The tdBastard family is a modern caps-only display typeface with OpenType features.

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Maple is a flamboyant family of types inspired by the irregular grotesques of the 19th and early 20th centuries.

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Hopeless Diamond is a contemporary display type inspired by the dimensionality of 19th Century carved lettering and signage.

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PT Quadrat Grotesk™ was designed for ParaType in 2001 by Vladimir Pavlikov. An expanded sans serif with square letterforms due to what the face was named.

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Besley Clarendon is our version of the Clarendon registered by Robert Besley and the Fann Street Foundry in 1845. Besley Clarendon represents a significant change from the slab-serif Antiques and Egyptians that had become so popular in the prior three decades. Like Caslon’s Ionic of 1844, it brackets the serifs and strongly differentiates between the thick and thin strokes. Besley Clarendon is also what today is considered a condensed face, as a comparison to the various contemporary Clarendons will show.

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Lettering by an uncredited designer on a French travel poster from 1929 provided the inspiration for this ultrabold headline typeface, a curious blend of symmetry and asymmetry. The font’s small descender height allows tight line spacing while maintaining legibility, even in relatively small sizes.

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This roly-poly, rollicking display font is based on a design from the 1946 book Blue print text book of sign and show card lettering by Charles Louis Henry Wagner, who seems to have had an aversion to combination words (like blueprint, textbook and showcard).

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Akimoto is a fat slab typeface.

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Grim is a display family with a lot of room for application, most obvious being the tightly fitted headlines with impact. It works especially well as a counterpart to a serious, refined serif font. Each family member comes with a set of useful pictograms: arrows, triangles, hands, smilies and a heart.

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Originally conceived as part of a unique display design created for Hershey’s Times Square flagship store, the PowerStation family is the perfect choice when looking for a font that speaks of strength, solidity and character. It comes in two “faceted” 3-D versions: “Block” where the dark side is dominant, and “Wedge” where you see more light than shadow. The family also includes both “Solid” and “Outline” versions of the font. They are all available in both normal and wide versions.

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Lazar takes its inspiration from the designs of early Russian designers like El Lissitzky.

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Prisma is a custom 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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Avatar 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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Cactus majestically blooming in the desert is truly a wondrous event! As the landscape cools, nature blossoms into a beautiful rainbow of colors. These same harmonies and contours, plus a dash of ruggedness and legibility, help to make Cactus Flower Open a superb choice for display work. This cowboy boot style is an old Speedball favorite originated by lettering artist Ross F. George. It’s especially useful for creating distinctive headlines and titles where a Tuscan look is desired.

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A real powerful look great for headlines, a true heavy weight.

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Facebuster is a no-nonsense block serif display typeface with hard geometry and minimal negative space.

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Grim is a display family with a lot of room for application, most obvious being the tightly fitted headlines with impact.

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Force is a contemporary sans serif ultra-black family designed by Ricardo Esteves.

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Noveu 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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Warrior is a three dimensional font based on Ògún, which in turn was inspired by a Russian Egyptian-style block alphabet (original designer unknown).

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BAQ Rounded is a fully developed solid typeface which contains full Latin characters, is highly legible, and always good for extra impact.

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A contemporary interpretation of grotesque (historic) typestyle, relying on geometric shapes applied to a grid. Idiosyncrasies within the typeface are based on how this grid is constructed and applied rather than those inherent in drawing type with a pen or cutting from a block of wood. Other grot types retain the quirks of original woodcut typefaces. Elephant has a different vocabulary of quirks that remove it from being too reverential or constrained to a historic context.

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Ryno Slab is a superslab that was born out of a need for an aggressive, heavy, geometric display face that did not appear clunky. Its serifs are so thick, you could create reasonably legible word shapes by using all caps and masking the words out.

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Pound out meaty words with beefy strength. The OpenType format includes custom letter pairs or autoligs which, in OpenType savvy applications, are automatically substituted as you type.

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Handmade Bugler is a font based on the first logo created by Harry Warren in late 1974 for his sixth grade class newsletter, The Broadwater Bugler, at Broadwater Academy in Exmore, Virginia, on Virginia’s Eastern Shore.

