Ecliptica is an extended family of five very condensed typefaces in a single bold weight. The creation of Australian designer Robert Bell. Ecliptica has a Sans, a Semi-Serif, a Serif and a single Cursive that can be used with any of the other three styles. As an added bonus, Robert also designed a modern Blackletter companion. The Ecliptica family is an unusual layout of styles and all work equally well with one another. The OpenType versions of the Ecliptica fonts support an extended Latin character set that includes a full array of fractions as well as additional ligatures. The Sans and Cursive fonts contain some cap and lowercase alternates.

In the 1670s, Christopher Plantin was the largest publisher of his day. Hendrik van den Keere cut for him an astounding series of romans. As Stanley Morison once observed, such types adopted features of Flemish blackletter to strengthen elegant French romans. Large on the body, strong in color, economical in fit, widely (if anonymously) distributed, they established effective standards for all that followed; FB 1997–2000

Skyline was commissioned from Font Bureau by Condé Nast specifically as a headline typeface for Traveler magazine. This strongly personal work by Imre Reiner from 1929 and 1934 was known in Europe as Corvinus. Skyline Black and Bold Condensed offer immediate headline recognition through Reiner’s variations on the themes found in the classical Modern structure. Both styles were adapted by Jane Patterson; FB 1992

David Berlow and staff drew Apres as part of a series designed originally for the Palm Pre smart phone, for use both on the device and in print marketing. Simple, open letterforms and generous proportions provide a clear, comfortable, and inviting experience for navigation and readability. The plain-spoken geometry is regular and balanced, without being static or mechanical, for a friendly and forthright familiarity; FB 2008

Generous curves above and below the straight-sided Railroad Gothic parallel those of Figgins’s elephantine Grotesques, lending to both British and American series their monumental qualities. Shrinking the center strokes and counters to emphasize a massive periphery, David Berlow has used this curious similarity to suspend a complete family of sanserifs between the two forms, a manly series of great dignity and presence; FB 1997

This font includes elements of snowy landscapes, holly borders, bells, candles, reindeer, and tree ornaments.

Meyer Two captures the early Hollywood flavor and nostalgia of silent-film intertitles. From 1922 through 1928, Mergenthaler Linotype cut five fonts to Louis B. Meyer’s personal specifications. Meyer Two, drawn in 1926, curiously combines Cleland’s ATF Della Robbia capitals of 1902 with lowercase and figures from ATF Post Monotone No. 2, also from the same period. Meyer Two was revived, with a Condensed added, by David Berlow; FB 1994

Modern aesthetic meets classy handmade elegance. Famosa is designed for all your stylish fashion magazines, clothing brands, and logos as well as your elegant blogger themes. The highlights are for sure the beautiful ligatures, such as sh, ct, fb and more. If you need more features like small caps, special symbols, extensive language support like Vietnamese, please visit: https://typethis.studio -- Famosa is well known from Netlix' Series 'Sweet Magnolias'

Vonnes was designed by David Berlow working closely with Neville Brody on corporate redesign for Jim Von Ehre at Macromedia. Core weights are loosely based on Bauer’s Venus, 1907–1910. Berlow expanded the ideas behind the series to 56 fonts, the heart of the redesign. The Macromedia program was hailed as one of the most successful models of modern total design for innovative cutting edge companies; FB 2007

The Belucian series offers a distinguished text design supported by dynamic headline structure. In need of a distinctive display style, Smart magazine asked Font Bureau in 1990 to revise the work of Lucian Bernhard from 1925. David Berlow prepared Belucian Demi, now accompanied by Kelly Ehrgott-Milligan’s 1994 Demi Italic, added Book and Book Italic for text, and designed Ultra for dynamic impact in headlines; FB 1990–94

The eight-part Belizio series updates the first Font Bureau typeface. David Berlow’s family is based on Aldo Novarese’s Egizio, designed in 1955 for Nebiolo. It was first prompted by the popularity of Haas Clarendon, designed by Hoffmann and Eidenbenz, an impeccably Swiss revival of the traditional English letterform. Aldo Novarese was among the first to investigate a true italic designed in the Clarendon style; FB 1987–98

