Mellin takes us to the simple designs of the Streamline era. It is based on heavy vertical strokes with a slight taper. Mellin is offered in a solid form as well as an open outline face, and is ideally suited for posters that aim at the elegant functionality of the 40s and 50s.

Zebra was originally designed by Karlgeorg Hoefer in 1965 for the Stempel foundry in Germany. This unique font was designed as a two-color script face and is now available digitally for the first time. The P22/IHOF release presents six separate fonts based on the original painted drawings and Stempel proofs.

With its straight and clean face Hybi10 Metal can be a quite normal antique font family. But the alternates with different versions of spikes at the uppercase letters gives it an additional use. Decide for your own, how to use it. The styles with real capitals widens the range of use too.

This type family is the lighter, more open companion to the eye-catching Sliced volume, a masculine display face with boldly sliced terminals and angles, available in 3 widths. The complete Sliced volume numbers 14 styles, a versatile modern suite of fonts with extended European language coverage, available in OpenType, TrueType & web formats.

Morris Fuller Benton started the Bodoni revival with this version for ATF in the early years of the 20th century. We consider it the first accurate revival of a historical face for general use. Sturdy and a little mechanical in the 19th century tradition, this is the Bodoni series familiar to us all.

The letterforms for this unusual display face were inspired by a 1930s ad for Tanguy Crepes, by an uncredited artist. Due to the ornate nature for this font, it has a limited character set, but does include all letters, numbers and punctuation for the Unicode 1252 Latin and 1250 Central European character sets.

This Art Deco-inspired face is based on the Baltimore Type Foundry’s Tourist Extra Condensed. Graceful and elegant, this typeface’s compact design also packs a lot of information into very little space. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

This engaging headline face is based on a rather pudgy typeface named "Bullion Shadow", which was originally released somewhere on the cusp between the hippie and disco eras, and was equally at home in both. Both versions of this font include the complete Unicode 1252 Latin and Unicode 1250 Central European character sets.

A rollicking fun face based on lettering on a poster for Britain's LNER steamship lines, which featured a piano-playing mouse and a dancing goose. The Postscript and Truetype versions contain a complete Latin language character set (Unicode 1252); in addition, the Opentype version supports Unicode 1250 (Central European) languages as well.

Ten years or so after his unique treatment of Garalde design with Trump Mediaeval, Georg Trump took on the transitional genre with Mauritius, which was to be his last typeface. He started working on it in 1965. The Stuttgart-based Weber foundry published a pamphlet previewing it under the name Barock-Antiqua in 1967, then announced the availability of the metal types (a roman, a bold and an italic) a year later. The global printing industry was already in third gear with cold type technology, so there weren't that many takers, and Weber closed its doors after more than 140 years in business. Subsequently, Trump’s swan song was unfairly overlooked by typography historians and practitioners. It never made it to film technology or scalable fonts. Thus, one of the most original text faces ever made, done by one of the most influential German type designers of the 20th century, was buried under decades of multiple technology shifts and fading records. The metal cuts of Mauritius seem to have been rushed in Weber’s desperation to stay afloat. So the only impressions left of the metal type, the sole records remaining of this design, show substantial problems. Some can be attributed to technological limitations, but some issues in colour, precision and fitting are also quite apparent, particularly in Mauritius Kursiv, the italic metal cut. This digital version is the result of obsessing over a great designer’s final type design effort, and trying to understand the reasons behind its vanishing from typography’s collective mind. While that understanding remains for the most part elusive, the creative and technical work done on these fonts produced very concrete results. All the apparent issues in the metal types were resolved, the design was expanded into a larger family of three weights and two widths, and plenty of 21st century bells and whistles were added. For the full background story, design analysis, details, features, specimens and print tests, consult the PDF available in the Gallery section of this page.

The x factor How do you make a font like FS Albert unique, distinctive? “When designing a font I try to question every letter,” says Jason Smith, “but all you need is a few that have an x factor. With FS Albert, they’re the lowercase ‘a’ and ‘g’ and the uppercase ‘I’ and ‘J’. “I remember a friend saying, ‘Why on earth have you designed the ‘a’ like that? Isn’t it too friendly for this kind of font?’ And, in a way, that’s what I wanted – honesty and warmth, because a lot of big brands at the time really needed to show a more human side.” Range of weights and styles FS Albert is a charismatic type: a warm, friendly sans serif face with a big personality. Open, strong and amenable, and available in a wide range of weights and styles, FS Albert suits almost every task you put it to. Fontsmith has crafted five finely-tuned upright Roman weights and four italic weights, as well as a special Narrow version to provide the best coverage and give headlines and text an easy-going character. The chunky kid “FS Albert was inspired by – and named after – my son, who was a bit of a chunky kid,” says Jason Smith. “I designed an extra bold weight because I always felt that the really big font heavy weights had the most personality. “I recently told Albert this story. He laughed, and forgave me for thinking he was a fat baby. He liked the big personality bit, though.” 1000s of glyphs Not content with a character set that covered Europe and the whole of the Western world, the studio decided to go further afield. There are now FS Albert character sets that cover western and eastern European languages, including those of Russia, as well as Cyrillic, Arabic and Greek scripts. In fact, the font now covers more than 100 languages, making it ideal for bringing a consistent typographic style to the communications of global brands.

