyphs per style, Graublau Sans is a type family that suits all typographic tasks. The regular styles have a rather clean and neutral appearance. The italics on the other hand, have a vivid design based on handwriting. For the use in headlines or logotypes Graublau Sans Pro offer 6 additional display styles with rounded corners and tighter spacing.

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Back in 1936 the German Standards committee Deutsches Institut Normung (DIN) proposed DIN 1451 as the standard type of lettering for road signage. As the original manual states ‘the purpose of this standard is to lay down a style of lettering which is timeless and easily legible’.

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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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The Rotis family was designed in 1989 by Otl Aicher for Agfa; his last type design.

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Sonora is a new profonts script typeface family supplied in the new OpenType Pro font format. Sonora contains six styles as light, medium, bold and the corresponding italics. The character set covers about 1.500 glyphs for the complete Latin character set (West, East, Baltic,Turkish, Romanian), and a huge number of handmade ligatures and alternates to make it a perfect OpenType Pro connecting script.

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The Rotis family was designed in 1989 by Otl Aicher for Agfa; his last type design.

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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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Project a powerful image with Sommet.

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In 1952, Aldo Novarese and A. Butti designed Microgramma for the Nebiolo foundry. It was a popular face, but was available only in capitals. In 1962, Novarese produced a full character set, including lowercase letters, and the foundry renamed the family Eurostile.

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Helvetica’s 50-year anniversary celebrations in 2007 were overwhelming and contagious. We saw the movie. Twice. We bought the shirts and the buttons. We dug out the homage books and re-read the hate articles. We mourned the fading non-color of an old black shirt proudly exclaiming that “HELVETICA IS NOT AN ADOBE FONT”. We took part in long conversations discussing the merits of the Swiss classic, that most sacred of typographic dreamboats, outlasting its builder and tenants to go on alone and saturate the world with the fundamental truth of its perfect logarithm. We swooned again over its subtleties (“Ah, that mermaid of an R!”). We rehashed decades-old debates about “Hakzidenz,” “improvement in mind” and “less is more.” We dutifully cursed every single one of Helvetica’s knockoffs. We breathed deeply and closed our eyes on perfect Shakti Gawain-style visualizations of David Carson hack'n'slashing Arial — using a Swiss Army knife, no less — with all the infernal post-brutality of his creative disturbance and disturbed creativity. We then sailed without hesitation into the absurdities of analyzing Helvetica’s role in globalization and upcoming world blandness (China beware! Helvetica will invade you as silently and transparently as a sheet of rice paper!). And at the end of a perfect celebratory day, we positively affirmed √ la Shakti, and solemnly whispered the energy of our affirmation unto the universal mind: “We appreciate Helvetica for getting us this far. We are now ready for release and await the arrival of the next head snatcher.”

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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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Sweet Gothic is a 2009 addition to the Sweet Collection of engraved lettering styles from the 20th Century. 

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What started out as my thesis project is now a complete sans serif typeface family in 14 styles.

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Geogrotesque Stencil is the newest member of the popular Geogrotesque family, it has been thought as a display typeface, but it goes one step further and tries to solve some of the typical problems of stencils fonts.

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Luxus Brut breathes the spirit of hand lettered signage of the Fifties. It’s a formal script, inspired from a well concealed shop portal in Vienna/Austria. Large and distinctive capital letters (that won't share the baseline with lowercase letters), wide spacing as well as a low x-height make it an excellent choice for posters, magazine headlines, logotypes, branding and any design that requires a touch of luxury and sensuality.

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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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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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An original design.

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Phoenica offers a high quality alternative to contemporary humanist sans serifs. It is a flexible family for editorials and corporate branding.

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Typedesigner Hannes von Döhren created Brevia, a soft sans serif type family consisting of seven weights plus matching italics. The fonts have a hint of a brushed feeling and come across casual and friendly. Nevertheless Brevia’s architecture is straight, making it perfect for longer texts. Because of its big x-height, it also performs nicely in very small sizes. Brevia’s heavier weights are slightly more curved and have an eye-catching appearance. They unfold their strength especially in bigger sizes. This contemporary type family is intended to be used in applications like: Cosmetics, Service, Food and Advertising – basically everywhere where a pleasant feeling should be conveyed.

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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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In 1992, Red Rooster Typefounders created Block Gothic Extra Condensed based on the TP Collection Block Gothic.

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The Rotis family was designed in 1989 by Otl Aicher for Agfa; his last type design.

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Based on the Keystone Type Foundry design, circa 1919. The l/c ‘g’ appears as an alternate character in our font.

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Typedesigner Hannes von Döhren created Cowboyslang, a display typefamily with a Wild West flair. It consists of three widths plus fitting ornaments. Although it is based on the slab serif typefaces from the nineteenth century Von Döhren gave it a contemporary feeling.

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Espectro is a fabulous font full of swashes and alternates.

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Carve a new path with Expressway. Engineered to hug the road, it features a tight new frame with redesigned lines and curves. Reflecting the sleek lines of the U.S. Department of Transportation’s “Standard Alphabets” font, Expressway has superior readability. It combines the best features of the famous highway sign font while breaking away from monotonous government specifications.

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

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Hiruko is a full family of 16 different styles. Inspired by the early Swiss movements, Hiruko offers creativity and clarity within many media. Influenced by Japanese culture, Hiruko is based on the idea that less is more, however this applies in other directions when referring to the amount of work gone into producing the type family.

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Influenced by the 1960’s typeface, Design Fineline.

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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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Jezebel is all dressed up for you. And if she can't make your mouth water and eyes light up with love, nobody else can. She’s got bigger hair than Dolly and Elvira together, more tongue than a Kiss concert with Jagger opening, more leg than a Moulin Rouge premiere, more sword than a pirate ship, and more loop than a chartered accountant. She’s the queen of now, the essence of cool, the twenty-first century fox. She’s the ever playful and creative girl with so much talent her art just cannot be restrained. She’s got popular culture on a long but strong leash. She looks gorgeous and positively glamorous no matter what color she wears. And last but not least, she’s got the charisma to make people of all ages want more of whatever it is she feels like offering.

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This design is one of the true gems to come out of the 1930s typeface era. Even though the face was originally designed to counter the invasion of European sans-serifs, it remains faithful to the principles found in its creator’s poster work.

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