Benton Modern was first prepared as a text face by Font Bureau for the Boston Globe and the Detroit Free Press. Design and proportions were taken from Morris Fuller Benton’s turn-of-the-century Century Expanded, drawn for ATF, faithfully reviving this epoch-making magazine and news text roman. The italic was based on Century Schoolbook. These display cuttings were prepared by Dyana Weissman and Richard Lipton; FB 2008

David Berlow drew Romeo Medium Condensed during winter of 1990, basing the design on the Estrecha Fina weight of Electra, a spectacular art deco sanserif with an unusually fine condensed series. Carlos Winkow designed it circa 1940 for the Nacional typefoundry of Madrid, the leading typefoundry in Spain. Jill Pichotta drew the ultra-light Skinny Condensed, a digital tour de force released with Medium Condensed; FB 1990–91

Bureau Grot is now accepted as the essence of tooth and character in an English 19th-century sans. The current family was first developed by David Berlow in 1989 from original specimens of the grotesques released by Stephenson Blake in Sheffield. These met with immediate success at the Tribune Companies and Newsweek, who had commissioned custom versions at the behest of Roger Black. Further weights were designed by Berlow for the launches of Entertainment Weekly and the Madrid daily El Sol, bringing the total to twelve styles by 1993. Jill Pichotta, Christian Schwartz, and Richard Lipton expanded the styles further, at which point the family name was shortened from Bureau Grotesque to Bureau Grot; FB 1989–2006

ITC Caribbean is the work of California designer Jill Bell, earthy yet exotic. In her typeface experiment, Bell combined unusual angles and curves to produce tall, thin letters whose stroke style completes the suggestion of palm trees which this typeface brings to mind. The typeface contains capitals and small caps. The natural look of ITC Caribbean lends any work a human touch.

In 1937, Morris Fuller Benton designed Empire, titling capitals that became the headline style for Vogue magazine. In 1989, David Berlow revived it for Publish magazine, adding an italic and a lowercase, both unavailable in the original. He revisited Empire in 1994 with Kelly Ehrgott Milligan, adding two heavier weights, small caps, and an elegant set of Art Deco–flavored oldstyle figures, ultimately expanding it to a seven-part series; FB 1989–94

Morris Fuller Benton’s drawings at the Smithsonian show a creative concern for effects of scale on typeface design. Tobias Frere-Jones began with 4pt ATF Franklin Gothic drawings, modifying proportions to mix with Poynter Oldstyle and Benton Gothic, and adjusting ends of the curved strokes of C G S a c e r s to suit news printing conditions. Poynter Gothic Text excels as subheads used with Poynter Oldstyle Text; FB 1997–99

The roots of Adana going back to the year 1930, to the Berlin-based German graphic designer Wilhelm Berg. His typeface can be interpreted as an answer to Lucian Bernhards Schönschrift. Adana Circular and Regular play well together in all kinds of adverts, as well with designs like Bodoni or Didot.

David Berlow undertook the revival of Frederic W. Goudy’s Village family in the early ’90s as the first real step in the successful redesign of Esquire magazine. Goudy originally cut Village No. 2 in 1932 to bring early ideas up to date, adding the italic a year or two later for his own satisfaction. Font Bureau expanded Village, the model for Goudy’s mature style, into a ten-part series designed for Esquire’s use in text and display; FB 1994

The Eagle series realizes the ideas behind Morris Fuller Benton’s famous titling face, Eagle Bold, which was drawn in 1933 for the National Recovery Administration and became the symbol of American recovery. Font Bureau’s Eagle was started in 1989 for Publish magazine. David Berlow designed a lowercase, finished the character set, and in 1990 added Eagle Book for setting text. In 1994, Jonathan Corum added Eagle Light and Eagle Black to form a full series; FB 1989–94

Patri is an original type LGtypes, modern with style that recalls the belle epoque, combines a wide and a thin line, elegantly finished.

LATINATE is a condensed Latin typeface whose sharp serifs are not as fiercely pointed as traditional Latins. The fonts are derived from the serial numbers of bus tickets issued by the Bell Punch Company in the mid twentieth century, and the LATINATE ROUGH font is a distressed version based on scans of coarsely printed tickets.