Blackletter engraved display typeface.

Bill Corporate is a geometric typeface with generous capitals. A modern classic, based on Max Bill’s lettering work, its straightforward and uncompromising construction can be both edgy and sublime. With minimalist letterforms, pointy apexes instead of flat ones, and archetypal proportions, this font family doesn’t follow any trends but strives to achieve a timeless formal vocabulary. The skeleton of its letters is based heavily on the famous primary shapes of the Bauhaus: square, circle, and triangle. This makes for quite wide uppercase and much narrower lowercase letters. The contrast between uppercase and lowercase benefits inexperienced users, who will be able to get appealing results quickly. At the same time, it’s a powerful tool for seasoned designers, who can employ either case selectively to set the desired typographic course. Bill Corporate Medium’s 16 styles (including a set of eight lighter-than-light fonts from “Two” to “ExtraLight”) are an excellent choice for editorial design, branding, headlines, and even short to mid-length copy in a wide range of applications and industries. The uppercase letters in particular—with their varied widths and lavish dimensions—are suitable for cosmopolitan and stylish logotypes and wordmarks. Whenever a timeless, staid, and classy look is demanded, choose Bill Corporate.

Bill Corporate supports Central, Eastern European and Western European languages.

The Corporate ASE typeface trilogy was designed by Prof. Kurt Weidemann, a well-known German designer and typographer, from 1985 until 1990. This superb trilogy consisting of the Corporate Antiqua, Corporte Sans Serif, and Corporate Egyptian is a design program of classical quality, perfectly in tune with each other. Weidemann says: My ASE trilogy, quite like triplets, is in perfect harmony and covers all needs of modern typography! Initially exclusively designed for DaimlerChrysler as a corporate font, the ASE trilogy may be now licensed and used without restriction. URW++ digitized the ASE for DaimlerChrysler and Prof. Weidemann and is the exclusive licencing agent for this outstanding and extremely popular typeface program.

"Street Corner" is a display font with a Racing and futuristic theme, perfect for design projects such as sports jerseys, athletic shoes, helmets, and other sports-related products. With its dynamic appearance, this font brings a sense of energy and movement to your designs. The clean lines and modern feel of "Street Corner" make it an excellent choice for projects that require a sleek and contemporary look. Whether you're designing for a sports team or creating an athletic product, "Street Corner" will help you create a strong and memorable brand identity that embodies the spirit of sports and the future.

This family was inspired by an engraved plate from Diderot & Dalembert's Encyclopedia (publication beginning in 1751), illustrating the chapter devoted to letter engraving techniques. The plate bears two engravers names : "Aubin" (may be one of the four St Aubin brothers ?)and "Benard" ( which name is present below all plates of the Encyclopedia printed in Geneva ). It seems to be a transitional type, but different from Fournier or Grandjean. Small caps are included in fonts for TTF and OTF version, separate files are included in the family sets of the Mac TT version.

Engraved shaded display typeface.

This whimsical wonder is based on the lettering of Laurence Schall, as presented in Lewis F. Day's 1910 classic, Alphabets Old and New. The typeface radiates a charm reminiscent of the works of many talented artists (including Howard Pyle and Arthur Rackham) who illustrated children's books around the turn of the twentieth century. The Opentype version of this font supports Unicode 1250 (Central European) languages, as well as Unicode 1252 (Latin) languages.

Pacific Clipper has its roots in an old 1930s showcard lettering style. An extra bold version of this sign painter’s relic is shown in Carl Holmes' wonderful book on lettering. It may be described as what happens when Rudolf Koch's Kabel Heavy meets ATF's Novel Gothic. Also known as Sam’s Tune, Pacific Clipper’s noteworthy features include wedged crossbars in the capital A, E, F, and H. Overcurving is present in the capital B, D, P, and R while vertical strokes in the lowercase b, d, h, k, l, and t are chopped off obliquely. Figures in Pacific Clipper are also refreshingly different, particularly the number 4. This lettering favorite turned retro typeface has been extended to include a variety of weights. Pacific Clipper is now available in the OpenType format. Some new characters have been added to this OpenType version as Stylistic Alternates and Historical Forms. These advanced features work in current versions of Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

The Corporate ASE typeface trilogy was designed by Prof. Kurt Weidemann, a well-known German designer and typographer, from 1985 until 1990. This superb trilogy consisting of the Corporate A (Antiqua), Corporate S (Sans Serif), and Corporate E (Egyptian) is a design program of classical quality, perfectly in tune with each other. Weidemann says: “My ASE trilogy, quite like triplets, is in perfect harmony and covers all needs of modern typography!” Initially exclusively designed for DaimlerChrysler as a corporate font, the ASE trilogy may be now licensed and used without restriction. URW++ digitized the ASE for DaimlerChrysler and Prof. Weidemann and is the exclusive licensing agent for this outstanding and extremely popular typeface program. Meanwhile, URW++ enhanced the Corporate ASE family in regular, bold, italic, and bold italic by Greek, Cyrillic, and all additional Latin characters to cover Eastern Europe including the Baltic Rim, Romania and Turkey. Corporate ASE in regular, bold, italic, and bold italic is now available in the WGL 4 character complement.

The classic font as designed by F. W. Goudy for ATF in 1901, now in a hand-drawn version for a little bit of variation. Everybody else just offers another version of the same old Copperplate, but I now have a new rough one. Oh, just for the record, I have a couple of other versions of this font in my collection of the Copperplate Classic fonts. Your rough designer Gert Wiescher

Sky Clipper JNL is a bold, Art Deco sans serif typeface derived from the hand lettered title on a 1940s-era “Big Little Book” entitled “Flying the Sky Clipper with Winsie Atkins”. The design is available in both regular and oblique versions. “Big Little Books” were published by the Whitman Publishing company and featured short stories printed in a tiny sized book format for young children.