The x factor How do you make a font like FS Albert unique, distinctive? “When designing a font I try to question every letter,” says Jason Smith, “but all you need is a few that have an x factor. With FS Albert, they’re the lowercase ‘a’ and ‘g’ and the uppercase ‘I’ and ‘J’. “I remember a friend saying, ‘Why on earth have you designed the ‘a’ like that? Isn’t it too friendly for this kind of font?’ And, in a way, that’s what I wanted – honesty and warmth, because a lot of big brands at the time really needed to show a more human side.” Range of weights and styles FS Albert is a charismatic type: a warm, friendly sans serif face with a big personality. Open, strong and amenable, and available in a wide range of weights and styles, FS Albert suits almost every task you put it to. Fontsmith has crafted five finely-tuned upright Roman weights and four italic weights, as well as a special Narrow version to provide the best coverage and give headlines and text an easy-going character. The chunky kid “FS Albert was inspired by – and named after – my son, who was a bit of a chunky kid,” says Jason Smith. “I designed an extra bold weight because I always felt that the really big font heavy weights had the most personality. “I recently told Albert this story. He laughed, and forgave me for thinking he was a fat baby. He liked the big personality bit, though.” 1000s of glyphs Not content with a character set that covered Europe and the whole of the Western world, the studio decided to go further afield. There are now FS Albert character sets that cover western and eastern European languages, including those of Russia, as well as Cyrillic, Arabic and Greek scripts. In fact, the font now covers more than 100 languages, making it ideal for bringing a consistent typographic style to the communications of global brands.

Qonora is an innovative new sans-serif text face that combines flowing, almost calligraphic strokes with a post-modern sensibility for a look that works as well on the printed page as it does on screen. Its comfortable proportions and no-nonsense streamlining (note the lack of spurs, serifs or any unnecessary ornamentation) make it an excellent choice for legibility even at very small point sizes. Qonora includes a true italic, drawn independently from the Roman. Strokes for the italic have been re-weighted to complement the Roman, and idiosyncratic italic glyphs have been substituted where appropriate. The typeface’s extensive Hebrew implementation (including diacritics and cantillation marks) is an important part of its character. The Latin, Cyrillic and Greek ranges of the face maintain a consistent ethic of form and function.

Excelsor Script is inspired by lithographically produced scripts. It is softer and simpler than, for example, engraved Splendid Script, because its designer used pens and lithographic needles. The graver for steel is held in a quite different way and this has an influence on the shape of the letter. Similar type faces were in use from Neo-Classicism until the beginning of Art Nouveau, when they were pushed aside by a completely different view of festive typography. It has, in contradistinction to other scripts, slightly narrowed letters, which signifies a distinctive elegance without wasting space on the line. For practical reasons it was not possible to encircle the bottle with too long a label. It is, therefore, a suitable type face for labels. Its two optical grades cover a wide range of sizes.

Hollander is a refined, yet sturdy text typeface designed by Gerard Unger. The name stems from the font’s similarity to the types attributed to van Dijk and Voskens, two Dutch punchcutters from the seventeenth century. Like those earlier Dutch types, Hollander has generous proportions, a tall x-height, and high contrast between thick and thin strokes. It was designed to work in the early arenas of digital technology, when letters were generated as coarse pixels with a cathode ray tube in the typesetters of the 1970s, and then as finer pixels with a laser beam in the machines of the 1980s. Hollander has a well-drawn stability that maintains legibility even on inferior quality paper. When used as a display face, Hollander is an excellent companion to one of Unger’s most successful text faces, Swift.

The Combi collection includes Sans, Sans Oblique, a true Italic, Serif, Serif Oblique and a set of Openface capitals. Combi fonts have 5 compatible weights and metrics allowing them to be used in free combination. Inspiration came from Jan Van Krimpen’s 'Romulus' (Enschedé, 1931). In addition to the Roman style, Van Krimpen created a set of open capitals, a simple oblique variant and subsequently, an attractive calligraphic italic, Cancelleresca Bastarda. In addition to Van Krimpen’s idea, Combi has been influenced by features from many faces including Bembo, Melior and Optima. The object was to create a versatile family of body text and titling faces for use in books, magazines and on the web. Glyphs are available for most Latin based languages and all text fonts include small caps, proportional numerals and other Opentype features.

Driver Gothic is based on the typeface used for Ontario license plates. Although unique among Canadian provincial license plates, this face is very similar to, if not outright identical with, the face used on car plates in 22 American states: Arizona, Connecticut, Florida, Illinois, Iowa, Kentucky, Louisiana, Maine, Michigan, Mississippi, Missouri, Montana, Nebraska, Nevada, New Hampshire, New Mexico, Ohio, Oklahoma, Vermont, Washington, and West Virginia. Driver Gothic is available in all popular font formats, and is comprised of a very extended character set (over 750 characters) covering a wide range of languages, including Central and Eastern European languages, Greek, Cyrillic, Esperanto, Turkish, Baltic and Celtic/Welsh. Driver Gothic Pro, the OpenType version, contains class-based kerning and push-button stylistic alternates for use with apps that support advanced typography. Buckle up!

