Mustang is a powerfully expressive brush font that combines an edgy urban aesthetic with a smooth feminine flow. Some have suggested that Mustang is romantic. Some say it has something to do with speed or freedom. While precisely what Mustang expresses is up to debate, there’s no doubt that it’s expressing it with intensity.

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When I was in high school, I would wreck my notebooks with multiple layers of graffiti tags, which would start in the margins, and then creep in to cover the entire page. I developed a sensibility towards a very fast, expressive use of my hand, which later easily and naturally translated into brush. I used this style typographically on several projects throughout the years, and even turned it into a signature illustration style. Recently, by repeating letters hundreds of times each with brush on paper, this ad-hoc brush style became Streetbrush.

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

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

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Based on a turn of the century design.

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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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Based on the Ludlow/ATF versions of this great typeface.

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Lourdes is an informal script font drawn with quick, thick brush strokes. The script appears to be quickly dashed down, and the characters were carefully designed to create a subtle rhythm. The strokes are slightly muted to avoid an overly aggressive appearance.

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Quiff is a laid back surf style font with a hand drawn feel. There are loads of ligatures, and alternate forms of s, c, y, g, j and & characters.

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A semiformal “ribbon” script designed by Robert Hunter Middleton, Coronet was first released by Ludlow in 1937. The small proportions of the lowercase letters are part of the elegance implied by the name and work best at medium or large point sizes, such as short blocks of display copy or headlines. The face has a soft, comfortable quality that lends itself to a wide range of applications, from invitations to bubble bath packaging.

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Based on Nacional by Carlos Winkow from the Spanish foundry, Nacional, circa 1941.

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R.H. Middleton for Ludlow, circa 1956. Digitally engineered by Steve Jackaman.

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

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Intense Eve is a crunchy, girly font with jumpy letters. Romantic indeed, and comes with extra heart swashes to jazz up your text!

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Angel Koziupa was drawing letters for labels since forty years ago, now he meets SudTipos and his beautiful works could be used around the world.

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Gerry Powell’s stencil version of Clarendon designed for ATF in 1938.

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The Sonica font family represents a modern typeface that is designed the express fluidity of motion. Sonica is the second font designed by the Sonic Savior team, and was specifically build for the group’s website.

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Meet Bleeker. Bleeker is the casual, happy-go-lucky hand-lettered font you’ve been looking for.

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Stephanie is a rounded geometric display font and works best in display applications, such as posters, headline, magazine, product branding, corporate branding, signage, logos and titles.

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There has never been a publicly available digital version of Cooper Black’s original swash characters.

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Cooper Black, commissioned by Barnhart Brothers & Spindler, is the best known of Oswald Cooper’s typefaces. Bitstream has expanded the 1921 original into a complete series of round-edged text faces.

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Whomp takes its inspiration from the work of an American master in sign painting and alphabet manipulation: Alf Becker.

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Bitstream Cooper was designed at Bitstream in 1986 by means of adding light, medium, and bold styles, with the corresponding italics, to the existing black ones.

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A bold weight of a moderately flourished script designed for ATF by Morris Fuller Benton in 1908, and an industry standard since then.

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The design process of OkayPaint began as hand-painted letters on paper. Thus, a variety of distressed paint effects can still be seen in the details, from splatters to dry-brush. This makes for a textured, artistic look.

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An original design, based on a very early turn-of-the-century typeface from the defunct Keystone Type Foundry, Philadelphia.

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The thinking behind Fairway was to create a relatively conventional soft sans with a certain amount of movement at the top of the x-height line.The face is casual and quirky but can still be used as a text face.

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An original design. A memorial typeface by Pat for her mother, Alys, who was tragically killed.

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Carbon Neutral has a distinctly human style - lettering done cleanly with care -- not mass-produced nor mechanical.

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Named for the strong, cold winds of southern France, Mistral was designed by Roger Excoffon for the Olive foundry in 1953.

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Designed by R.H. Middleton for Ludlow, circa 1937. Digitally engineered by Steve Jackaman.

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The general idea: Can You imagine to yourself, what the hydroelectric power station is? The building of this electricity production foundry is half hidden under the water, but the visible above-water part astonishes your sense. It is a construction almost 1,5 km length dammed out the powerful river stream. Besides thousand of electricity conduction lines supports it bears also the highway and the railroad. From a faraway distance the train seems like a caterpillar that has climbed up the stout tree. There are also the navigable sluices, the flood channels and other erections.

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Mildly abstract letterforms constructed with a decisive, flamboyant brush stroke are the hallmark of revered French designer Roger Excoffon. Choc was designed in 1955 by Fonderie Olive, but has only recently come into widespread popularity as the trend for casual display typography has grown.

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Two typefaces called Stencil were released in 1937 within a month of each other; this one was designed by Gerry Powell for American Type Founders. The characters are designed to emulate the look of bold, cut-out stencil letters.

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A fresh new decorative display face bubbling with life & spontaneity, Jabberwub belongs to a rare genus of creature fonts that time forgotócasual animated. A fun & bouncy eye-catcher that crosses into the land of the zany, dancing a whacky line between discord & rhyme, Jabberwub packs tons of fun into a state-of-the-art OpenType font loaded with 270 extra glyphs, including stylistic alternates, discretionary ligatures, word ligatures and capitalized ligatures, allowing creative typographers to achieve a custom hand-lettered look without all the mess & spilt glue of a manual paste-up job. Just like using rub-down type but it never cracks or splits, and it never runs out. The moment you start using Jabberwub you'll be laffing!

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Whiterock is a casual, curly font created on the White Rock B.C. beach with a ballpoint pen.

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A revival, based on a 1930’s design.

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An original idea based on a handwritten Portuguese wine label design.

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Based on the 1898 Ludlow typeface.

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This elegant copperplate script style has the appearance of grace and classical refinement. In a category that abounds with stunning styles, Commercial Script offers a timeless beauty that makes it an ever popular choice. The capitals are designed as initials for a lowercase where letterforms join together in true script fashion.

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An original design, loosely based on a typeface from an old wood type specimen book from the turn-of-the-century.

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Vatican is a calligraphic face. The lower case is influenced by the lettering of Arthur Baker but the caps are more formal, the shape of the Cap V reminded me of a Bishops Mitre which led eventually to the name. The lighter weight works particually well in smaller text.

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