Clotilde Olyff challenges and surprises us.

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Exablock is a display typeface based on a 6x6 grid, highly modular and geometric.

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Kvant 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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Quincha is the quechua word for stone wall. The Inca architecture is known around the world for the perfect union between the stones.

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Lump started as a series of hand-drawn buttons I made for a Lumpen event in 2005.

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Distill draws its inspiration mainly from Theo van Doesburg’s De Stijl era lettering. The type he designed for the Aubette Café, De Stijl Magazine, etc was used as a starting point and then expanded upon.

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Dr.Black is an extremely fat, square typeface, which looks best set in a very graphic grid. Because of the size, and the white spaces between the characters being so small, it looks good letting an image show through the characters.

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“Brokken” means “chunks” and they're the specialty of the house, prepared by the ship’s cook, DBXL. Nice'n'greasy and monospaced, so you'll always find a decent way to cram it in.

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Sardines is a project by Jacques Le Bailly. It first saw the light as student project for a monospaced font.

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Occupant Gothic typographically embodies Cyrus Highsmith’s caffeinated vision of the urban environment. The letters are drawn with the fast straight lines that dominate his illustrative sketching style. Form and counterform carefully push and pull against each other to create a frantic and angular rhythm, played out over 2 weights and italics.

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A square but fair font, or as they say in Germany “kradratisch, praktisch, gut”.

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I met her in a saloon called Little Texas. I was drinking mescal like it was vodka. She, tossing midgets like they were lawn darts. When the betting was closed, she launched an extra from The Wizard of Oz an impressive five meters, grabbed her margaritta and sat down.

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Ensenada is a typeface designed based on hand-cut lettering that adorns businesses throughout the city of Ensenada in Baja California in Mexico.

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Miniblock is a font face inspired in complex labyrinths.

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Squarish could have been the Universe or Helvetica of the 1980’s, if only it was designed then.

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This font contains 174 characters; spirals, gears, various corner designs, suns, sunrays and ray fans.

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The typeface was designed at ParaType (ParaGraph) in 1993 by Tagir Safayev. Similar to Choose One/Ten typeface, by Bryan Thatcher. For use in advertising and display composition.

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This typeface is based on ISO 3098, a technical documentation issued in 1974 by ISO (International Organization for Standardization), which proposed a set of characters for use on technical drawings and associated documents. Isotext is based on the original standards but is completely redesigned to fit typographic requirements. This new ‘Pro’ version is further improved and now comes with a complete set of redesigned true-italics. Furthermore, the width of the glyphs has increased in order to establish a more balanced and readable text. The result is a contemporary font which works well in small sentences as well as long texts. Isotext Pro is loaded with all the good stuff a designer needs to create documents with attitude. It supports 19 special OpenType features like small caps, fractions, ordinals, etc. and offers multilingual support for all European languages including Greek and Cyrillic. Finally, every font in this family has been completed with 270 copyright-free symbols, some of which have been proposed by several international organizations for packaging, public areas, environment, transportation, computers, fabric care and urban life.

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Croteau features 250 OpenType autoligs and OpenType class-based kerning. If your software* supports automatic OpenType ligatures, custom letter pairs and interlocks are automatically substituted as you type creating the illusion of hand drawn lettering.

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Fido is the official font of dog owners everywhere. Woof!

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Worn and torn, dry and cracked, resistant to wind and rain... the skin of the elephant is a thing of dry beauty and ancient wisdom...

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DoodleBat Journal Doodles includes several boxes perfect for writing down a secret journals entry or scribbling down a favorite quote or idea.

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Cubist’s clean straight lines work well in display sizes to create a stylish modern feel.

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This set of decorated initial letters was inspired by those used in 1510 in Nancy (France, Lorraine) for printing of "Recueil ou croniques des hystoires des royaulmes d'Austrasie ou France orientale[...]" Author Symphorien Champion, unknown printer.

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I finally managed to create a font from the characters I wrote on my Etch A Sketch board.

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A geometric three dimensional catalog poster design with three individual outlines individually drawn outlines to create multiple solutions with layers and filters. Hemmings requires subjective display kerning and compensation.

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The hands on the clock tick inexorably on... the numbers on the digital display roll inevitably toward zero... time is tight, the fuse is getting shorter and the beads of sweat on your forehead are glistening in the red light of the LCD... you have come to a place where the only thing you feel are loaded guns in your face... can YOU handle the DREADED DEADLINE DOOM?!? TICK TICK TICK TICK TICK TICK TICK TICK TICK THRAKAKAKATHOOM!

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A grafitti and comic like font trapped inside boxes!

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An experimental font designed by Viktor Kharyk in Op Art style.

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Many current poster artists like to reference the graphic type styles that were popular in the ’60s and ’70s. Zaftig is a contemporary font that takes the geometric and blocky inspiration from that era but then steps off in a modern direction.

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Slab serif fonts are generally macho, but Bullpen is 1,000,000 times more masculine than most slab serif fonts.

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1up is a retro font that is influenced by classic video games and modern pixel fonts. Looks great in display sizes and also works well when used smaller.

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This typeface was inspired by the train stations displays.

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

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Wood Body w/ Electric Heart & Synthetic Mind...

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Another very squarish and futuristic font from Brian Kent. This time I've kept the very thin style of the diacritics, but I have redesigned the A and H (and a couple of other letters and glyphs ;) - mostly to give them a little more “meat”. And then added the usual plethora of accented letters for our unique language support, of course. Result!

