Xenotype is an examination of heavy horizontal weighting and develops ideas underlying 60s and 70s headline faces.

Malabar is a type family for extensive text. Its design was developed with a nod toward newspapers. Malabar's characters are seriffed and of the Old Style genre. A strong diagonal axis is apparent within the curves. Sturdy serifs help strengthen the line of text in small point sizes, as well as define the overall feeling of the face. Malabar's x-height is very high, a deliberate choice that makes the most important parts of lowercase letters visibly larger in tiny settings. The height of the capital letters is also rather diminutive, allowing for better character fit, as well as eliminating a bit of clumsiness in German, which often includes quite a few uppercase letters. Diacritical marks and additional alphabetic forms required by many Western, Central, and Eastern European languages are naturally a part of the character set, including those needed in the Baltic states, for Romanian, and for Turkish. Malabar's accents are bold and direct, sitting well with their base glyphs. The family includes three weights, each with a companion Italic. Malabar Regular is equipped with small caps, and both it and Malabar Italic include oldstyle figures. All members of the family have both proportional and tabular-width lining figures, as well as special variants of certain punctuation marks vertically adjusted for all-caps text setting. Malabar is informed both by contemporary ideas of typeface design (sheared terminals, the wider-drawn s) as well as by 16th-century masters. Malabar Heavy and Heavy Italic are very loud; their blackness almost shouts out from the page. The Regular's wedge serifs become more slab-ish in nature as the letters' weight increases. Malabar Heavy and Heavy Italic are best relegated to headline use only. Malabar Bold and Bold Italic may be used for text emphasis, a job for which the Heavy is to dark. Malabar received a Certificate of Excellence in Type Design at the Type Directors Club of New York TDC2 competition in 2009.

FT Mammoth is a heavy and tough all-caps font. Mammoth is an ideal font for big words!

BD HitBit is a heavy uppercase display font with a technical approach, great for logotype creation and titling.

A heavy bold serif face, packs great punch; excellent headline font. Can be used for many different applications.

Baraka - in Swahili - a blessing. It is a simple, block-like typeface closed in cuboids. It was created and designed in Tanzania, Africa. It contains 183 gliphs, which due to their simplicity, which consisted in cutting out letters from rectangles using as little light as possible, makes an impression and is in fact a very heavy display typeface. It was created primarily for posters and labels, where thanks to its modularity and form enclosed in a limited geometric figure

Carte Blanche literally means 'Blank Ticket'. Yeah, yeah, it is also a very 007-ish catchphrase, but I wanted to give this elegant font a 'stylish' name and Carte Blanche popped up. All glyphs were hand drawn on a rather expensive piece of heavy-weight paper and were put into the font in between changing nappies, bouts of the flu and the subsequent wiping of snotty noses. Carte Blanche speaks most Roman-based languages - albeit nasally…

