Betabet was drawn using traditional serif fonts as a guideline. The scribbled style and serifs combine to make an unusual font. Betabet does not look like handwriting, but works well where handwriting or script fonts might seem too insubstantial.

Empire was originally designed in 1937. This version is an all-capitals face with tall condensed characters. The Empire font can be used for headlines and posters where space is tight, or where an empression of height is desired.

A decorative tech typeface, designed for use in broadcast station identities and animations (Wired TV), with a slight reference to Rand's Westinghouse logo, of which a huge sign was used as a dinner table in the corporate guest quarters.

Fontazia FloraDot features 62 unique dotted floral patterns. These simple swaying FloraDot blooms will add flair to any font library - they're great for backgrounds, greeting cards, posters, summer themes or any project where florals say just the right thing!

Poca is made up of right angles and regular strokes. It is a De Stijl typeface provided by Peret. We devised the lower case letters and added some Peret dingbats. Fifteen years later we added a fun bitmap version.

A classic blackletter Which looks best at 16pt and above. Due to the modular nature of this design there may be a slight lack of smoothness to the curves at very large point sizes (around 100 pt and above).

A single top serif creates a modern look between serifs and a single weight font. SingleTyne contains short ascenders and descenders for tight line spacing designed as a display face that also works well for short sentences and paragraphs.

Sammy Boy is sweet and cuddly when he wants to, but also loud and boisterous. Sammy Boy keeps you awake at night, but smiles at you in the morning. Sammy Boy can speak most languages. Sammy Boy is amazing.

Venti CF is a geometric font family with a warm, engaging character. Inviting and versatile, Venti's subtle human overtones are well suited to headlines, logos, and short text. Venti includes Latin and Cyrillic scripts across eight weights with obliques.

Alt-Gotisch Verzierte is a typeface of decorative initials that is Victorian in style and bears a close family resemblance to the many ornamental tuscans cut throughout the nineteenth century by British foundries. Instead of the bifurcated terminals of the archetypical tuscan (see Figgins Tuscan by HiH or Stereopticon by Dan X. Solo), these letters display what Nicolete Gray might call a “wedge and bite” design -- as if they started with the wedge serif of a latin form and someone came along and took a perfectly round bite out of the wedge. We need not dwell on the lack of teeth marks. The calligraphic curls and flourishes are often graceful, sometimes a bit contrived, but always complex. There is a busyness that marks the style of the period. If you ever see an old photograph of a well-appointed Victorian parlor, you will recognize that same quality of busyness. Overdone is a word that frequently comes to mind. Alt-Gotisch Verzierte means “adorned or decorated old gothic.” The typeface is attributed by Alexander Nesbitt to an unidentified German foundry of the nineteenth century (Decorative Alphabets and Initials, Dover, New York 1987, plate 92). The designer is unknown. Our font is supplied with a lower case that is similar to the upper case, but is 15% shorter and is simplified by the omission of the decorative vines. For the lower case, alternate letters A, E, & T; and ligatures LE, OT & LY have been supplied. In addition, a few small decorative vines were planted here and there for optional use. An accented upper case is not part of the original design and is not here supplied. This design is also seen under the name “Sentinel” -- as always, it is worthwhile to compare the completeness of the character set and the faithfulness of the rendering. We believe you will agree that we provide a balance of quality and value that is unmatched in the contemporary marketplace. Alt-Gotisch Einfach is a simplified version of Alt-Gotisch Verzierte. The vine-less lower case of the Verzierte font is the upper case in Einfach. For a lower case for Einfach, the letters were further simplified by stripping away the three-dimensional outline, down to the bare bones and bites, as it were. Einfach, in fact, means “simple” or “plain.” It is interesting to note that this bare bones & bite lower case bears (I have a special license to use two homonyms in the same sentence) a striking resemblance to the 15th & 16th century ornamental letters from Westminster Abbey shown in Plate 47 of Alexander Nesbitt’s Decorative Alphabets and Initials (Dover, New York 1987).

Gimbal Egyptian is a richly-featured font family providing many style options across a broad range of languages. It is twinned with Gimbal Grotesque, a sans-serif family with an identical range of weights and features. Originally conceived as a small webfont family, the letterforms have been revitalised to put a spring in their step and the family has been extended to create a versatile multi-script text face equally at home on the printed page. Carefully crafted at all weights, Gimbal also lends itself to headlines and display applications such as posters, exhibitions and signage while resolving well on-screen for general document creation and web-based applications. The letters are spaced for best readability on-screen and in the usual printed body text ranges but are tolerant of tracking adjustment to suit other uses. The styles are divided by width into four families (Compressed, Condensed, Normal, Extended), each family possessing six weights plus corresponding italics. Within each family, the 'regular' and 'bold' weights are style-linked, and all upright forms have an italic counterpart. The full opentype character set includes latin, greek and cyrillic scripts with appropriate local variants (also as stylistic sets) for Turkish, Polish and Romanian (latin) and Russian, Bulgarian and Serbian (cyrillic). All fonts contain small capitals for all scripts, superscript for latin and commonly used greek together with the usual numeral style, size and positioning options. The default numerals are 'proportional lining'. Other opentype features include case-sensitive marks, fractions, and some discretionary ligatures. A set of circled numerals and circled latin capitals is included, along with an unusual feature that composes 2-character country codes.