PuffiClaude by Matt Desmond is a real piece of work. Great for funky display stuff, its got some jive junk hanging around every character. This OpenType font has many goodies including extra ligatures, superiors and inferiors, unlimited fractions, and a hip little smiley face. Hey, maybe it's a portrait of Claude! There are so many funky glyphs that it even supports Central European languages. Man, that's hip! Hook up.

Originally released in 1987, Charter incorporates three important features: compact set width to give economical copyfit; generous x-height to give readability at small point sizes; and sturdy open letterforms to give reliable reproduction at both typesetter and laser printer resolutions. The design brings a clarity and freshness to everyday documents, such as newsletters, textbooks, directories and technical manuals, where the reader’s concentration must not be interrupted by unfamiliar letterforms but where typographic dullness can itself impair comprehension. The Italic has cursive letterforms - so is instantly distinguishable, while being readable enough in its own right for continuous text. The Charter BT Pro Pack features 6 fonts: roman, italic, bold, bold italic, black, and black italic. The fonts include characters originally developed for expert sets, such as ligatures, ornaments, old style figures, small caps, and superiors. The Pro Pack fonts support Western, Central European, and Eastern European languages. OpenType fonts are a cross-platform font format. The same OpenType font can be installed on Mac OS X, Windows, Linux, and Unix systems. Mac OS X and Windows 2000, XP, and Vista have built-in support for OpenType. OpenType fonts also work on Linux, Unix, and earlier versions of Windows, where they are recognized as TrueType fonts. OpenType includes many more features than the standard TrueType and PostScript formats, including the ability to install the same font on different platforms, crucial for document portability. OpenType fonts boost productivity because graphic designers and business professionals do not have to wrestle with many different fonts. With OpenType, customers have larger character sets to work with and fewer font files to deal with.

The beautiful calligraphic typeface Ambiance comes from master designer Rob Leuschke. The complete array of characters includes a swash alternate for each upper and lowercase letter. Called contextual alternates in OpenType, the swash characters are automatically substituted in the appropriate context when you select them.

Modakshar was inspired by traditional Indic handwriting scripts which ‘hang’ from a common upper horizontal bar. Adapting this motif to Latin letterforms was challenging. The typeface was first conceived in the 1970's as a design project in school. The current digital design was completed in 2002. Basic motif was inspired by traditional Indic script handwriting.

Masoud Nejabati has drawn upon his capable calligraphic skills to create this typeface. Persia represents his first latin-based design. This gentle and finely rendered script reveals Nejabati's extensive background in Islamic calligraphic art. The slight back slant further enhances the appearance of hand-scribed pen calligraphy.

Huxley Vertical meets Peignot in this stylized cap/lowercase hybrid design called Ambule. French designer Julien Janiszewski has created a clean, straightforward design that is strikingly effective in both text and display settings. Ambule Oblique and Ambule Outline complete the typeface family, extending its range of possible uses.

Based on Mr. Hubbard's own hand printing, Richfont Medium is an extremely casual design. Actually light in weight, it renders best at 14 point and above. Richfont Light and Bold are available from the designer.

The new Clarendon BT Pro typeface family features 450 glyphs in each font with expanded support for Central and Eastern European languages, and enhanced OpenType features including ligatures, diagonal fractions, superscript/subscripts and Case-Sensitive Forms. Clarendon BT is an updated revival of the square serif (also called Ionic or Egyptienne styles) with bracketed serifs, ball terminals and high xheights. These attributes give Clarendon BT a timeless appearance for a wide range of contemporary uses from websites, ads, publications and signage.

Melina Plain and Melina Fancy are characterized by graceful lines, strong contrast and nostalgic overtones. These typefaces are patterned after two members of a type family named Greco, released by Fundición Tipográfica Richard Gans of Madrid, Spain, in the 1920s. Melina Plain is a refined version of Greco Bold, and Melina Fancy is based on Greco Adornado, with the notable addition of a lowercase, which was not a part of the original design. Melina is based on two typefaces (ca. 1920) from the Fundición Tipográfica Richard Gans in Madrid, Spain. Nick Curtis first found Greco Adornado in a type specimen at the Library of Congress. It was a cap only design. He made a cut of the original (Melina Fancy) and created his own lowercase, and many other characters to support contemporary character sets. Later he came across Greco Bold, which had a lowercase, but he chose not to use it and instead, adapted his Melina Fancy to create Melina Plain.

Futuristic and spacey, Tannarin is a modular, cap-only typeface. Many letters are constructed of repeated components with the added twist of the round characters being shorter than the square characters.

The boss of extended typefaces, Brian Bonislawsky, has belted out this ultra wide design, EuroMachina, that looks like an odd meld of OCR-A, Microgramma and Bank Gothic. And if that wasn't enough, Brian then felt the need to distort it in various ways, creating Broken, Eroded and OverGreased. A little something for everyone.

