An exuberant typeface named African Queen, designed by Dave West for Photolettering in the 1960s, provided the inspiration for this exercise in typographic minimalism.

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Blandford Press strikes again, with a delightful, delicious, de-lovely offering from their 1946 tome, Lettering for the Commercial Artist. The editor, A. H. Hunter, called this one simply “The Elegant Alphabet” and cautioned that it, “being neither quick nor easy, needs to be used with discrimination.”

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A semi-serif font in vogue in the 1970s.

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Just like the M.C. Escher impossible figures and optical illusions, “Denedo” is a font that is impossible to construct in three dimensions because it only exists as a drawing. This font is based on the “0, 1, 2, 3, 4, 5, 6, 7, 8, 9” characters of one of the alphabets published by Nedo Mion Ferrario in the “Letromaquia” exhibition that was shown in Caracas, Venezuela in the 70’s.

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Maze is a modern font created from a single line with no interruption.

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This unusual face features letterforms inspired by an Austrian travel poster designed by Johann Süssenbek in the 1930s, and rendered in a bold chiaroscuro manner.

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Where’s the party? Don't forget Contempo Elan! This stunning new font comes with it’s own party ornaments. The right solution for any festive occasion, this super innovative face comes in two flavors.

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A late nineteenth-century type specimen catalog from Farmer, Little & Co. yielded this droll little typeface, originally called “Arbor”.

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A decorative display face suitable for short headlines, drop caps or banners. Erasurehead was designed for all media and can be used in a wide range of point sizes. Erasurehead requires subjective display kerning and compensation.

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The idea for Lipstick came from a snippy little note Patrick Griffin’s better half left for him one night. The note was tacked to the bedroom door. “COUCH TONIGHT!” it exclaimed in red lipstick on a paper towel. All because the hockey game was on at the same time as American Idol. Sheesh. But since all is fair in love and hockey, and since Patrick was used to such cruel treatment, he shrugged his shoulders and let his mind wander about the concept of using lipstick as a writing tool, and pondering the possibilities of a lipstick font.

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Party Doodles Too is the companion font to the popular font Party Doodles. 29 fun icons including a tray of champagne glasses, appetizers, balloons, pinwheel, stork with a baby, ace of hearts playing card, top hat and tunes, dice, bowling ball and pins, gifts, party umbrellas, cakes, cupcakes, ice cream, lollipop, drinks, corkscrew, noise makers, banners and candy.

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Applying the principle behind a popular plaything produced this playful approach to the alphabet. The result, as you can see, is a whole lot of fun.

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Here’s another offering based on the calligraphic capers of Paul Carlyle and Gus Oring, originally presented as a representation of The Exotic.

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This multipurpose display alphabet combines medieval-inspired uppercase letters drawn by famed book illustrator Walter Crane with charming, if somewhat quirky, lowercase letters by J. W. Weekes.

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In 1987, Sumner Stone completed his designs for the Stone type family. ITC Stone solves the problem of mixing different styles of type on the same page. Most combined type styles, because they aren’t designed to work together, often have radically different characteristics such as cap heights, stem weights, and proportions.

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"When you push the stage props of the life aside, there will remain
the truth..." Ambient is a deconstructed sans-serif font, which captures the essence of basic Roman letterforms.

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After the popular successes of Exocet and Mason, Emigre has once again teamed up with Jonathan Barnbrook to bring you his latest venture into type land. Priori is a logical progression from Mason, a typeface he designed around ten years ago. Where Mason was designed purely for display purposes and featured only caps, Priori includes lower case, companion serif and sans serif versions, alternates and, according to its creator, is shooting for text face status - a bold claim from a designer who loves to wear his influences on his sleeve and who has little use for typography that aspires to be “neutral” or “transparent.”

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Crowns for Queens. Crowns for Kings. Royal crowns, regal crowns, party crowns, cute crowns, fairy princess crowns, hearts & swirls crowns. This font has them all.

