At VetteLetters we like food but we also appreciate our drinks. Yes, of the non-alcoholic kind as well. Like milk. Contrary to what Arnold Schwartzenegger once said, Milk is not just for babies. It contains a whole lot of stuff that is genuinely good for you. Like proteins, carbohydrates, minerals (calcium a.o.) and many vitamins. One time visiting The Hague, Donald DBXL spotted a tile tableau on a brick wall, advertising a dairy factory called ‘De Sierkan’. Yellow sans serif letters on a bright blue background, dating back to the late 19th century, immediately grabbed DBXL’s attention. Especially because the tableau showed both regular and bold letters with some lovely peculiarities here and there. De Sierkan appeared to have been a milk factory solely operating in The Hague from 1879 until 1961. A number of these wall adverts are still to be seen in The Hague streets today. Photos were taken for later reference. Later is now, the lettering has been digitized, missing characters added, and VLNL Melk sees the light of day. VLNL Melk is an all-caps geometric display sans serif family of three weights, Regular, Bold and Black. The basic shape of the letters is a rectangle with rounded corners, leaving a sturdy no-nonsense look and feel. It has a distinct historic aura, but with both feet in this digital day and age. It can equally well be used for the logo of a hipster coffee place, as the cover of a historic novel. Actually, VLNL Melk kan be applied in a wide range of designs like logos, posters, flyers, book covers and magazine headlines.

Matthew Carter has been refining his design for Alisal for so long, he says, that when he was asked to complete the design for the Monotype Library, it was almost as if he were doing a historical revival of his own typeface. The illusion even extended to changes in his work process: although he now does all his preliminary and final drawing on screen, the first trial renderings of Alisal were done as pencil renderings. Alisal is best classified as an Italian old style design. Originally created between the late 15th and mid-16th centuries in northern Italy, the true Italian old styles were some of the first roman types. They tend to be the most calligraphic of serifed faces, with the axis of their curved strokes inclined to the left, as if drawn with a flat-tipped pen or brush. These designs offer sturdy, free-flowing and heavily bracketed serifs, short descenders, and a modest contrast in stroke weight. Alisal has nearly all the classic Italian old style character traits, plus a few quirks of its own. It is calligraphic in nature, with more of a pen-drawn quality than faces like Palatino or Goudy Old Style. It is more rough-hewn than either Goudy's Kennerley or Benton's Cloister, and is generally heavier in weight than most of the other Italian old style designs. One place where Alisal makes a clean break with traditional old style designs is in the serifs. While sturdy and clearly reflecting pen-drawn strokes, Alisal's serifs have no bracketing and appear to be straight strokes crossing the main vertical. Like Caslon or Trajanus, Alisal is a handsome design when viewed as a block of copy. Ascenders are tall and elegant, and serve as a counterpoint to the robust strength of the rest of the design. Alisal is available as a small family of roman and bold with a complementary italic for the basic roman weight, providing all that is needed for the majority of text typography. Alisal is not as well-known as some of Carter's other typefaces, but this lovely and long-incubated design was certainly worth the wait.

PF Bague Sans Pro is a versatile monoline typeface with a distinct and eye-catching personality. Despite its inspiration from early 20th century geometrics, it diverts from the mechanical rigidity of those typefaces by incorporating humanist characteristics, such as subtle variations in stroke width and open counter shapes with vertical endings. This is a very clean and legible typeface with a warm and well-balanced texture which is ideal for intense editorial use in magazines and newspapers. Bague Sans’ most remarkable feature is its vast array of uppercase alternates and ligatures which truly shine when set at display sizes. This typeface is automatically transformed into a flexible, charming and stylish typeface with strong modern aesthetics. From classic to modern, from excessive to neutral. Bague Sans Pro is a multipurpose typeface which offers enormous possibilities and variations for editorial design, branding and corporate identity. Bague Sans Pro signifies freedom and personal style. This superfamily includes 18 weights from Hairline to Ultra Black with a consistent and well-refined structure. Each style consists of 1063 glyphs with more that 330 alternates and ligatures and an extended set of characters which support simultaneously Latin, Cyrillic and Greek. Download the complehensive PDF Specimen Manual to explore the unlimited text variations of Bague Sans Pro.