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Nevermind is a revived sample of intuitive instant lettering with a decisive cut-out attitude. I use this font often with my illustrations, which resemble a similar approach in directness of style and visual language.

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This sharp-edged, industrial design from the hand of Richard Lipton was initially inspired by the logotype of the Shimano bicycle company.

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Designed by Sol Hess in 1940 as a variation of Stymie Extrabold but with squared corners where round shapes would normally be.

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Cyrus Highsmith began work on Daley’s Gothic in 1997, experimenting with a steel brush and ink on paper. After sketching a few characters, he headed to the nearest computer and played out the rest of the characters.

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Verso is a family of four geometric fonts, with variations ranging from light to black. Geometry being the ultimate driver of this design, fresh ideas were introduced to the letter forms to convey not only clarity and modernness, but also strength and endurance. A mostly masculine design that speaks of solid presence, Verso is perfect for presenting modern gadgets and fashionability products.

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Originally designed in 2003, TitanText now becomes TitanTextOT and it’s available in Regular, Italic, Bold and Bold Italic.

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Coma is the torpor that we all live in every day of our lives. Coma was originally designed to be used with Japanese alphabets, The font is based on a square so that it can be easily used horizontally or vertically.

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ATF Agency Gothic was designed by Morris Fuller Benton in 1932 as a lone titling.

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The Morgan Project can be considered a big type family with ‘many styles’ or a set of different types that match with each other. For me it’s one typeface with different versions with deliberate and visible differences according to the propose to which each version was created. The design started in 2000 as a display type with the design of the Morgan Tower, to which more two display versions were added; Morgan Poster and Morgan Big — all together the make our: FTF Morgan Display Kit 1. All three versions consist only in uppercase with alternate letters in the lowercase and a set of special ligatures. Morgan Tower has four variants that differ in width/weight, Morgan Poster has six variants (often called styles), three weights in upright and oblique and Morgan Big has twelve, six weights in upright and oblique. Lately, the FTF Morgan Tex Kit 1 was added. Apropriate versions to use in text setting. Both versions, FTF Morgan Sans and FTF Morgan Sans Condensed share the same structure and character mapping. Four variants each; regular, bold, oblique and bold oblique with a large character set including: small caps, lining and old style figures (here called Office figures) — both tabular —, small caps lining figures, mathematical symbols and fraction figures, and, a set of foreign characters expanding the possibilities of use for a wider range of languages. Characters are distributed in six different font layouts: Lining, Office, Expert, Caps, Figures & Pi.

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Korataki is a tribute to the 1970’s futuristic classic, China (also known as Chimes). While font psychologists were still trying to figure out the effect of wide linear type on the human mind, engineers at Typodermic went ahead with plans for a gutsy 5 weight successor to Neuropol. Korataki’s simple design appeals directly to the imagination. Free of all self-consciousness, it transfers messages invisibly without a trace of manipulation. Readers are left aware of only a bright future stretching out ahead of them.

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Cambria has been designed for on-screen reading and to look good when printed at small sizes. It has very even spacing and proportions. Diagonal and vertical hairlines and serifs are relatively strong, while horizontal serifs are small and intend to emphasize stroke endings rather than stand out themselves. This principle is most noticeable in the italics where the lowercase characters are subdued in style to be at their best as elements of word-images.

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Darkheart is an OpenType interlock font. In OpenType savvy applications, certain letter pairs are automatically substituted with custom letter pairs or autoligs.

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A paper-clip-inspired typeface with character.

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A second VGC face, this one by S. Biggenden, borrowing from the structure of MICR figures to lend computer associations to the page.

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A blocky and bold geometric sans with inner angles and outer curves. No ascenders; lower case characters are as big as the upper case. Mix cases for variety.

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The IronOn fonts are a collection of geometric display faces that were inspired by the iron-on t-shirt lettering of the 70s. The original source came from a submitted sample to the MyFonts “What the Font” forums, and while it had similarities to ITC Machine, it could not be tied to any existing typeface. And so, this new geometric sans family was born, exhibiting a more open letterstyle with several weights and widths, with a complete capital and lowercase set, no allcaps set here.

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This set of initial decorated letters was inspired by a font in use in the beginning of 1500s in Paris.

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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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Rexlia is seven weights of ruggedness. Tough. Smart. Armed to the teeth with robot-precise curves.

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The Dutch De Stijl movement (1917-1931) sought to create an art which took abstraction to its logical extreme, as exhibited in the paintings of Piet Mondrian. Inspired by the movement’s philosophy of pure form, P22’s De Stijl set features three rigid, balanced, and angular fonts and a set of geometric extras.

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Marianas is an allcaps deco font recruited for a Pacific Air War videogame.

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Subedge is an angular font made for short notice and cold explanations.

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Amber is a minimal font which is built on a grid of 3x3 squares. It was an experiment to see if I could build legible glyphs out of such a small grid. The 3 weights can be layered over each other to create interesting designs.

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Nantua Flava XL is a display font by heart. It’s preferably seen on posters or flyers.

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An inline gothic display font based in mid-twentieth century showcard and signpainting styles. All caps with some alternates in lower case keyboard positions.

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If you build a block, they will come.

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We have a penchant for types that connect to form a ribbon or band.

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Tony’s Trees was inspired by the homemade signs down at the local Christmas tree lot.

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Chip 01 was originally designed for a high tech transparent anniversary telephone card, to give this card its own identity with a slight technological reference. Chip 02 is an adapted version with slightly increased legibility.

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This font is influenced by the advancement in graphic computer technology that has evolved since the first basic pixilated computer games.

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