Richard Lipton designed Meno in 1994 as a modest yet elegant workhorse serif family in seven styles. In 2016, he expanded this spirited oldstyle into a 78–style superfamily. The romans gain their energy from French baroque forms cut late in the 16th century by Robert Granjon, the italics from Dirk Voskens’ work in 17th-century Amsterdam. Meno consists of three carefully drawn optical sizes—Text, Display, and Banner, with Condensed and Extra Condensed widths added to the latter two cuts. Steadfast in text settings, Meno is replete with alternate forms, swashes, and other enhancements that showcase Lipton’s masterful calligraphic hand. The series offers a complete solution for achieving high-end editorial typography.

Taking into consideration some complaints about lack of capital letters and deficiency of heavier weight styles, the Fermo typeface was redesigned to replace the existing font, dated 2002. New Fermo includes two subfamilies—Fermo TRF and Fermo-Uni TRF. Both fonts now consist of three weight styles—light, regular and bold—with significant contrast. During the updating process some minor glyph shape adjustments and changes have been made. Fermo TRF's main distinctions from the previous font are the new capital letters and additional weight (light) style. Fermo-Uni TRF is a unicase font with an additional lightweight style. Fermo is recommended for use as a display font. In large size settings negative tracking is recommended.

The design of Kristall Grotesk Now is based on a cut by Wagner & Schmidt, Leipzig, from the 30s of the last century as well as the digital version Kristall Grotesk MdK, created for the Stiftung Werkstattmuseum für Druckkunst. The implementation of the Kristall Grotesk MdK, a headline font, was deliberately created as a replica to create a faithful reproduction of the original. The design of the complete family Kristall Grotesk Now is based on the one cut Kristall Grotesk Buchschrift by Johannes Wagner GmbH, 1937, with its function as a text family. Designer: in parts Johannes Wagner GmbH, Redesign Elsner+Flake, Hamburg Designdate: 1937, 2009 Publisher: Elsner+Flake Design Owner: Elsner+Flake Original Foundry: in parts Johannes Wagner GmbH

German type designer Erik Spiekermann created this sans FontFont between 1997 and 2002. The family contains 4 weights: Regular, Italic, Bold, and Bold Italic and is ideally suited for logo, branding and creative industries. FF Meta Correspondence provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, fractions, super- and subscript characters, and stylistic alternates. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. As well as Latin-based languages, the typeface family also supports the Cyrillic and Greek writing systems. This FontFont is a member of the FF Meta super family, which also includes FF Meta, FF Meta Headline, and FF Meta Serif.

The Bitstream version of Caslon 540 of the American Type Founders, 1902. Based on William Caslon I's first English Old Style typefaces of 1725. Caslon modeled his designs based on late 17th century Dutch types, but his artistic skills enabled him to improve those models, bringing a variety of forms and subtlety of details. Strokes in Caslon fonts are somewhat heavier than in earlier Old Style fonts, serifs are thicker and a bit stubby. Italic letters have uneven slope. A text set in Caslon looks legible and aesthetically appealing. Caslon is a favorite font of English printers for setting of classical literature. Cyrillic version was developed for ParaType in 2002 by Isay Slutsker and Manvel Shmavonyan.

German type designer Erik Spiekermann and American type designer Christian Schwartz created this display and sans FontFont in 2008. The family has 6 weights, ranging from Light to Ultra and is ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, poster and billboards as well as wayfinding and signage. FF Unit Rounded provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. This FontFont is a member of the FF Unit super family, which also includes FF Unit and FF Unit Slab.

Arista Pro is the definitive version of the successful Arista typeface, designed by Francesco Canovaro, first released in 2007 as Arista Z and then reissued as Arista 2.0 in 2010. The pro version of Arista features the geometric and soft approach of the original typeface but comes in a full range of weights and two alternate versions (Arista Pro Regular and Arista Pro alternate version). The typeface has been expanded with the inclusion of Greek and Cyrillic alphabets as well as an extended range of latin characters. A companion icon typeface, Arista Pro Icon, has been developed, allowing for variable-width monoline icons that can be used to faultlessly match the typeface line width, up to semibold weight.