It shouldn't be a surprise to anyone that these letter shapes are familiar. They have the unmistakable color and weight of Cooper Black, Oswald Cooper's most famous typeface from 1921. What should be a surprise is that these letters are actually from George Auriol's Robur Noir (or Robur Black), published in France circa 1909 by the Peignot foundry as a bolder, solid counterpart to its popular Auriol typeface (1901). This face precedes Cooper Black by a dozen of years and a whole Great War. Cooper Black has always been a bit of a strange typographical apparition to anyone who tried to explain its original purpose, instant popularity in the 1920s, and major revival in the late 1960s. BB&S and Oswald Cooper PR aside, it is quite evident that the majority of Cooper Black's forms did not evolve from Cooper Old Style, as its originators claimed. And the claim that it collected various Art Nouveau elements is of course too ambiguous to be questioned. But when compared with Robur Noir, the "elements" in question can hardly be debated. The chronology of this "machine age" ad face in metal is amusing and stands as somewhat of a general index of post-Great War global industrial competition: - 1901: Peignot releases Auriol, based on the handwriting of George Auriol (the "quintessential Art Nouveau designer," according to Steven Heller and Louise Fili), and it becomes very popular. - 1909-1912: Peignot releases the Robur family of faces. The eight styles released are Robur Noir and its italic, a condensed version called Robur Noir Allongée (Elongated) and its italic, an outline version called Clair De Lune and its condensed/elongated, a lined/striped version called Robur Tigre, and its condensed/elongated counterpart. - 1914 to 1918: World War One uses up economies on both sides of the Atlantic, claims Georges Peignot with a bullet to the forehead, and non-war industry stalls for 4 years. - 1921: BB&S releases Cooper Black with a lot of hype to hungry publishing, manufacturing and advertising industries. - 1924: Robert Middleton releases Ludlow Black. - 1924: The Stevens Shanks foundry, the British successor to the Figgins legacy, releases its own exact copies of Robur Noir and Robur Noir Allongée, alongside a lined version called Royal Lining. - 1925: Oswald Cooper releases his Cooper Black Condensed, with similar math to Robur Noir Allongée (20% reduction in width and vectical stroke). - 1925: Monotype releases Frederick Goudy's Goudy Heavy, an "answer to Cooper Black". Type historians gravely note it as the "teacher steals from his student" scandal. Goudy Heavy Condensed follows a few years later. - 1928: Linotype releases Chauncey Griffith's Pabst Extra Bold. The condensed counterpart is released in 1931. When type production technologies changed and it was time to retool the old faces for the Typositor age, Cooper Black was a frontrunning candidate, while Robur Noir was all but erased from history. This was mostly due to its commercial revival by flourishing and media-driven music and advertising industries. By the late 1960s variations and spinoffs of Cooper Black were in every typesetting catalog. In the early- to mid-1970s, VGC, wanting to capitalize on the Art Nouveau onslaught, published an uncredited exact copy of Robur Black under the name Skylark. But that also went with the dust of history and PR when digital tech came around, and Cooper Black was once again a prime retooling candidate. The "old fellows stole all of our best ideas" indeed. So almost a hundred years after its initial fizz, Robur is here in digital form, to reclaim its rightful position as the inspiration for, and the best alternative to, Cooper Black. Given that its forms date back to the turn of the century, a time when foundry output had a closer relationship to calligraphic and humanist craft, its shapes are truer to brush strokes and much more idiosyncratic than Cooper Black in their totality's construct. Robur and Robur Italic come in all popular font formats. Language support includes Western, Central and Eastern European character sets, as well as Baltic, Esperanto, Maltese, Turkish, and Celtic/Welsh languages. A range of complementary f-ligatures and a few alternates letters are included within the fonts.

Caturrita Display is a new version of Caturrita. Better for titles and small pieces, with a large contrast in the heavy weights. It preserves the same structure of Caturrita, but with a more calligraphic touch, in the ligatures and almost all the characters. It comes in five weights, giving more elegance in the light ones, and strongly and expressive in the heavy tones.

This sometimes-top-heavy, sometime-bottom-heavy, sometimes-centered typecase is based on an old Photolettering face designed by the irrepressible Dave West, originally called "Nickelodeon". That name was already taken, so I chose another with a nod to the 1953 film starring Leslie Caron. Both versions of this font include the complete Unicode Latin 1252 and Central European 1250 character sets.

Kubrick is an experiment in extremes. The Light font is very tall and slender, the Black font is very massive, and Kubrick's slender counters push some of its glyphs to the edge of recognition. The thin counters and negative spaces also give text set in Kubrick a definite visual sparkle, especially in all-uppercase settings. Because of its extreme letterforms, Kubrick is recommended only for large display use. The default letterspacing is set fairly wide to keep text legible. Kubrick was a double-experiment. One part of it was to see how heavy and massive a typeface I could make while still keeping it legible. The other part was to develop a Multiple Master font. Multiple Master fonts were a format developed by Adobe that allowed the user to change things like the weight and width of a typeface. Monollith started as just such a Multiple Master typeface, but when Adobe discontinued the Multiple Master format, I stopped work on the typeface. Later I decided to continue work on it, but as five separate font weights: Light, Medium, Bold, ExtraBold and Black. Very rectilinear letterforms with extremely narrow counters and negative spaces. The five fonts go from very thin and condensed to very heavy and extended. Use in large display settings where unornamented high visual impact is desired.

