Searching for the Exceptional Designing Tapir was driven by the search for a display typeface which is doing something different than the rounded and bouncy fun faces – the letterforms should stand out with a slight touch of weirdness, creating attention and recognizabilty. A big character set, optimized spacing & kerning and lots of features make Tapir a good choice for professional usage between games, toys and skateboards.

The pattern for this face was designed by Will Bradley in 1894 for the cover of Inland Printer magazine, and was licensed the following year to American Type Founders. Its classic lines and condensed footprint make this typeface a natural for elegant and inviting headlines. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

Hera Big is a type family in eight weights & 16 fonts. The family explores the motion and fluidity of the ball serif, in an evolution from its previous identity as a counterpart to the slab serif. Informed by great fat-faces from Figgins to Lubalin, but never deferring to precedent by default, Hera is a fresh mix of originality and organic form, never sacrificing function for beauty.

From the technical hand of Alejandro Paul and the creative jungle in the mind of Angel Koziupa, comes a wild-natured script. Alma may appear slightly weathered, but still maintains a sharp and determined face. The casual strokes are at times pointed, yet ultimately playful. Released in OpenType format to expand possibilities of use with lots of alternates when used with OpenType-aware applications such as AdobeCS.

Granville, is inspired by traditional British (and transatlantic) shop signage. It's an elaborate confection, drawing on Roman and Blackletter influences and is ideal to give any project an instant Victorian feel. Granville is offered in Regular, Condensed and Expanded widths as well as an oblique form and a yet more decorative 'Grand' form. These faces are especially suitable for posters, period advertising, Chapter headings and signage.

Twentieth Century Poster, designed by Sol Hess for Lanston Monotype in the 1940s, provided the inspiration for this family of faces. Although, historically, the design falls outside the time period normally considered the Art Deco era, its sensibilities are pure Art Moderne. Both versions of this font contain the Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

Lusta plays with the interchangeability of an inline and an outline, negative and positive space. Often one single character will epitomise the design of a font, and here the S served as the conceptual starting point. The inline/outline was then applied to sans and serif variants, and extended into a multi-line prisma and an offset layered shadow version, probably inspired by Face Photosetting’s Stack.

A roman face designed in the early 1980s by Ed Benguiat for ITC, ITC Benguiat shows a strong Art Nouveau influence. As with ITC Korinna, the stress of the ITC Benguiat font family occurs in the upper half of each capital. This distinctive typeface is particularly useful for display and advertising work. ITC Benguiat® font field guide including best practices, font pairings and alternatives.

There is something special about thin fonts. On one side there is the sensitive, charming and warm touch, on other side they are uncompromising, thoroughgoing. Here the contrast can't hide the clear shapes. Hilton Sans and Hilton Serif is a pair of highly legible, subtle and elegant sans-serif and semi-serif display faces. The quality of spacing and kerning ensured by Igino Marini.

At first glance, Transcendental JNL looks like a 1960s or 1970s-era "Hippie" type face, hence its "love generation" name. However, the actual inspiration comes from a piece of sheet music from the early 1900s with Art Nouveau influences. It is often proven that what goes around certainly does come around in art, fashion and lettering. Transcendental JNL is available in both regular and oblique versions.

Inspired by the iconic Fenoglio-Lafleur Liberty building in the city of Turin, in an area with significant Stile Liberty buildings and New Gothic architecture. Lafleur is a decorative face with a remarkable art nouveau flair from 19th century. Perfect for creative contemporary uses in print and on screen. We recommend it for book covers, packaging, branding, editorial, web, advertising, apparel, purposes are endless.

Dassitzt is a family of two typefaces, Dassitzt LT Typos and Dassitzt LT Pictos. Dassitzt LT Typos is a heavy industrial-grunge display face, with dark, even letters that appear cut out of black paper or iron. Dassitzt LT Pictos is a whimsical collection of pictograms. The figures in this font are black silhouettes that show a minimum amount of detail, but a maximum amount of expression.

Shortly after the preparation of the original Century, the two Bentons (father Linn Boyd and son Morris Fuller) prepared a wider version for De Vinne’s press and called it Century Broadface. In 1900 ATF released the design for general use as Century Expanded, one of the most popular and effective of typefaces, to this day the text face of the New York Daily News.