Waters Titling is the work of lettering artist Julian Waters, a multiple master typeface of classical calligraphic roman capitals. This broad-tipped pen design is related to other historically-based titling alphabets but offers a wider range of weights and widths, making it extremely versatile for movie titles, book jackets, posters, banners, calendars, etc. Waters Titling is based on the timeless Roman monumental inscription forms of almost 2000 years ago, but also has a touch of contemporary vigor and flair. The design displays a strong calligraphic thick/thin stroke weight contrast and flowing, subtly bracketed serifs. In lighter weights, Waters Titling is elegant and delicate, while the bolder weights offer a more substantial sparkle.

Whimsical Musical is a vivid, hand drawn font with 405 alternate letters, all caps. Developed from a lighthearted drawing in my sketchbook saying the German word “MUSIK” cheerfully over and over in twenty vivid variations. Next to it was the date “6th April 2007”. This initial idea has burst into a font that is full of surprises and whimsical turns. It is dynamically suggestive, like music, and humorously chaotic, as in Dada. Each uppercase letter is enriched with ten stylistic alternates (OpenType stylistic sets) to create a heap of playful variations amounting to a mountain of possibilities. Recommended for display usage: gonzo headlines, fantastical picturesque covers, extravagant quirky flyers, chichi posters, individual labels and fun logos.

The name of the font Titla emphasizes it heading and display functionality. At the same time low contrast, narrow proportions, wide variety of weights and clear glyph constructions make it possible to use it for long texts as well. Combination of modern serifs with flexing stems (see n, p,…) brings to the font fresh, informal and noticeable appearance. The character set includes alternative variations and specific 'vertical ligatures' for paired letters that are built with the help of diacritical forms of letters placed above basic ones. This feature also was reflected in the name of the font as Greek 'titlos' means diacritical mark. The font was designed by Oleg Karpinsky and released by ParaType in 2009.

Modeled on the writings chiseled in stone in the second century B.C., Syntax™ Lapidar is an energetic, spirited typeface designed by Hans Eduard Meier in 2000. Linotype Syntax Lapidar Text and Linotype Syntax Lapidar Serif Text have five weights each, with both cap and lowercase letterforms. Lapidar Display and Lapidar Serif Display also have five weights each, with mostly all cap letterforms and many alternates. It's a terrifically fun and inventive family, and if you look closely, you can see the resemblance to the more modern and restrained Syntax™ relatives. Great for menus, artist books, travelogues, or advertising - and if used very sparingly, it could add just the right element of lapidary significance to corporate documents.

Monolith Pro is a futuristic heavy display that steals the show. This typeface is inspired by the popular Kubrick’s movie 2001: a space odyssey, from which the iconic monolith scene. The glyphs, in fact, have been designed to fill the rectangular shape, with the addition of minimal inlays to differentiate them consistently. While the uppercase is perfect for impactful headings and titles, the lowercase completes the main headline masterfully - but can also stand out alone due to its own distinguishable personality. The family includes 4 styles: regular, italic, outline and outline italic, to give more dynamism and sense of lightness when needed, in contrast with the heavy weight. Multilingual support is available.

dT Jakob started as a revival by Gustavo Soares for Paul van der Laan’s class at the Type and Media Masters, in The Hague, NL – back in 2007. There are quite a few excellent geometric sans typefaces available, but we did want to make our contribution and have a fine geometric face to offer. dT Jakob was born out of Erbar, by Jakob Erbar, one of the very first geometric sans, released in metal around 1926. Our goal was to make a versatile typeface, that handles display and text typography beautifully. To achieve that we designed a complete range of weights, matching italics and lots of OpenType Features. Hope you enjoy it :D

Egon is a contemporary Slab-Serif typeface family built in ten styles—extra-light, light, regular, bold and black weights in roman and italic respectably. This is a refreshed (second) edition of Egon Serif, originally designed in 2008. The typeface has been updated—four new styles in ExtraLight and Black weights were added to the family and minor adjustments to glyph shapes (mostly italics) have been made.The typeface is designed with industrial and architectural flavor, as homage to Egon Eiermann, one of Germany’s great architects of 20th century. Egon is ideal as text and display font for publication use. Egon is released as OpenType single master with a Western CP1252 character set.