Before the mid-to-late 1970s, when retailers started to embrace UPC (universal price code) technology on a grand scale, pricing merchandise took on many forms. One method especially popular with variety stores (such as Woolworth's, McCrory's, Kress, etc.) were pre-printed price tags that came in small pads and were inserted into metal holders. Shelf Tags JNL recreates a vintage price tag based on examples seen online, and allows the user different ways to create their own vintage-style price tags. You can either utilize the round pen nib style numbers and price marks to place on any size or type tag, or type out prices using the reversed characters (white on black) along with the two end caps provided to form a complete tag unit. For the more adventurous, a complete blank tag is also provided in case the desire is to print a solid color tag background and [using the regular numbers] crate prices in custom colors. Two sets of smaller number (for "floating" cents prices) are also provided in regular numbers and reverse panels. As an extra bonus, there is a set of 1 through zero, dollar sign, cents sign and decimal point individual black-on-white outlined panels for making individual pricing numbers. The keyboard layout for the various characters is as follows: asterisk key - regular cents sign (no panel) dollar sign key - regular dollar sign (no panel) period key - regular decimal point (no panel) left and right parenthesis keys - panel end caps (to form price tags) colon key - reverse decimal point on black panel 1 thru 0 keys - regular numbers (no panels) A through J keys - small regular numbers (no panels) K and L keys - truncated [shorter width] end caps M through Y keys - individual price numbers (black on white with black border a through j keys - reverse numbers on black panels k key - reverse dollar sign on black panel l key - reverse cents sign on black panel m through v keys - reverse small numbers on black panels w through z keys - blank rectangular panels of varying widths equal sign key - full black panel price tag hyphen key - blank rectangular black panel based on the width of most number panels

Newsreel Caps JNL is a novelty caps-only outline letter with cast shadow set inside film frames. Although the design idea itself is not new, this version is based on lettering from a vintage piece of sheet music for a song featured in the movie "Fox Movietone Follies". The font is a wink and nod to Fox's long-running newsreel series called "Fox Movietone News". The upper case keys have black letters on a white frame, while the lower case keys have white letters on a black frame. A blank white frame is on the period key; a blank black frame is on the comma key. Use this font for individual initials, set the characters loose for effect or set them tight (as provided) for a continuous film strip.

»XPress« is a very distinct, expressive, typical new Sans. »XPress« is my new Sans-Serif that impresses – especially in small sizes – with its outstanding readability. Seven precisely calibrated weights from »Thin« to »Heavy« and its corresponding italics make this font-family universally usable. »XPress« got its bearings from the fabulous American »Gothic« fonts of the twenties of last century. Modern, present day elements, high lowercase letters and infinitesimal elegant slight curves in start- and end strokes make the font family not only great for body copy, but also very useful in advertising. »XPress« ist eine individuelle, expressive, typische neue Sans. »XPress« ist meine neue Serifenlose die – speziell in kleinen Schriftgraden – durch aussergewöhnliche Lesbarkeit auffällt. Sieben präzise aufeinander abgestimmte Schnitte von »Thin« bis »Heavy« und dazu passende Kursive machen die Schriftfamilie vielseitig einsatzfähig. »XPress« orientiert sich bewusst an den grossen amerikanischen Groteskschriften der zwanziger Jahre des letzten Jahrhunderts. Durch moderne Formelemente, große Mittellängen und unendlich leichte, elegante An- und Abstriche ist die Schrift jedoch nicht nur als Textschrift, sondern auch im gesamten Bereich der Werbung vielseitig einsetzbar.