Copperplate was the classic nineteenth century engravers typeface, consisting of capitals and small caps only. Among others (for example Deberny & Peignot) F. W. Goudy's cut for ATF around 1901 is probably the most widely known. Copperplate typefaces are traditionally used for business cards and all that "serious" stuff. My Copperplate Classic is a completely new design, based on some old samples. To make it look more up-to-date and elegant, I gave it some extra swings here and there. The old fonts were all designed with clogging corners or points that can break off in the minds of its designers. Today we do not have those problems any longer, so I could give my Copperplate Classic real sharp pointed serifs. To give you more choice I now added this medium cut in three variations, medium, sans and rounded! Enjoy! Gert Wiescher

The Corporate ASE typeface trilogy was designed by Prof. Kurt Weidemann, a well-known German designer and typographer, from 1985 until 1990. This superb trilogy consisting of the Corporate A (Antiqua), Corporte S (Sans Serif), and Corporate E (Egyptian) is a design program of classical quality, perfectly in tune with each other. Weidemann says: "My ASE trilogy, quite like triplets, is in perfect harmony and covers all needs of modern typography!" Initially exclusively designed for DaimlerChrysler as a corporate font, the ASE trilogy may be now licensed and used without restriction. URW++ digitized the ASE for DaimlerChrysler and Prof. Weidemann and is the exclusive licencing agent for this outstanding and extremely popular typeface program. Meanwhile, URW++ enhanced the Corporate ASE family in regular, bold, italic, and bold italic by Greek, Cyrillic, and all additional Latin characters to cover Eastern Europe including the Baltic Rim, Romania and Turkey. Corporate ASE in regular, bold, italic, and bold italic is now available in the WGL 4 character complement.

Copperplate was the classic nineteenth century engraver's typeface, consisting of capitals and small caps only. Among others (for example Deberny & Peignot) F. W. Goudy's cut for ATF around 1901 is probably the most widely known. Copperplate typefaces are traditionally used for business cards and all that "serious" stuff. My Copperplate Classic is a completely new design, based on some old samples. To make it look more up-to-date and elegant, I gave it some extra swings here and there. The old fonts were all designed with clogging corners or points that can break off in the minds of its designers. Today we do not have those problems any longer, so I could give my Copperplate Classic real sharp pointed serifs. To give you more choice I now added this light cut in three variations, light, sans and rounded! Enjoy! Gert Wiescher

The exuberant, if somewhat unorthodox, letter stylings of British poster artist Cecil Wade inspired this offering. The font has extensive kerning to keep the letters packed tight. Both versions of the font include the 1252 Latin and 1250 CE character sets (with localization for Romanian and Moldovan).

Coupon Clipper JNL is a fun, playful, casual sans serif font that evokes some of the lighthearted typography of the late 50s and early 60s.

After creating the all-caps version of Supper Club JNL, a conversation between Jeff Levine and fellow font designer Ray Larabie brought forth the idea that one of Ray's freeware fonts had a lower case that would perfectly fit Jeff's design. With Ray's permission, Jeff adapted the lower case to his capital letters and the final version of Supper Club was born. Two separate ideas become one stylish Art Deco type design.

This font was inspired by Arts and Crafts lettering found on the cover of the Austrian journal Ver Sacrum (Sacred Spring), 1898. Primarily an uppercase-only font, there are several variants in lowercase positions. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Corporative Sans Rounded is the rounded version of Corporative Sans. Its curved terminals provide it with a marked personality and distinctive traits, but turn it into a friendly face at the same time. The font works well at both display and small sizes. Corporative Sans Rounded is the perfect choice for logotypes, posters, signs, branding, packaging and so on! Corporative Sans Rounded comes with Latinotype’s standard set of 350 characters, making it possible to use the font in 128 different languages. Corporative Sans Rounded provides users with a wide range of characters, weights and widths for every project. By combining different variants, designers can achieve the best results. The family consists of 32 fonts: a basic family that includes 8 weights plus italics and an alternative family of 8 weights with matching italics as well. Corporative Sans Rounded was created by LatinotypeTeam and developed by Elizabeth Hernández and Rodrigo Fuenzalida, under the supervision of Luciano Vergara and Daniel Hernández.

This font was inspired by music from the band The Dresden Dolls.

An older typeface belonging to a family of sans serif fonts known as Grotesque (or Grotesk in the classic spelling) has been re-drawn by Jeff Levine and released as Album Cover JNL. The font's name is derived from the fact that this typeface was found on many long-playing record jackets during the 1950s and 1960s. To add a look closer to that of hand-set type, there are minute variants in some of the heights of the characters.

Although less prevalent today, a cover charge was added to better class night clubs of the 1930s and 1940s to discourage patronage by people of questionable social graces. The general idea was that the lower strata of society (meaning the "average Joe" or "hoi polloi") would balk at paying an extra fee just for entrance to a place of good entertainment and fine dining.

The handmade title on the cover for the 1939 edition of “A Wand’ring Minstrel” [from Gilbert and Sullivan’s “The Mikado”] was rendered with a round nib lettering pen in an Art Deco style. This type design is now available as Cover Letter JNL in both regular and oblique versions. However, the font’s name is a bit of a pun, as it has nothing to do with cover letters, but rather the lettering found on the cover of the sheet music.

This font was inspired by music from the band Asteria.

This typeface is an amalgam of two cut-paper typefaces, as presented by Margaret Shepherd in her book, Calligraphic Alphabets Made Easy. Also included are a glue bottle at the bar position, and round-edge scissors at the dagger and double-dagger positions. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).