“Growing up in Iceland, I was exposed to Scandinavian modernism from an early age. My parents had Arne Jacobsen furniture around the house and I was always enticed by the fun shapes and colors...."—SK Armchair Modern is derived from the logo created for Armchair Media Group by Stefan Kjartansson. The design is unabashedly ultra-modern, reminiscent of work by Mark Newson and the aforementioned Jacobsen. Armchair Media is a consulting company, working with clients from the Web and interactive TV, so the super-elliptical letterforms are also intended to evoke a traditional TV screen or CRT display. The complete family of five weights was co-produced by PSY/OPS in 2001.

Richard Lipton designed Meno in 1994 as a modest yet elegant workhorse serif family in seven styles. In 2016, he expanded this spirited oldstyle into a 78–style superfamily. The romans gain their energy from French baroque forms cut late in the 16th century by Robert Granjon, the italics from Dirk Voskens’ work in 17th-century Amsterdam. Meno consists of three carefully drawn optical sizes—Text, Display, and Banner, with Condensed and Extra Condensed widths added to the latter two cuts. Steadfast in text settings, Meno is replete with alternate forms, swashes, and other enhancements that showcase Lipton’s masterful calligraphic hand. The series offers a complete solution for achieving high-end editorial typography.

Say hello to MonsterPie. This font brings the funny appearance of irregular designed characters together with the classic look of the Didone typefaces from the 18th century – that makes it a good choice for theme parks, movie posters, games, greeting cards and kid’s products. A large database and plenty of alternate characters work in the contextual alternates feature to keep your headlines bouncing all the time. Other implemented Opentype features are case sensitive forms, ligatures, arbitrary fractions and many more. On top, MonsterPie has a set of nice arrows, two different ampersands and extensive support for south-eastern, central and western european languages, as well as for Pīnyīn to offer. Designed by Marc Lohner in 2016.

HS Alhandasi is an Arabic display typeface. It is useful for book titles and graphic projects where a contemporary, streamlined look is desired. The font is based on the simple lines of modern and simplified Kufi calligraphy, that support Arabic, Persian and Urdu. This font was created in the beginning as regular weight in 2007 for use in technical and engineering company. The company tends to follow the geometrical shape with equal dimensions in both vertical and horizontal storks. There is also a tendency to make all characters to be similar to oval shape with the impression that they are all geometrical and clear. I followed that with two other weights in 2011, thin and bold.

Danish type designer Ole Søndergaard created this serif FontFont in 2005. The family has 10 weights, ranging from Light to Black (including italics) and is ideally suited for advertising and packaging, film and tv, editorial and publishing as well as logo, branding and creative industries. FF Signa Serif provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. This FontFont is a member of the FF Signa super family, which also includes FF Signa, FF Signa Correspondence, FF Signa Serif Stencil, and FF Signa Stencil.