Bitstream Cooper was designed at Bitstream in 1986 by means of adding light, medium, and bold styles, with the corresponding italics, to the existing black ones. Based on Cooper Black, 1919, by Oswald Bruce Cooper, which was firstly released as a hand composition font in 1922 by Barnhart Brothers & Spindler of Chicago and later spread by ATF. Cooper Black is an extra bold face based on Cooper Old Style. Bitstream Cooper is an old style face with rounded serifs and tilted back ovals. For use both in text (normal weights) and in advertising and display typography (heavy weights). Cyrillic version was developed for ParaType in 2000 by Manvel Shmavonyan and based on TM Oswald face of TypeMarket, 1996, by Victoria Grigorenko.

Ingram BT might be described as Deco, or Arts & Crafts, in style. Created by Alex Marshall, it is a very condensed design with high-waisted uppercase glyphs that feature dots rather than straight lines for the middle hairlines. There are two sets of alternate glyphs accessible via stylistic and contextual OpenType features. The contextual alternates offer the most interesting glyph substitutions. There are also oldstyle and tabular figures, superiors and inferiors, as well as unlimited fractions. Ingram is a very handsome, casual typeface, with a slightly rough finish. The compact lowercase remains very readable at text sizes and it is a pleasure to turn on the earth tone colors and typeset left and right justified paragraphs! The extended character set supports Baltic and Central European languages.

Ronna Penner's Sketchley is a 2001 winner of ATypI's bukva:raz! design competition, held recently in Moscow. Inspired by handwriting samples and unable to find a typeface to satisfy her needs, Ms. Penner decided to create her own. The result is this warm, casual script. The compliment of characters demanded the creation of two fonts. Sketchley is considered the base font and should be used for basic layouts. Sketchley Swash has numerous initial, medial and final swash characters that, when used thoughtfully with Sketchley, can recreate the look of hand drawn calligraphy.

Perhaps one of the more difficult typeface styles to space convincingly, Irakly, a serif-sans by Russian designer Oleg Karpinsky imparts an unfamiliar elegance. The odd mixture of superficial details such as the half serifs and the protruding horizontal strokes confuse your visual senses, yet the simple geometric roots of the letterforms are apparent and ultimately reassuring. Irakly Light and Bold make a great addition to any library. The OpenType versions have alternates that are more conservative in design and broaden the usefulness of the typefaces

Chianti was designed at Bitstream by senior designer Dennis Pasternak in 1991 and initially released in 1995. The intent behind the design was to provide a humanist sanserif of high readability at a wide range of sizes and weights. Humanist sanserifs (others that fall into this category are Linotype’s Frutiger and Optima, and Monotype’s Gill Sans) are an attempt to improve the readability of sanserifs by applying classical roman structure to the letterforms. To enhance its versatility, Mr. Pasternak designed a wide variety of alternate characters, rare ligatures, ornaments and swashes. Chianti is a friendly sanserif useful for a broad range of typographic needs.

The hand-hewn Islander looks like it could have been liberated from granite blocks.These demonstrative letter forms leave no doubt when it comes to conveying your message, yet they remain playful.

Introducing VeraCruz BT, a fanciful display typeface by Ray Cruz. A tasteful, flair serif design, VeraCruz BT is available as an OpenType font. By selecting the Contextual Alternates feature in OT savvy applications, many of the cap and lowercase characters will change automatically as you type to give the text an informal, animated look. There are also tabular and proportional figure sets, and the extended glyph set supports Central Europe.

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.

A meeting of Byzantine and Art Deco forms, Aphasia began as a series of handwritten captions to accompany drawings in the early 1990s. The drawings were abandoned to allow the lettering to become the real composition. Playfully set in blocks of verse with each line shaped through free-association, the only visual rule was that all the lines of capitals be of equal length. The challenge of the game required extensive abbreviations, ligatures, small caps, and superiors. With the advent of Letraset’s FontStudio program, the project moved into the typographic realm.

English Monarchs is a unique font collection with accurate digital replicas of 84 signatures of English and British monarchs from Richard II through Elizabeth II, including many of the royal consorts. Also included in this font are the Stuart pretenders and Mary Queen of Scots and her consort. A must-have for autograph collectors, desktop publishers, history buffs, fans, or anyone who has ever dreamed of sending a letter, card, or e-mail "signed" as if by one of these famous nobles. This font behaves exactly like any other font. Each signature is mapped to a regular character on your keyboard. Open any Windows application, select the installed font, and type a letter, and the signature will appear at that point on the page. Painstaking craftsmanship and an incredible collection of hard-to-find signatures go into this one-of-a-kind font. Comes with a character map. This font includes signatures from the following noble figures: Richard II, Henry IV, Henry V, Henry VI, Margaret of Anjou, Edward IV, Elizabeth Woodville, Edward V, Richard III, Henry VII, Elizabeth of York, Henry VIII, Catherine of Aragon, Anne Boleyn, Jane Seymour, Anne of Cleves, Catherine Howard, Catherine Parr, Edward VI, Lady Jane Grey, Mary I Tudor, Elizabeth I, James I, Charles I, Henrietta Maria of France, Oliver Cromwell, Richard Cromwell, Charles II, Catherine of Braganza, James II, William III, Mary II, Anne, Prince George of Denmark, George I, George II, George III, George IV, William IV, Victoria, Prince Albert, Edward VII, George V, Edward VIII, Wallis Warfield Simpson, George VI, Elizabeth II, Prince Philip, Prince Charles, Princess Diana, Camilla Duchess of Cornwall, Prince James Edward Stuart, Prince Charles Edward Stuart, Mary Queen of Scots, Henry Stuart Darnley, Francis II of France.