BAMBOLA, Script put out by EdyType. Almost formal script, that gained a little weight. but she is taking care of that. BAMBOLA, a real doll, wants to be loved, she is trying hard to be popular. Is very conscious of her beauty, but trying not to be a show off. She'll be at ease in any place where normal faces gather, unpretentious, yet with a touch of class. Born to be readable, it’s ideal for packaging headlines and editorial work. Not thick, nor thin, just the exact weight, makes a good pattern at large texts, and reduces with no problems, her voluptuous initials makes it stand out always. A real romantic face, it belongs to the fashion world, where she’s come from. A real hip chick, she’s got what it takes!

Expanse is a retro futuristic typeface. The font has a bold and big vibe and mixes sharp and round corners, kind of like the very old sci-fi movie titles. Expanse includes uppercase multilingual letters, numbers and punctuation.

Tetria was designed by Martin Jagodzinski, who says that the font came from the need for a compact, constructivist typeface. Tetria combines the expression of simplicity of the 'norm' typefaces like DIN Mittelschrift with elements of Old Face typefaces which optimize legibility. It therefore contains old style figures and a larger stroke contrast, which makes the font legible even in smaller point sizes." Sources of inspiration for Tetria were the designs of Joost Schmidt and Herbert Bayer as well as the norm typefaces. The name comes from the Greek word for 'four', tetra. "Four is the number of many simple and useful objects, four wheels on a car, four corners of a book. Also, the basic forms of Tetria come from the simple geometric form of the square." The space-saving Tetria is well-suited to a variety of uses, from corporate typeface to text to display on posters, flyers or onscreen."

In few words, Monodia is a small but widely applicable slab serif (nearly monoweight) font family with only two weight and one cut effect version. To those who agree with the fact that less is actually more, three fonts should be sufficient for branding, headlines and other display uses. With that reason regular and bold weights are designed with huge contrast. In order to avoid clogging of certain (especially Cyrillic) letters in the text, some serifs are atypically modified or allowed. Unlike uppercase letters and numbers, lowercase letters don’t have forked serifs. Еnjoy!

Specialized for the "speed typeface" and "adrenaline seeker" soul, we got you packed up. A nitro boost for your visual needs. Please welcome, STRAIDER. The racing typeface. Inspired by the mid era of vintage and modern automotive visual branding. We build the bold and strong font with total aim to the speed, cars, vehicles, and automotive vibes. Will be a perfect match for the automotive events, branding, logo, cars and motorcycle posters, advertising, anytime you want some more "speed" in your visual project. FEATURES : Uppercase & Lowercase letters Numbers & Punctuation Ligatures Multilanguage Support Thank you.

The Richie™ typeface grew out of a lettering experiment inspired by the work of Czech type designer Oldrich Menhart (1897-1962). Menhart’s typefaces were primarily text designs with a strong personal calligraphic influence. Monotype Studio designer, Jim Ford, wondered what a display typeface from Menhart might look like, and began drawing bold script characters with a broad-tipped chisel marker. “It was a familiar but laborious exercise,” explains Ford, “I tried to achieve an authentic – yet controlled – randomness that would serve as the foundation of a typeface.” Ford first drew a large suite of characters using the marker. All the drawings were then carefully adjusted, and scanned. Ford then pieced together a typeface from the best versions of letters, and refined those further. The result is a rugged, somewhat eccentric and playful script built on an obvious hand-drawn foundation. In a world of smooth scripts, the Richie design is heavy, chunky and rough. Its hand-made feel and vigorous rhythm put the power of raw brush lettering into the typographer’s hands. OpenType® fonts of Richie include standard, contextual and discretionary ligatures, in addition to contextual and stylistic alternates, old style, lining and superior figures, plus a large complement of swash characters. The name “Richie”? It grew out of Ford’s original premise for the design. “I wondered what it might it look like if ‘Old Richie’ had designed a heavy display face or script.”

TT Norms® Std Condensed useful links: Specimen | Graphic presentation | Customization options TT Norms® Std Condensed is the logical development of our bestselling TT Norms®. Since the release of TT Norms®, we received a bunch of requests to create its narrow version and even managed to make several custom projects of the narrow TT Norms® before we decided to start creating a full-fledged commercial version of the typeface. At the very beginning of the project, we did some research and tested several options for the possible width of the typeface. Despite the fact that TT Norms® Std Condensed has narrower proportions than the original family, it inherited the classic proportions of characters, attention to detail and meticulous elaboration of each character in the typeface. The TT Norms® Std Condensed font family consists of 18 faces (9 upright and 9 italics). Each style includes a sufficient set of characters that allow you to solve most of the problems that arise in the field of graphic design, branding, packaging design or website design.