The typeface Hand Print Stamp Rough is designed in 2018 for the font foundry Typo Graphic Design by Manuel Viergutz. The rough hand-printed typeface based on old wood letters, rubber-stamps and plastic stamps. 7 font styles (Reg + Mix, Circle, Diamond, Square Star + Icons) each with 1350+ glyphs incl. 200+ decorative extras like icons, arrows, dingbats, emojis, symbols, geometric shapes, catchwords, decorative ligatures (type the word LOVE for ♥ or SMILE for ☻ as OpenType-Feature dlig) and stylistic alternates (9+ stylistic sets). For use in logos, magazines, posters, advertisement and packaging plus as webfont for decorative headlines. The font works best for display size. Character Set: Latin Extended (Adobe Latin 3). 1350+ glyphs with 200+ extra icons like arrows, dingbats, symbols, geomatric shapes, catchwords and many alternative letters. (9× A–Z, 9× a–z, 9× 0–9) For use in magazines, posters, headlines and advertisement, plus as webfont for decorative headlines. Have fun with this font & try-before-buy the DEMO-FONT (with reduced glyph-set) FOR FREE! ■ Font Name: Hand Print Stamp Rough ■ Font Weights: Regular + Mix, Circle, Diamond, Square, Star + Icons + DEMO (with redu­ced glyph-set) ■ Font Cate­gory: Sans Serif + Slab Serif Dis­play for Head­line Size ■ Font-For­mat: .otf (Open­Type Font for Mac + Win) + .ttf (True­Type Font) ■ Glyph Set: 1350 glyphs ■ Lan­guage Sup­port: 27+ for Latin Exten­ded (Adobe Latin 3). Afri­kaans, Alba­nian, Cata­lan, Croa­tian, Czech, Danish, Dutch, English, Esto­nian, Fin­nish, French, Ger­man, Hun­ga­rian, Ice­lan­dic, Ita­lian, Lat­vian, Lithua­nian, Nor­we­gian, Polish, Por­tu­gese, Roma­nian, Slovak, Slove­nian, Spa­nisch, Swe­dish, Tur­kish, Zulu ■ Spe­cials: 200+ deco­ra­tive extras like icons for arrows, ding­bats, emo­jis, sym­bols, geo­me­tric shapes, catch­words + Ger­man Capi­tal Eszett. Open Type Fea­tures: Kerning (kern), Sty­listic Set 1 (ss01) … Sty­listic Set 16 (ss16), Loca­li­zed Forms (locl), Super­script (sups), Ordi­nals (ordn), Slashed Zero (zero), Frac­tions (frac), Stan­dard Liga­tures (liga), Con­text­ual Alter­na­tes (calt) e. g. Sty­listic Set-Loop and Deco­ra­tive Liga­tures (dlig) e. g. type the word “LOVE” for ❤ or “SMILE” for ☺ ■ Design Date: 2018 ■ Type Desi­gner: Manuel Vier­gutz

In my on-going quest for display fonts to be used with my books and on my book covers, I decided I need a squared sans serif. I started the build off of Fiscal, a font I designed back in 2006. I never liked the font, plus my tastes have changed. So, I opened it, made it narrower, increased the x-height, and various stuff like that. I made it much heavier—an ended up with Boxy. Then my brain slapped me and said, "Why don't you make a sorta modern version?" So, I did and decided to call that style Chic. But then I wanted a thin version also. Fiscal was always too heavy and ponderous for me. So, I made the Thin style. Finally, I felt I needed an italic of Chic. OpenType features didn't seem to work well with the family, so all I added was oldstyle figures. So, I ended up with another of my unique families—with two unmodulated fonts: Thin and Medium, and two modulated fonts: Chic and Chic Italic. But, I'm pleased with it. My hope is that you will like it also.

In January of 2006, Jeff Levine fonts debuted with ten releases. Many of those first fonts were based on vintage lettering stencils, which were the "school years" catalyst for Jeff's interest in lettering and type design. Eight years later, his collection of fonts has become a giant catalog of display type ranging from Wood Type revivals to Art Nouveau, Art Deco to stencil, reinterpretations of old favorites, experimental fonts, dingbat fonts and typefaces reflecting a particular decade's styles of cultural popularity. Designs from old lettering books, type catalogs and advertising have also been fodder for many alphabets not previously available in a digital format. Along the way, many unusual lettering sources were also mined for type ideas. Vintage packaging, hand-lettered signage, sign making kits, rubber stamp type, water applied decals and at times just a singular letter example inspired many of the releases within this collection. It was a source of pride for Jeff Levine Fonts to reach 500 releases and a determined goal to grow the type library as far as possible. With this in mind, February 2014 brings forth many new releases. This one in particular, Ornery Polecat JNL, is the 800th typeface release from Jeff.