With 2 full alphabets & a full array of symbols & decorations this style can look elegant or insane. New English is easy to customize for infinite unique looks.

The Bitstream version of Englische Schreibschrift by H. Berthold, 1970–72. An unconnected copperplate script of the English nineteenth-century fashion, so-called Spencerian. Based on pressure pointed quill calligraphy. Unlike other copperplate scripts, the letters in this face do not link up. For use in advertising and display typography in relatively small sizes. Cyrillic version was developed at ParaType in 2000 by Vladimir Yefimov.

English Grotesque is based on the proportions of an early 20th century signwriter’s sans, emphasising the characteristic idiosyncrasies of type of the period. Sharing a similar Roman circle-and-square construction as Gill Sans or Johnston Railway, it has a wide T and W, a narrow S, and a long-tailed R. The Roman alphabet did not include a lower-case, and therefore early sans-serifs tended to base theirs on handwritten or cursive models, resulting in more even character widths. English Grotesque, by contrast, carries the more characterful proportions of the capitals through to the lower case. Available in six weights, with optional alternative versions for the Q, &, £ and J.

English Script is the classic Spencerian English script. I always wanted to do one of these; now finally I did. Your classical designer Gert Wiescher

Old English Old English is related to Black Letter styles from early printed books and have a distinguished, historic look. The Old English font is used in advertising, invitations, greeting cards, and wherever a formal hand-lettered or engraved look is desired.

Cinematic English is a decorative font inspired by modern movie logotypes and classical black letter typefaces.

English Script Regular is a typeface made in the manner of English Copperplate, a kind of writing that was very popular in England during the 18th Century. Also referred to as English Round Hand, the style was promulgated by various writing masters, who published copybooks of their handwriting for students to use as guides. The style has remained popular to this day, and almost no sort of font is more readily identifiable with the ideas of formal," "old fashioned," "traditional," or "high society." English Script Regular is the perfect choice for use on wedding invitations and other announcements."

I have always been fascinated by the ‘Full English Breakfast’. A Full English usually consists of toast, baked beans, sausages, fried eggs, fried tomatoes, fried mushrooms and sometimes blackpudding (a kind of sausage made from pig’s blood). When I lived in England, my friends were always quite happy to stow away a big full breakfast, but I, on the other hand, could not really set myself to eating one. Full English is a hand made stencil font. If you own a pub and you serve breakfast, you could use it for your signs, but I guess this font looks good on anything that needs a bit of attention. For attention, it will get!

Old English is a digital font that was produced by Monotype's design staff, circa 1990. But its roots go much further back: the face's design is based on that of Caslon Black, a Blackletter type cast by the venerable William Caslon foundry in England, circa 1760. This design has been popular throughout England for centuries. Its style of lettering, conveniently also called Old English, can be found all over the UK. Old English-style typefaces belong to the Blackletter category. They nicely combine the design attributes of both the medieval and Victorian eras. This is mostly because their Textura forms, which were born during the Middle Ages, became quite fashionable again in the late 1800s! This Old English font is very legible for a Blackletter face. Perhaps that is why it is more familiar to readers in the UK and North American than German Blackletter varieties, like Fraktur. A favorite once again today, Old English is ideal for certificates, diplomas, or any application which calls for the look of stateliness and authority. It's a sturdy and sure bet for newspaper banners, holiday greeting cards, and wedding announcements.

Chianti was designed at Bitstream by senior designer Dennis Pasternak in 1991 and initially released in 1995. The intent behind the design was to provide a humanist sanserif of high readability at a wide range of sizes and weights. Humanist sanserifs (others that fall into this category are Linotype’s Frutiger and Optima, and Monotype’s Gill Sans) are an attempt to improve the readability of sanserifs by applying classical roman structure to the letterforms. To enhance its versatility, Mr. Pasternak designed a wide variety of alternate characters, rare ligatures, ornaments and swashes. Chianti is a friendly sanserif useful for a broad range of typographic needs.

British designer Thomas Oldfield, who brought you Hombre BT and Reaper, has scratched out another typeface, this one called Jerk Chicken BT. I guess, if you can imagine a quill tip pen somehow wedged 'tween a scrawny chicken's toes, you'd end up with the scrawl, blobs, blotches and bleeds that would make most type designers run for the hen house. Not Thomas; he saw only commercial potential. So lay down some scratch and order up some Jerk Chicken BT. Hey, while you're at it, why not extend the license to a dozen users? Available as an OpenType font, Jerk Chicken BT includes of a couple of ornaments, well parts, namely a drumstick and a whole fryer, and its extended character set supports Baltic and Central European languages.