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Grim is a display family with a lot of room for application, most obvious being the tightly fitted headlines with impact. It works especially well as a counterpart to a serious, refined serif font. Each family member comes with a set of useful pictograms: arrows, triangles, hands, smilies and a heart.

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Arco is a brand new fat-face with some geometrical tweaks grabbing fresh and ideal for fashion editorial headlines.

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Inspired by the graffiti of “CEYS” comes the Gobe Family, a Geometric/Thematic typestyle. WIth it’s bulky blocklike appearance, it comes with Regular and Compressed styles with their respective Oblique versions. Heavy handed, yet surprisingly readable at even small sizes, Gobe is perfect for designs from Offbeat Display to Childrens books. Graffiti is all around us wherever we go, get the Gobe Family and put it to work in your designs!

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A beautiful and unique new Blackletter font with many alternate characters and Ligatures.

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Grim is a display family with a lot of room for application, most obvious being the tightly fitted headlines with impact. It works especially well as a counterpart to a serious, refined serif font. Each family member comes with a set of useful pictograms: arrows, triangles, hands, smilies and a heart.

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“Faux” is false or phony in French and Decaux is a spoof spelling of Deco, thus “False Deco”.

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OverKill Bloque was created in 1991 as a banner logo for a gamers fan newsletter, The OVERKILL Casualty Report. As letterforms were built for various headlines, a font took shape. Just for grins I fleshed out an uppercase and numbers and named it Ultra Bold. Much later, when Mike and I were working on our chiseled race pak, Ultra Bold convexed nicely and fit in with the modern sports look of the font pak. Mike is most at fault for the lowercase! No face should be without a lowercase! Since then, OverKill / Ultra-Bold has made its way onto the covers of two comic books and numerable vehicles and signs. In 2008 I decided to make it more useful for the desktop crowd. I brought back the OverKill name and called the first font in the family, OverKill Bloque.

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Blast your way through the alphabet with this stunning font from Comicraft’s work on THE PUNISHER!

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Who needs counters? Although this typeface is bold as hell, it is still absolutely legible. If You are looking for fat curves, this is may be Your choice! There are also extra letters (A, V, v) to let You make better logos and headlines.

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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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Typedesigner Hannes von Döhren created a display typeface called “Embryo”. A superblack, sweet font with filled counters. Perfect for use in big sizes on posters or flyers.

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A very fat display typeface.

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Usurp is a cut-rubber freak-out with . . . with . . . what were we talking about? Okay, yeah! It’s got letters, man. Lots of freaky letters that are all like whoa and rainbows trails shooting out and what have you. The OpenType format features autoligs which automatically swap common letter pairs with variations to create a more realistic, less repetitive effect. Usurp is based on Garamond letterforms if you think about it.

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Acid Haus is a fat, geometric face inspired in equal measure by 1920s Bauhaus geometric design and 1980s rave culture.

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Blou is a custom 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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Milford is a font with its feet planted in several styles of design. It has aspects of Art Deco shapes and proportions, but has modern additions and tweaks that make it a handsome substitute for your tired heading fonts.

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Atomgeek is inspired by old arcade games.

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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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REALLY fat faces seem to be popular these days, so here’s my take on one. The strokes have been expanded to the brink of illegibility, but the letters remain distinguishable, especially in context. Also included are alternate versions of the letter A—suitable for use as first and last letters in a word— in the ASII circumflex and ASCII tilde positions.

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“Hey, look at me!” cried the new advertising typefaces. With the nineteenth century and the industrial revolution came an esthetic revolution in type design. Brash, loud, fat display faces elbowed their way into the crowd of book faces, demanding attention. Those who admired traditional book types harumphed and complained. Robert Thorne had fired the opening round with his Fatface. With the cutting of Figgins Antique, the battle was well and truly joined. Job printing came into its own and it seemed like everything changed. The world of printing had been turned upside down and the gentile book-type aficionados recoiled in horror much as the rural landed gentry recoiled at the upstart middle class shopkeepers and manufacturers. William Savage, approvingly quoted by Daniel Berkeley Updike over a hundred years later, described the new display faces as “a barbarous extreme.” These were exciting times.