The general idea: Can You imagine to yourself, what the hydroelectric power station is? The building of this electricity production foundry is half hidden under the water, but the visible above-water part astonishes your sense. It is a construction almost 1,5 km length dammed out the powerful river stream. Besides thousand of electricity conduction lines supports it bears also the highway and the railroad. From a faraway distance the train seems like a caterpillar that has climbed up the stout tree. There are also the navigable sluices, the flood channels and other erections. The idea of this typeface outlines arrived to the authors exactly on the viewing platform, under the impression of the waterfalls, which are escaping from the dam womb, falling from almost 50 meters altitude and becoming white-haired during this flight. Release: in the form of "gorod.Volgograd" font with the one style. We work with other styles now and sometime we will be very glad to introduce the Bold and Italic styles to You. We should explain the font name meaning. "Gorod" is "city of" in Russian and Volgograd is the old, big and famous Russian city. The Volga hydroelectric power station of a name of XXII congress of the CPSU caused the Volgograd sea formation. It expands of 14 km width and more than 600 km along the Volga river-bed. But HEPS isn't the sole Volgograd sight. There are many interesting places here. The most known tourist sight, the visit card of Volgograd is the Mamaev Hill. Being here You can see almost all 100 kilometers of city length. Due to its geographical position, Mamaev Hill has got a great importance during the Great Patriotic War (1941-1945). It became and still is the Main Height of Russia. Soviet people have built the huge stately memorial ensemble here. There are many other witnesses of the heroic past of Volgograd: the Alley of Heroes, the Perished Fighters Square, the Soldiers Field and others. The line of tank turrets is stretched out along all town not far from Volga bank. It marks the line, where fascist troops was stopped in 1943. It is very amazingly when You dive under the ground on a usual tram. Volgograders have built a few underground station for the high-speed tramway. The river tram need a quarter of an hour to get an island in the Volga. And You need the same time to walk across the river station. The Volga-Don navigable channel starts from Volgograd. There are planetarium, circus, some theatres, many museums in Volgograd. One of football matches of Euro-2004 qualifying round took a place in the "Rotor" stadium in Volgograd. Volgograd holds the longest - above 50 km - park in the world. Its avenues, squares, embankments are beautiful, Volgograd central districts are built in unique architecture style called the Stalin Empire. You can enjoy fountains, parks, attractions, water-pools and other Volgograd sights. If You visit Volgograd once You'll never forget it. You can read about the ancient history of Volgograd city on the Tsaritsyn font page. Also we plan to create the Stalingrad font and give You a short story about another period in Tsaritsyn-Stalingrad-Volgograd history.