It's here! Lumbering down the grassy slope towards us, the lovable round sans serif of KNICKNACK. It's warm, it's smooth, it's round and it's fuzzy. It's perfect for display use, print, posters, branding, packaging or kids friendly apps and web! KNICKNACK is a typeface that will put a smile on your face. It features 2 styles, regular and fuzzy and comes in at least 5 weights.

The Weidemann typeface's original name was Biblica, which was designed for the collaborative publication of a Bible by the German Catholic and Protestant Churches. The mass of text which the face was intended to set required that the design allow many characters to fit onto one line without rendering the words illegible. Thus, narrow spacing does not compromise the legibility or the elegance of Weidemann.

Breuckelen was inspired by the regular patterns of the New York City plan. The grid of any large modern city is immediately recognizable by the distinctive pattern of major roads curving or slanting through it. This face is intended to be recognizable in the same way. It is named after the Dutch town after which Brooklyn is named, a word which also roughly translates as "broken land".

Among many of Alf Becker’s contributions to Signs of the Times magazine was 1 1935 offering named Chicago Modern Thick and Thin, which provided the inspiration for this face. It’s a perfect choice for friendly headlines with an Art Deco vibe. Both versions include the complete Unicode Latin 1252, Central European 1250 and Turkish 1254 character sets, as well as localization for Lithuanian, Moldovan and Romanian.

An elegant display face influenced by Aldine oldstyle letterforms, Miranda Pro brings the early successful Tim Rolands font Miranda into the OpenType era. Miranda Pro now includes numerous extended ligatures, alternate forms, small capitals and support for a wider range of languages. Use it as a companion display for classic text fonts or on its own as a refined but stylish messenger for all sorts of projects.

Delphin is a calligraphic font with upright capitals and slightly inclined lowercase. Delphins ascenders are tall and a number of letters have tails which descend below the baseline. Delphin is a useful face in advertising for short texts and display. Delphin is a trademark of Linotype Corp. and may be registered in certain jurisdictions in the name of Linotype Corp. or its licensee Linotype GmbH.

One in the series of fonts called Whiz-Bang Wood Type, intended to be set large and tight. Brazos is an ultrabold, ultrawide sans-serif face that takes up a lot of horizontal territory, but fits in little vertical space. Named after the famous river in Texas. Both versions of the font include the 1252 Latin and 1250 CE character sets (with localization for Romanian and Moldovan).

Speak quietly but carry a big stick' as President Theodore Roosevelt once said... so, with so much heated rhetoric in the air this -- let's face it, EVERY -- Election season, we felt that it was important to put together a more dignified and sedate lower case edition of our popular Victory Speech font. Bad Hair and Big Sticks not included. See related font: Victory Speech

ITC Mattia is a typeface with an edge. It's nervous, tense, and a little disquieting, with twisted characters that are more scrawls than lettering. Designer Giuseppe Errico does not confine Mattia to a traditional baseline. When set in short blocks of copy, the design creates a tone of passion and candor. Not just another pretty face," Mattia is a rare and commanding communication tool."

Corpulent is a display font whose forms are extremely thick, up to the extent of being nearly illegible. In the 1980s, these construction principles were explored to their very limit. So if the lyrics of Eyes Without a Face resonate in your mind, the feet turn numb in super-tight trousers, and you fancy a big hair style, this font is the one for you.

Within the 1893 edition of the Barnhart Bros. & Spindler type specimen book is “Bisque”, a text and headline type face with a charmingly eccentric look. Some upper case characters take on more of a squarer look than others, while the lower case has a higher ‘x’ height. This type revival is now available as Soup and Salad JNL in both regular and oblique versions.

Many alphabet style examples from the Speedball Textbook on pen lettering have offered amateurs and professionals a source of inspiration since its first publication in 1915. A 1940s edition presented a simple sans serif design rendered with the style ‘B’ round nib pen point, and has been recreated as the digital type face Pen Sans Rounded JNL, which is available in both regular and oblique versions.

JollyGood Serif is another member of the JollyGood family. This is a hand drawn serif/typewriter font that can work both for comics or as a display face . It is a complete complete family with 4 weights in regular and italic (8 fonts in total). It has an amazing character set, with support for most latin languages, as well as extra characters and ligatures.