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Nobody knows what God looks like but we know that the Devil has a thousand different faces.

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Will Ransom designed the uppercase letters in this typeface for Barnhart Brothers & Spindler in the 1920s, under the name Clearcut Shaded Caps.

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This whimsical wonder is based on the lettering of Laurence Schall, as presented in Lewis F. Day’s 1910 classic, Alphabets Old and New.

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Whoever knew the Red Menace could be such fun?

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A reminder of the days of flower power, Satron is quite a bit different, slightly hippy and slightly grungy. Although it is not in any way an attempt to emulate the fonts used in that era, it evokes the mood of the time. There’s two different shapes making up each character, with a grungy black one in front of a hippy white one. The combined effect however is quite novel and modern. There’s also a jumbled version with the letters rotated and whacked around, in case you want it funky-flavored.

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Not your garden-variety utility typeface but, if you need a faux Thai font, this is the one for you.

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Schrifti Alphabeti, a delightful collection of Cyrillic typefaces for posters from the former Soviet Union, strikes again, this time with a way-out West (Vladivostok?) theme.

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Bigfoot is the fattest font ever made.

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Vincent Pacella designed the inspiration for this typeface, which was called Carousel and was issued by Photolettering in the 70s.

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This typeface is an amalgam of two cut-paper typefaces, as presented by Margaret Shepherd in her book, Calligraphic Alphabets Made Easy.

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Two typefaces from the 1923 Barnhart Brothers & Spindler specimen book have been combined to produce this gem. Swagger Capitals, designed by Carl S. Junge, for the uppercase and Gothic Novelty Title for the lowercase.

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This unusual penscript is based on letterforms discovered in the classic Zanerian Manual of Alphabets and Engrossing.

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Tucked inside the November 5, 1927 issue of a German signpainters' trade paper was a single sheet headed Der Schilder und Schriftenmaler, which featured an alphabet called Neue Fraktur.

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After the popular successes of Exocet and Mason, Emigre has once again teamed up with Jonathan Barnbrook to bring you his latest venture into type land. Priori is a logical progression from Mason, a typeface he designed around ten years ago. Where Mason was designed purely for display purposes and featured only caps, Priori includes lower case, companion serif and sans serif versions, alternates and, according to its creator, is shooting for text face status - a bold claim from a designer who loves to wear his influences on his sleeve and who has little use for typography that aspires to be “neutral” or “transparent.”

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Old Dreadful No. 7 is truly a unique typeface design. Bitstream’s designers and other employees all contributed individual letterforms to the character set. This typeface is definitely not recommended for long blocks of texts! David Robbins expanded his contribution of the capital I into a complete typeface, Eyeballs.

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The chapbook Pen & Brush Lettering and Practical Alphabets, published by Blandford Press, Ltd., London, in 1929 averred that these letterforms suggested a lightface version of Neuland.

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The Zanerian Manual of Alphabets and Engrossing, published in numerous editions since 1895, featured many elegant and elaborate script typefaces.

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J. M. Bergling called the inspiration for this typeface “modern”—at least, it passed for modern in 1914.

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This disarming beauty is based on a typeface named Archer from the 1905 specimen book from Barnhart Brothers & Spindler.

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This typeface bears a superficial resemblance to Belwe Extrabold, but is based on a work called Thor, issued by Frederic Wesselhoeft Ltd of London in the 1930s.

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Philip Bouwsma’s offbeat mind, always working in mysterious ways, brings us one the unlikeliest syntheses of historical influences in a perfectly fluid, organic, and highly expressive connected script.

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Colo Pro 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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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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A tasty jambalaya of three different weights, Thunderhouse owes part of its unique flavor and diversity to 26 OpenType ligature features that automatically substitute a unique pairing of characters when any lower case character is keyed twice in a row.

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The OpenType versions of Applewood and Applewood Alternate have 26 ligature features that when used with OpenType-savvy applications will automatically substitute a unique pair of distressed characters when any lower case letter is keyed twice in a row.

