This high-spirited, imaginative collection is brimming with festive human and animal figures as well as sorts of environmental, seasonal and culinary images.

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Olympukes is a collection of 52 icons depicting the true spirit of the Olympics.

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Follow us to the future.

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The LifeAfterCollege family of four fonts is based on two styles of Ranger, which are slab-serif, geometric fonts with no curves.

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A mild grunge, a simple distressed gothic with just enough roughness to be cool.

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Rah! Rah! Sis-Boom-Bah!

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Rushing Pass JNL is the italicized companion font to Forward Passed JNL and Return Pass JNL.

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New York-based Puerto Rican artist Carlos Aponte was inspired by the minimalist style of the great 20th Century master Pablo Picasso when he designed this dynamic collection of sports images. With a few well-chosen strokes he has captured the essence of the traditional games of baseball, football, and basketball as well as the cutting edge sports of bungee jumping, roller blading and hot-dog snow-surfing. Energetics are destined to intrigue and are ideal for a wide range of creative uses: brochures, editorials, packaging, posters and spot illustrations to name a few possibilities.

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The Fuel Uni Extended typefaces are a modern update on the techno sans extended for stronger impact, adding further versatility with unicase design complete with soft rounded corners as well as decorative inktraps. Stylistic Alternates included within all styles are alternates for the capital B, E, and R, as well as lowercase g characters, as well as all of their accented siblings.

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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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Michael Doret had been doing lettering in styles similar to Metroscript in his design work for many years, but with the advent of OpenType technology he realized that he could actually put together a script font that would finally do justice to this style, and be almost indistinguishable from hand-lettering.

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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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Inspired by the diverse and dynamic neighborhoods around their studio, Kapitza’s most recent work is about observing and recording the transient nature of inner-city populations. This visual research results in vibrant sets of silhouettes with site-specific names like ‘Liverpool Street’, ‘Victoria Park’ and ‘Brick Lane’.

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

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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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Montag is an extended, rounded sans-serif.

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

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The Player family started as a straight-forward revival of a film face called Ivy League, an early 1970s VGC classic that was very popular with designers of sports paraphernalia. A few hundred liters of coffee later, the revival of a single condensed font has become an 11-font ambitious attempt at being the last word in athletic lettering.

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

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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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Hemingway designed by Alessandro Segalini was inspired by the prize winning novel The Old Man and the Sea by Ernest Miller Hemingway.

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Neuropol X, a futuristic font recalling sci-fi, video games, Vectorbeams, and flatbed plotters. Neuropol X bridges the style gap between the geometric sans serif fonts of the late 20^th century and superelliptical futuristic fonts.

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

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Dienstag is an extended sans-serif and a new companion to insigne’s popular Montag family.

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

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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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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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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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B-52 was inspired by the lettering used on the vehicles of the U.S. military.

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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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Re-tooled from the QBF Collection.

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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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Re-tooled from the QBF Collection.

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Aviano slab is an extended slab serif and the newest member of the popular insigne series Aviano.

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This was my best seller of all time.

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Designed for attention and impact in advertising, the first Egyptians or slab serifs appeared at the beginning of the Industrial Revolution (1800s).

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Designed by Les Usherwood. Digitally engineered by Paul Hickson. Another typeface from Les Usherwood that was released after his 1983 death.

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Designed by Les Usherwood. Digitally engineered by Steve Jackaman. This typeface is used by a famous European car company in all their marketing!

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Neuropol is a futuristic font family inspired by science fiction video games and flatbed plotters. Designed by Ray Larabie in 1997, the original Neuropol was an instant hit with younger graphic designers, neatly filling the void between Microgramma, the universal geometric sans serif of the late 20th century, and the fast approaching 21st century.

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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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Octin Vintage is a tough headliner in 2 styles (sans & serif) & 3 weights: regular, bold & black. Octin Vintage is perfect for police, sports, prison, construction, school or military themes. Check out the rest of the Octin families: Octin Sports, Octin College, Octin Prison, Octin Stencil & Octin Spraypaint

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

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Dynamic, strong and athletic.

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A revival of the Ludwig & Mayer type design from 1930.

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Octin Sports is a tough headliner in 7 weights: light, book, regular, semi-bold, heavy & black. Octin Sports isn’t just for sports; it’s also great for school, construction, prison, police or military themes. Check out the rest of the Octin families: Octin College, Octin Prison, Octin Stencil, Octin Vintage & Octin Spraypaint

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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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Designed by Les Usherwood. Digitally engineered by Steve Jackaman. Many of the weights and the italics were created after Les’ death.

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Influenced by the 1960’s typeface, Design Fineline.

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Inspired by American sportswear graphics, this ‘Comstock’ or inline san serif style incorporates wedge-like cut-outs instead of curves. An excellent graphic option for work related to sports. Designed by Colin Brignall in the Letraset Type Studio.

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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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Deisgned by R.H. Middleton. Digitally engineered by Steve Jackaman. Based on the original Ludlow drawings, circa 1938.

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This font contains 174 characters; a variety of sports icons, baseball, basketball, golf ball, football, rugby ball, soccer ball, volley ball, tennis ball, hockey puck, baseball mit, catchers mask, football helmets. There are also sports icons in pennant shapes and shield shapes as well as "zooming sports icons, “glowing” sports icons, and “excited” sports icons.

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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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Scentogram is a deco font inspired by some 1950-60 ads.

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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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Structia pays tribute to the classic font, Machine. Structia includes four styles: regular, italic, panel and war. Panel features thin stencil lines. War has a spraypainted stencil effect.

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Digitally engineered by Steve Jackaman. Ludlow, circa early 1900.

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Designed by Nick Shinn. Digitally engineered by Steve Jackaman.

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