In the course of the re-vitalization of its Typoart typeface inventory, Elsner+Flake decided in 2006 to offer the “Kis Antiqua” by Hildegard Korger, in a re-worked form and with an extended sortiment, as an OpenType Pro-version. After consultation with Hildegard Korger, Elsner+Flake tasked the Leipzig type designer Erhard Kaiser with the execution of the re-design and expansion of the sortiment. Detlef Schäfer writes in “Fotosatzschriften Type-Design+Schrifthersteller”, VEB Fachbuchverlag Leipzig, 1989: No other printing type has ever generated as far-reaching a controversy as this typeface which Jan Tschichold called the most beautiful of all the old Antiqua types. For a long time, it was thought to have been designed by Anton Janson. In 1720 a large number of the original types were displayed in the catalog of the „Ehrhardische Gycery“ (Ehrhardt Typefoundry) in Leipzig. Recently, thanks to the research performed by Beatrice Warde and especially György Haimann, it has been proven unambiguously that the originator of this typeface was Miklós (Nicholas) Tótfalusi Kis (pronounced „Kisch“) who was born in 1650 in the Hungarian town of Tótfal. His calvinistic church had sent him to the Netherlands to oversee the printing of a Hungarian language bible. He studied printing and punch cutting and earned special recognition for his Armenian and Hebrew types. Upon his return to Hungary, an emergency situation forced him to sell several of his matrice sets to the Ehrhardt Typefoundry in Leipzig. In Hungary he printed from his own typefaces, but religious tensions arose between him and one of his church elders. He died at an early age in 1702. The significant characteristics of the “Dutch Antiqua” by Kis are the larger body size, relatively small lower case letters and strong upper case letters, which show clearly defined contrasts in the stroke widths. The “Kis Antiqua” is less elegant than the Garamond, rather somewhat austere in a calvinistic way, but its expression is unique and full of tension. The upper and lower case serifs are only slightly concave, and the upper case O as well as the lower case o have, for the first time, a vertical axis. In the replica, sensitively and respectfully (responsibly) drawn by Hildegard Korger, these characteristics of this pleasantly readable and beautiful face have been well met. For Typoart it was clear that this typeface has to appear under its only true name “Kis Antiqua.” It will be used primarily in book design. Elsner+Flake added two headline weights, which are available as a separate font family Kis Antiqua Now TH Pro Designer: Miklós (Nicholas) Tótfalusi Kis, 1686 Hildegard Korger, 1986-1988 Erhard Kaiser, 2008

Cocogoose Pro Narrows has been completely re-engineered in 2020 to include extra features and technologies. A darkmode weight range has been added to the whole family, to keep consistency of effect when the typeface is used in reverse on the web and in dark mode interfaces. Also, a new Ultra Compressed subfamily has been developed for display usage. Designed by Cosimo Lorenzo Pancini in 2013, Cocogoose was first expanded in 2015 with the help of Francesco Canovaro who co-designed the decorative display weights and Andrea Tartarelli who developed the condensed widths. In 2020 a full redesign of the typeface has been published: Cocogoose Pro now includes new widths, weights, open type features and characters, thanks to the help of Mario De Libero. Influenced by vernacular sign-painting and modernist ideals, Cocogoose is drawn on a classic geometric sans skeleton, softened by rounded corners and slight visual corrections. Its very low contrast, dark colour and tall x-height make it a solid choice for all designers looking for a powerful display typeface for logos, headings and vintage-inspired branding. The tall x-height makes texts set in Cocogoose very readable even at small sizes, while the bold regular weight allows for maximum impact when used as a branding, signage or decorative typeface. Cocogoose Pro was designed as a highly reliable tool for design problem solving, and given all the features a graphic designer needs, starting from its wide range of widths and weights. Its 2000+ latin, cyrillic and greek characters make sure it covers over 200 languages worldwide, while its comprehensive set of open type features allows faultless typesetting thanks to small capitals, positional numbers & case sensitive forms. A wide range of alternate letterforms, developed along nine different stylistic sets, gives you an extra level of design fine-tuning. The layerable and colour-ready display variants include inline, outline, shadow and a letterpress version that can simulate the effect of old print, also thanks to programmed randomization of its letters.

In 2009, a book from 1897 in the library of the University of Wisconsin caught David Berlow’s attention. It was set in a clear text face—a predecessor of Bookman—cast by the Western Type Foundry who called it Custer. Upon noting how well the typeface worked in sizes of 6 and 7 points, Berlow developed it into a member of the Reading Edge series specifically designed for small text on screen. Custer RE was a broad and approachable typeface drawn large on the body with a tall x-height to maximize its apparent size when set very small. This was the beginning of the newly expanded series; in 2020, Berlow added new optical sizes and weights, growing the original design’s versatility up to headline sizes.

The first design of Elensans consisted of 4 styles that are including two weights and their italics which I designed in my student years in 2002. It was designed with a little Art Nouveau style touch with inspired by classical geometric based fonts such as Friz Quadrata and Eras. It was updated with according to the orientations of the day in 2012 and eventually it took its final form with actual touches in 2020. The family has 18 weights, ranging from Thin to Black in normal styles and including their italics. It is ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, poster and billboards, small text, wayfinding and signage as well as web and screen design.