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Originally created by the Tart Workshop’s own Crystal Kluge as a logo for an online tea store for chicks, Henparty Serif and Henparty Sans are sure to delight!

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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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Originally created by the Tart Workshop’s own Crystal Kluge as a logo for an online tea store for chicks, Henparty Serif and Henparty Sans are sure to delight!

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Montag is an extended, rounded sans-serif.

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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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32 borders and frames, round ones, square ones, rectangles and an oval. Curly Qs, vines, flowers, dots and swirls in outline and reverse. Plz note that this is not a dingbat font and needs to be used in large sizes of 72 point or more.

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Beautiful and elegant, Black Swan BF lives equally in bliss as entrance signage for an exclusive housing subdivision, as it does on the cover of a hot new music CD.

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Betabet was drawn using traditional serif fonts as a guideline. The scribbled style and serifs combine to make an unusual font.

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Influenced by the 1960’s typeface, Design Fineline.

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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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Christmas Doodles Too is the follow up font to Christmas Doodles. More Christmas icons including a tree, fun new ornaments, a dove, gifts, pine trees, a church, drinks, sleigh, tree lights, drum, horn, Santa hat, holly, snowflakes, stockings, candy, and mistletoe.

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Straight from the ‘extras’ drawer at the old West print shop, the mismatched Sluicebox character set is comprised mainly of serif type specimens.

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

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Re-tooled from the QBF Collection.

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Weird Bill is Squid’s tribute to his most prominent influence, Bill Campbell, model kit box illustrator extraordinaire and creator of the Weird-Ohs!.

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Monograms are a classic way to graciously make one’s mark. Especially popular for wedding stationery, baby announcements & gifts, custom calligraphy monogram designs by lettering artist Crystal Kluge were the inspiration for Darling Monograms. They are simply darling, Darling!

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Glow Gothic BF, like its predecessor Subliminal BF, represents further exploration into typographic special effects. In its original form, it features letters that are transparent, with an opaque glow. Glow Gothic Overlay and Glow Gothic Underlay share identical spacing values and are designed to be used together. Though “Overlay” can certainly be employed as a separate, stand-alone, solid font, using these two together allows for greater color and (tighter) kerning possibilities —see Gallery Images.

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The newest addition to the Outside the Line collection of picture Doodle fonts...

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Inspired by a piece of cigarette pack lettering by the great A. M. Cassandre, Nick designed the rest of the characters as an experiment. Geetype evokes the 1920s & 30s and is an unusual, eye-catching display face.

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From farmers markets to Summertime gardens, Silverstein brings life to your designs like fresh spring peas from a pod.

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

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Born as a revival of an Egyptian typeface, this hand-drawn typeface is is perfect for headers and even as a body text.

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Re-tooled from the QBF Collection.

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This script font was inspired from a lot of manuscripts, notes and drafts, written by the famous American poet Walt Whitman. It is a very elegant type, in spite of a few curious ligatures, often concerning the r or z small letters. Notice the very characteristic “th”.

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

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This swoopy, loopy script was inspired by an “American roundhand” presented by John M. Bergling in his Art Alphabets and Lettering, first published in 1914.

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Stubble is a distressed grunge font with many useful variations that make things easy. It comes in both a Regular and Bold version, and a Smudged version as if the print block has slipped a little bit just at the vital moment. Also there’s 2 jumbled versions with the letters and numbers, and some punctuation, at odd angles and slightly off-whack; there’s 2 versions with little bits of overprint on most of the main characters (as if the corners of the block or stamp have just caught the paper); a couple of Caps Only versions; plus condensed and expanded versions of the main faces. The Bold version is not an exact expanded version of the Regular version, please note, the characters are different (i.e. the misprinting is different) in the two weights.

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See also BF Fiona Serif and BF Fiona Slab.

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Although the pattern for this typeface, originally named Glenmoy, was released by Stephenson Blake in 1932, the letterforms can be more aptly described as pure 1950s retro.

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