Capital is a multifunctional super family with modernist roots. It is comprised of two distinct subfamilies: Gothic and Serif. Both share the same structure and proportions and come in seven weights – thin, light, regular, bold, extra bold and black, along with corresponding italics. Both Capital families are equipped with a full set of Cyrillic characters, making them a versatile choice for multinational use. All Capital fonts come with the following Open Type features: Small Caps, Old Style Figures, Fractions, Numero-sign & Ligatures.  Features specific for Gothic roman versions only are Circle Numerals, Titling alternate for the R character and Arrows. The Gothic italics have a Titling alternates feature where the true italic forms are omitted and replaced with simpler stroke endings. Both Capital gothic and Serif families are true workhorse fonts that can carry out almost any typographic task. Combine them both for the best results – multi-pack available for a no-brainer price.

The name's Heironymous Flask. Some of my acquaintances call me 'Hip.' Those that know me really well don't call me at all. In my game, you don't make friends. You make excuses. Like it says on the door, I'm a private hippopotamus. This is my story. This is my font. Features: Six weights (Regular, Italic, Bold, Bold Italic, Heavy & Heavy Italic) with upper and lowercase alphabets.

Pittsburgh is the latest (as at August 2011) in a range of inter-war American inspired commercial faces, and takes its place alongside the popular Bettendorff and the Spargo family. These shaded stab-serif capitals speak of the heyday of heavy manufacture and engineering and bring a gritty feel of the 20s and 30s to any project. Why not indulge in a little heavy engineering today?

Windsor is an unusual design cut by Stephenson Blake in 1905. Windsor is a bold face with heavy rounded serifs and strong diagonal stress. Capitals M and W are widely splayed, P and R have very large upper bowls. The Lowercase a h m and n of the Windsor font have angled right hand stems, e has an angled cross-stroke. The overall effect is one of friendliness and warmth. Use the Windsor font in advertising, on posters and for general display work.

Windsor is an unusual design cut by Stephenson Blake in 1905. Windsor is a bold face with heavy rounded serifs and strong diagonal stress. Capitals “M” and “W” are widely splayed, “P” and “R” have very large upper bowls. The Lowercase “a”, “h” “m” and “n” of the Windsor font have angled right hand stems, “e” has an angled cross-stroke. The overall effect is one of friendliness and warmth. Use the Windsor font in advertising, on posters and for general display work.

VVDS Benigne Sans is geometric font family consisting of 8 weights ranging from Thin to Ultra Bold with matching italics. Balanced and gently Thin or fat and heavy Ultra Bold, good wide range of widths, which allow use this font not only as a Headers, also as sub-headers or block texts. Also, I love how it looks in infographics. VVDS Benigne Sans is latin-based multilingual and contains all mathematics symbols. OpenTypeFeatures Ligatures, alternates, old style numerals and fractions. Enjoy! VVDS

2015 First Prize TipoType award. Agatha is a new typeface for titles and short texts in big sizes. It can be use both in editorial publishing and brand design. From gothic geometric bases, the letters resemble the Nordic style in order to be more feminine, rhythmical and vertical. The two versions, Regular & Outline, let the designer choose between two contrasts: one heavy version that emphasize the rhythm and a lighter one that intensifies the subtlety. The third version, Blossom, combines light and color with ornaments that highlight the style. The three fonts have in addition a ligature set and some decorative glyphs that increase the possibilities of use.

2015 First Prize TipoType award. Agatha is a new typeface for titles and short texts in big sizes. It can be use both in editorial publishing and brand design. From gothic geometric bases, the letters resemble the Nordic style in order to be more feminine, rhythmical and vertical. The two versions, Regular & Outline, let the designer choose between two contrasts: one heavy version that emphasize the rhythm and a lighter one that intensifies the subtlety. The third version, Blossom, combines light and color with ornaments that highlight the style. The three fonts have in addition a ligature set and some decorative glyphs that increase the possibilities of use.

A solid powerful Heavy Serif face, great for Headlines and Sub heads. Brings plenty of punch by yet with great sophistication.