Quick Meal JNL is a ‘hand lettered’ interpretation of Morris Fuller Benton’s 1905 design “Miehle Extra Condensed Title”, no doubt named for [or on behalf of] the manufacturer of printing and die cutting presses that were used for years within the printing industry. The type face is available in both regular and oblique versions. Quick Meal JNL is a pun on the pronunciation of ‘Miehle’.

A Victorian face named Oakwood provided the pattern for this decorative little number, with its swirls and curls guaranteed to delight boys and girls, saints and churls, and dogs and squirrels…well, maybe not the last pair, but you get the idea. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

Flex Rounded display typeface was designed in 2000 by Vladimir Pavlikov as alternative 'soft' variant to the original Flox face. In contrast to Flox there are rounded stroke ends and curved shapes in most of Flex characters. The project was aimed to create a decorative vivid alphabet of geometric shapes. Cyrillic was developed in 2005. For use in advertising and display typography. Licensed by ParaType in 2005.

Ambergate is a new typeface family redolent of the late 19th and early 20th centuries. It’s a display family of four small capitals roman faces, incised and elaborated with filigree scrollwork. The four typefaces which comprise the family recapture the elegance of traditional flourished sign writing and make and provide ideal lettering for period inspired design work such as posters, signage and book covers.

Lodestone is a sans serif decorative typeface, and was created by Steve Jackaman (ITF) in 2017. The original design was known as ‘Marvin,’ and was created by Face Photosetting (London) in the early 1970’s. Since the name ‘Marvin’ was in use by another foundry at time of publication, ‘Lodestone’ was born. Lodestone has a clean, retro feel, and is electrifying at display sizes.

The Kaktis collection features eleven typefaces that have spikes or spines. Some have short spikes, some long, some sparse spines and others abundant spikes. They are novelty fonts with limited uses, but there can be times when a typeface of this sort may be appropriate, perhaps for a sharp rebuke or a pointed reminder. These faces were constructed in the mid 1990s using a font distortion program.

Quatsity is a squarish or boxy serifed font with rounded corners. Quatsity is is suitable for titles or signage and legible enough for small blocks of text. Quatsity-Light was constructed in 1995 by blending two very different faces, a typeface very similar to Kwersity (with low contrast) and one similar to Qwatick (with high contrast). The other seven styles were added in 2020.

Although not credited, the inspiration for this typeface, originally called "Dancer", has all the earmarks of the work of legendary lettering artist Alf Becker. Creepy and kooky, mysterious and spooky, but not in the least ooky, this monocase face is just what the doctor ordered; Dr Frankenstein, that is. Both versions of this font include the complete Unicode Latin 1252 and Central European 1250 character sets.

Pittsburgh is the latest (as at August 2011) in a range of inter-war American inspired commercial faces, and takes its place alongside the popular Bettendorff and the Spargo family. These shaded stab-serif capitals speak of the heyday of heavy manufacture and engineering and bring a gritty feel of the 20s and 30s to any project. Why not indulge in a little heavy engineering today?

Anne Bonny is a modern face with a candy touch. She is noble and confident, bloomy and playful. If you want to give your texts a warm and fabulous note, Anne Bonny is the right one. You can choose between a range of Open Type Features, for example the Swashes Feature for decorating the Upright styles letters as well as the Italics. Share your vision!

Ayumi is one of those precocious sans. At first glance, I wanted it to look simple...basic characters, moderate modulation, common structure...but at closer inspection, it is filled with all kinds of fun and expressive details. The italics are...well, fun. They're curvy and expressive and truly compliments the face. The new Pro version includes a tightened character set, Central European glyphs, and remastered kerning.

This fresh face takes a number of design cues from Tomás Vellvé Mengual's eponymous design for Barcelona's Neufville Type Foundry in 1971. This version softens many of the lines of the original, and warms the design up overall with rounded terminals. Available in three weights, this font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

Americana is a transitional typeface with very rounded, open characters. It was designed in 1967 by Richard Isbell for American Type Founders. Americana is a wide and open face with short, wedge serifs and a rather large x-height. Typical uses for this typeface are advertisements, short pieces of text, such as greeting cards and leaflets. The Americana font family is also ideal for headlines.

This pale face -- a Byronic offering from the disaffected youth section of our library -- will provide that slightly sad, sunken eyed feeling most closely associated with Doc Martins, heavy crosses and clothes as black as the blaquest heart... so if you're looking for tragic tramp stamp typography, we think our tattoo parlor maid to wear font will provide just the right amount of Goth Chic.