Fresno is a two-font family. Fresno Inline and Fresno Black. Fresno Black is a recent addition. It can be used alone, and it is carefully tailored to fit behind the Inline font to add color to the inline. There are alternate characters: A, M & N in the caps and lowercase key positions. Fresno is a square gothic style typical of Mid-20th Century Showcard Lettering. A lettering genre known as “Gaspipe.” Signage samples similar to this still exist on buildings in my home town, Oakland, California. I have designed over a half dozen variations of this form over the years. Including Amboy. Golden Gate Initials, Matinee, Motel, and Hotel. Designed in 2001 by Jim Parkinson, Fresno has recently been refreshed, enhanced, and re-released.

GummiType is a wildly wobbly and clumsy gummy/jelly style letter font. This was a weird typeface that I originally designed back in 2000 but never finished it. Coming across it again recently, I thought it would be a fun font family to get out there. Perfect for a range of designs that require a spooky or gooey-gooey typestyle. Sometimes the inspiration for my typefaces comes from random everyday things, and this is the perfect example of that. My daughter is addicted to those little peach gummy rings and gummy worms, and gummy anything, but it was my own prior addiction to gummy peach rings that inspired this font. Pulling and distorting the ring sparked the inspiration for the droopy warped characters.

The Lina typeface family was designed by Roy Cole and completed in 2003. The roman font, Lina 30, was drawn originally by hand and later its character set extended and digitally redrawn with the aid of Fontographer. The five additional fonts, 60, 90, and the italics 33, 66, 99 followed and were all produced digitally from scratch. Lina is characterized by economy, lightness and evenness of weight. The capitals and figures are not as tall as the lower-case but retain the latter’s weight, and the figures are designed to provide enhanced recognition. The characters are relatively large on the body and text and benefit from additional leading. Lina is essentially a typeface for text composition. Roy Cole's other typeface families are Zeta, Colophon and Coleface.

The Neustadt font family was originally designed as a corporate font for Sport 2000, one of the leading buying groups in the European Sport Retail Industry. After it has been successfully established, it is now available in a revised version for the general market. The Neustadt family is highly legible both in print and on screen. As part of the URW++ SelecType collection, Neustadt meets very high quality standards and is available in over 30 European languages. The characters have smooth curved spines and little contrast combined with a big x-height. The form is very functional and has no unnecessary details. These characteristics make Neustadt perfectly usable for many type applications like sign posting, headlines, texts and also for branding.

Amboy is a two-font family. Amboy Inline and Amboy Black. Amboy Black is a recent addition. It can be used alone, but it is carefully tailored to fit behind the Inline font to add color to the inline. There are alternate characters: A, M & N in the caps and lowercase key positions. Amboy is a square gothic style typical of Mid-20th Century Showcard Lettering. A lettering genre known as “Gaspipe.” Signage samples similar to this still exist on buildings in my home town, Oakland, California. I have designed over a half dozen variations of this form over the years. Including Golden Gate Initials, Matinee, Motel, Hotel and Fresno. Designed in 2001 by Jim Parkinson, Amboy has been refreshed, enhanced, and re-released.

Darmhagh Underwood is a “rough” monowidth font based on the face used on the old Underwood manual typewriter. Darmhagh Underwood was first digitized in 1999 by Michael Everson and originally used the MacGaelic character set on the Macintosh platform, and ISO/IEC 8859-14 on the PC. In 2008 Darmhagh Underwood version 3 was released in OpenType format, completely compliant with Unicode encoding and with an extended character set. The particular Underwood typewriter from which samples were taken to design Darmhagh Underwood is on display in the National Library of Ireland. It belonged to Conradh na Gaeilge and was used to draft armistice documentation which led to the end of the Irish War of Independence in 1921. Darmhagh is pronounced [ˈdaɾuː].