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The Limine family was designed to give a 3D effect; to look like engraved letters.

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As seen on Typophile.com, DTD Hefeweizen is a contemporary take on the textura blackletter style. Comprised of straight lines and angles sloped at ratios of 1/2 or 2/1, Hefeweizen is a highly geometric design with extensive alternates and ligatures.

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A neue rave typeface; Pacman-style chunky, sharp, creative.

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Perhaps best described as a logotype style of typeface, this highly unique design with its strong geometric presence is the work of accomplished Swiss designer, Rosemarie Tissi. A striped feature running throughout helps to determine the legibility of the letterforms. Sinaloa was designed to be used a few words at a time for large display requirements.

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The inspiration source for Ruse Monogram is a unique letterset called “DeRoos Inline” from an old type specimen tearsheet. To create more monogram versatility in the design, a solid version, as well as a scaled down numbering set and flourish ornamentation are also added to the font. Ruse Monogram is capable of several traditional monogram forms, in both solid and inline styles.

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Akme is a sans serif with an industrial feel. However, it has many whimsical features like the spiral O, many special dingbats for bullets, and so on. It has oldstyle numbers and the small caps versions have lining numbers and small caps numbers. It is a six -member family.

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Sage is a hand generated font with great impact. Robust and vigorous, it’s great for informal, exciting design projects.

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A semi text type with thin stresses, in Granite Semi Stencil the overall weight of the Granite Regular has been decreased by a set unit which has obliterated the stress to leave white space. This gives the typeface an idiosyncratic almost arbitrary take on the utility Stencil aesthetic.

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Akme is a sans serif with an industrial feel.

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A heavy graffiti-inspired font! Don't drop it, 'cos it’s weight might crush the floor!

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This picturesque, beautiful German Blackletter typeface was originally released by Benjamin Becker Succ, Frankfurt am Main, then named ‘Künstlergotisch’.

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Breakbeat is a strong techno style typeface with stenciled, solid, and outline variants to add to its appeal.

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After creating the all-caps version of Supper Club JNL, a conversation between Jeff Levine and fellow font designer Ray Larabie brought forth the idea that one of Ray’s freeware fonts had a lower case that would perfectly fit Jeff’s design.

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I was interested in creating a very minimalist font, and also interested in closed shapes. I thought about the appearance of keys on a piano and realized it could be made into such a font.

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A rock solid face that works well in many of today’s applications. Sets extreamly well for both large and small sizes. And with very little morter between the joints sets nice and tight.

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Gusto comes in three related variants that go from hot-dog to melted chocolate, a gastronomic combination not to be passed up (or thrown up).

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Plenti is the fat font to add to your visual communication toolbox. Friendly, square, and quirky all at the same time. It is itching to get used on posters and websites.

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Face Front, True Believers, here comes another Spectacular Smash Hit from the Comicraft House of Ideas!

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An unusual blend of block and script letterforms, based on poster lettering for an Italian fashion house of the same name, designed by Wilman Schiroli in 1935.

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Squarity JNL is an ultra-bold font derived from Jeff Levine’s Yorso Square JNL.

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The best of both worlds: good for small screen resolutions and nice output at larger sizes.

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A rugged, robust, simple sans serif typeface, constructed from permutations of geometric shapes, with an incised, chiselled aesthetic.

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Harbour is a clash of Latin and Germanic typestyles - two conflicting letterforms, culturally, politically and aesthetically. Latin letterforms have a geometric base, blackletter types are calligraphic. Harbour takes calligraphic forms that derive from writing with quills, but is a typeface that is clearly drawn‚ rather than written‚ to produce graphic, dynamic letterforms.

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Designed for the Glasgow 1999 typeface competition, Factory explores the idea of taking elements from Gaelic letterforms (as an historic British typestyle), such as the use of cut-off curved forms that suggest the action of writing, and re-interprets them for the late Twentieth Century. These are set against the circle-based geometry that the Macintosh produces so flawlessly to create a typeface that looks like it has been manufactured from a set of prefabricated units, like a ship or a car.

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