Linotype Freytag is a condensed display face with simple, geometric shapes. With its highly readable and trendy letterforms, it is perfect for flyers, advertising, packaging, posters and magazine headlines.

Poster Gothic was inspired by showcard lettering samples featured in the book,""Commercial Art of Show Card Lettering"" by James Eisenberg, published by D. Van Nostrand Company in 1945.

Designed by Les Usherwood. Digitally engineered by Steve Jackaman. Unofficially named ‘No Frills’ in the early stages of development, his widow Elsie decided that it would be called Kingsrow.

ABC Zoo is a collection of two typefaces where the alphabet letters are combined to create a design of animal using the letters in the name of each animal.

P22 Stanyan Autumn is a set of three fonts based upon a casual hand lettering text created for the deluxe 1969 edition of "...and autumn came" by Rod McKuen.

CG Symphony was among the first one hundred PostScript faces released by Compugraphic in 1988. The original version of CG Symphony font is the Linotype Original font family Syntax.

A cursive font with a curvilinear feel, named for the Scottish stream immortalized by the poet Robert Burns. Useful for menus, certificates, display lines, short paragraphs or poetry setting.

Qualio is a new modern font. It is perfect for stationery, logos, t-shirts, paper, print designs, website headers, photo frames, leaflets, music covers, posters, image sliders and more.

A strong powerful face that really works well for any application requiring a distinguished, clean look. Headlines, subheads, and text; anything goes. Vinchenso also has a matching Bold weight.

Borough Park JNL is named for a neighborhood in the southwestern part of the borough of Brooklyn, NY and was modeled from hand lettering found on vintage sheet music.

Rockids is a bold display typeface, Comes in two styles sharp and softed with bold characters, this font is perfect for headlines, posters, movie titles, Games, branding and others.

VideoTech is an 8 font family consisting of 4 weights open and 4 weights closed. A heavyweight typeface that draws inspiration from loading computer games onto the Commodore 64.

Inspired by Demeter’s Geperle Fournier, Baroque Pearl is a highly ornate display font of the same style which was carefully extended with Baltic, Turkish and Central European character sets.

Inscriptional capital titling face drawn for a magazine. Suitable for a variety of media if used at 30 point and above. New Horizon requires subjective display kerning and compensation.

Revue is a display face originally designed for Letraset. The heavy sans serif letterforms of this font are ideal for use in signage, on posters and in advertising display.

Introducing a clean script font named Coral Reef. This smooth font is perfect for lettering with alternates for small letters (for the last letter for example) and multilingual support.

Made with a cute shape, making this font suitable for use in graphic designs related to unique things. This font is available in 2 styles namely bold and black.

Rock Wood is a fresh version of old western wood type. With its strong and sinuous lines it has a taste of vintage and modern at the same time.

I made this cartoon book font in my own handwriting. This type of font is great for writing comic stories, children's games, and is perfect for making cartoon movies.

Beat is a quirky OCR-inspired face with a rounded, retro-electronic feel. All of the stem weights were drawn at random, but the ensuing chaos works amazingly well.

The font is named after my son Javier. He studies architecture. Font Javier follows architectural principles. Javier 1, Javier 2 and Javier 3 can be combined with each other.

Live long and prosper. Barnhart Brothers and Spindler. 1884. Originally named Vulcan. Enough said. Both versions support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Tandem is a set of opened capitals constructed on a Futura frame. Each sign exists in two versions aimed to be mixed-up to add rhythm to the words.

Cartelle is a sexy small caps bitmap design characterized by it's whimsical curls and ornate flourishes. It's inspiration came from a French poster design from the early 1900's.

In winter when cold time comes, when animals with thin fur play drums, there’s one guy who keeps you warm, his name is Lumberjacky and he’s stronger then storm!

Schism is a modulated sans-serif, originally developed from our Alias Didot typeface, as a serif-less version of the same design. It was expanded to three sub-families, with the thin stroke getting progressively heavier from Schism One to Schism Three. The different versions explore how this change in contrast between thick and thin strokes changes the character of the letterforms. The shape is maintained, but the emphasis shifts from rounded to angular, elegant to incised. Schism One has high contrast, and the same weight of thin stroke from Light to Black. Letter endings are at horizontal or vertical, giving a pinched, constricted shape for characters such as a, c, e and s. The h, m, n and u have a sharp connection between curve and vertical, and are high shouldered, giving a slightly square shape. The r and y have a thick stress at their horizontal endings, which makes them impactful and striking at bolder weights. Though derived from an elegant, classic form, Schism feels austere rather than flowery. It doesn’t have the flourishes of other modulated sans typefaces, its aesthetic more a kind of graphic-tinged utility. While in Schism Two and Three the thin stroke gets progressively heavier, the connections between vertical and curves — in a, b, n etc — remain cut to an incised point throughout. The effect is that Schism looks chiselled and textural across all weights. Forms maintain a clear, defined shape even in Bold and Black, and don’t have the bloated, wide and heavy appearance heavy weights can have. The change in the thickness of the thin stroke in different versions of the same weight of a typeface is called grading. This is often used when the types are to used in problematic print surfaces such as newsprint, or at small sizes — where thin strokes might bleed, and counters fill in and lose clarity, or detail might be lost or be too thin to register. The different gradings are incremental and can be quite subtle. In Schism it is extreme, and used as a design device, giving three connected but separate styles, from Sans-Didot to almost-Grotesk. The name Schism suggests the differences in shape and style in Schism One, Two and Three. Three styles with distinct differences, from the same start point.

Schism is a modulated sans-serif, originally developed from our Alias Didot typeface, as a serif-less version of the same design. It was expanded to three sub-families, with the thin stroke getting progressively heavier from Schism One to Schism Three. The different versions explore how this change in contrast between thick and thin strokes changes the character of the letterforms. The shape is maintained, but the emphasis shifts from rounded to angular, elegant to incised. Schism One has high contrast, and the same weight of thin stroke from Light to Black. Letter endings are at horizontal or vertical, giving a pinched, constricted shape for characters such as a, c, e and s. The h, m, n and u have a sharp connection between curve and vertical, and are high shouldered, giving a slightly square shape. The r and y have a thick stress at their horizontal endings, which makes them impactful and striking at bolder weights. Though derived from an elegant, classic form, Schism feels austere rather than flowery. It doesn’t have the flourishes of other modulated sans typefaces, its aesthetic more a kind of graphic-tinged utility. While in Schism Two and Three the thin stroke gets progressively heavier, the connections between vertical and curves — in a, b, n etc — remain cut to an incised point throughout. The effect is that Schism looks chiselled and textural across all weights. Forms maintain a clear, defined shape even in Bold and Black, and don’t have the bloated, wide and heavy appearance heavy weights can have. The change in the thickness of the thin stroke in different versions of the same weight of a typeface is called grading. This is often used when the types are to used in problematic print surfaces such as newsprint, or at small sizes — where thin strokes might bleed, and counters fill in and lose clarity, or detail might be lost or be too thin to register. The different gradings are incremental and can be quite subtle. In Schism it is extreme, and used as a design device, giving three connected but separate styles, from Sans-Didot to almost-Grotesk. The name Schism suggests the differences in shape and style in Schism One, Two and Three. Three styles with distinct differences, from the same start point.

Schism is a modulated sans-serif, originally developed from our Alias Didot typeface, as a serif-less version of the same design. It was expanded to three sub-families, with the thin stroke getting progressively heavier from Schism One to Schism Three. The different versions explore how this change in contrast between thick and thin strokes changes the character of the letterforms. The shape is maintained, but the emphasis shifts from rounded to angular, elegant to incised. Schism One has high contrast, and the same weight of thin stroke from Light to Black. Letter endings are at horizontal or vertical, giving a pinched, constricted shape for characters such as a, c, e and s. The h, m, n and u have a sharp connection between curve and vertical, and are high shouldered, giving a slightly square shape. The r and y have a thick stress at their horizontal endings, which makes them impactful and striking at bolder weights. Though derived from an elegant, classic form, Schism feels austere rather than flowery. It doesn’t have the flourishes of other modulated sans typefaces, its aesthetic more a kind of graphic-tinged utility. While in Schism Two and Three the thin stroke gets progressively heavier, the connections between vertical and curves — in a, b, n etc — remain cut to an incised point throughout. The effect is that Schism looks chiselled and textural across all weights. Forms maintain a clear, defined shape even in Bold and Black, and don’t have the bloated, wide and heavy appearance heavy weights can have. The change in the thickness of the thin stroke in different versions of the same weight of a typeface is called grading. This is often used when the types are to used in problematic print surfaces such as newsprint, or at small sizes — where thin strokes might bleed, and counters fill in and lose clarity, or detail might be lost or be too thin to register. The different gradings are incremental and can be quite subtle. In Schism it is extreme, and used as a design device, giving three connected but separate styles, from Sans-Didot to almost-Grotesk. The name Schism suggests the differences in shape and style in Schism One, Two and Three. Three styles with distinct differences, from the same start point.

John Sigvard ‘Ole’ Olsen and Harold Ogden ‘Chic’ Johnson were musicians-turned-comedians who rose to fame in the zany 1938 Broadway musical review “Hellzapoppin'”. They reprised their roles in the 1941 film adaptation of the show, and the opening title card of the film has “Hellzapoppin'” hand lettered in a tall, condensed sans serif design with an inline. This is now available as Wild Comedy JNL in both regular and oblique versions.

Used in advertising posters for the Soviet state foreign trade company named 'Soyuzchimexort' in the early 1980s. Digital version was made for ParaType in 2007 with addition of light weight.

Font with hexagonal dots for small texts, names, logotypes, titles, headers, topics etc. Big size of this font can be used for texts on posters, t-shirts and other surfaces.