The sources of inspiration for the Atyp typeface are spread out widely both stylistically and chronologically. The basic proportions of the uppercase refer to the elementary geometric constructions of the Bauhaus. The subtle details in the drawing of the characters and the microscopic adjustments, which evoke the illusion of uniformity and mechanical purity, pay homage to the rationalism of the typefaces popular in the International Style. The increased contrast of the joints of the bowls and shoulders in the Display weight, which in certain diagonal curves transition into almost deconstructive permutations. For a change these take delight in doing things on purpose, teasing readability and breaking the rules of the new millennium's typography. Atyp was created by adapting a typeface originally made for a commercial television station. The potential of the neutral grotesque, proven by its excellent readability on screens, gave the impetus for its preparation into an extremely wide character set. Coherence across all eight key masters lays the groundwork ideally for using the variable font format. The key benefits of this technology are a significant reduction in data consumption in the case of web fonts, as well as an unlimited access to the full range of styles, which in turn is a significant benefit in the area of responsive design.

Kometa Sans is a contemporary grotesk with a certain personality. She has a steady geometric skeleton, but its appearance is rather humanistic. The precise details of the artwork, the carefully drawn true italics, the six types of numerals, the variety of alternates, the broad range of open-type features and the extensive glyph set can meet most of the contemporary typographer’s demands for a neutral, but not boring type family for both long text and display use. Among the distinctive qualities of Kometa are also the forms of ligatures (both default and discretionary). They follow the natural constructive transitions between oval parts and stems, which is an advantage to mark, at least for designers who respect the beauty of clean forms. Note the specially designed Kometa Unicase sub-family, substantially enough to exist as a separate typeface. Its elegant and expressive letterforms are boosting further the power to create outstanding design work. Kometa Unicase has original and playful, yet reasonable approach to letterforms variety. Kometa has a very broad usability range – from logotypes and poster designs to corporate identities and complex editorial projects. The contemporary Cyrillics of Kometa allows easily completion of graphically consistent multilingual corporate and artistic design projects. Designed by Kiril Zlatkov and Vassil Kateliev.

Skema Pro is a versatile system of 6 serif typefaces - each bearing a distinct character and purpose. Together they form a huge superfamily of 84 fonts to fit any imaginable task. Skema Pro Livro is a low contrast, low x-height typeface with inclined axis. It is designed to work in books, where long ascenders and descenders along with increased line-spacing aid comfortable reading. Skema Pro Text has low contrast, medium x-height, and slightly tilted axis. Its neutrality along with modern feel makes it default choice for long texts of any nature. Skema Pro Omni features medium contrast, medium x-height, and slightly inclined axis. Being a more contrasted version of Skema Pro Text, it shares its intent of usage, however, creates a different texture with more formal look. Skema Pro News is a low contrast, large x-height typeface with vertical axis. Works best in newspapers and in screen applications. Skema Pro Title has medium contrast, large x-height, and vertical axis. Designed to work in larger text sizes, it offers contemporary detailing for pull-quotes and subheadings. Skema Pro Display is a typeface with high contrast, large x-height, and vertical axis. It shows its features in large text sizes, such as editorial headings.

Axalp Grotesk™ is a post-Swiss-Style modernist sans serif type family characterized by the play between elegant rounded shapes and sharp angular details. It is minimal, legible, well balanced and charismatic. Its heavy weights deliver powerful yet friendly impact. Thin ones emanate elegance, fine lines and precision. The family has very versatile proportions and generous x-height allowing a successful use for user interfaces, all sorts of display and branding scenarios, as well as a paragraph text typeface. Contemporary minimalistic approach makes Axalp Grotesk an outstanding design tool for creating modern visual identities and user interfaces. A truly universal sans serif family where beautiful forms and proportion work together with careful spacing, kerning and hand-hinting. Axalp Grotesk is an attractive contemporary alternative to the classics of Swiss Design School such as Akzidenz-Grotesk, Univers and Helvetica. It is bright, crisp, modern and friendly in character, and features an alternative stylistic set for more minimalistic and neutral look, simplifying such characters as “Q”, “J”, “a” and “y”. The family has extended latin language support, as well as broad number of OpenType features, such as stylistic alternates, case sensitive forms, ligatures, contextual alternates, lining, oldstyle, tabular and circled figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols.

Bendita could evoke the didones of the 19th century. It has an extreme contrast that makes it only suitable as a display typeface, with its characteristic shapes. The fatty type par excellence.

Pretty Salmon is a display font that can be used for all chalkboard quotes or teaching material! Its authentic look and feel will add a personal and realistic feel to your designs.

CG Triumvirate was designed for use on the Compugraphic phototypesetting system. The CG Triumvirate font family is very similar to Helvetica, and is an ideal font choice for text and display use.

Ekaliptus, Display Condensed and Humane Typeface, Containing 4 Weights + 4 Matched Italics, Can be used for Headlines and Logos. Two Styles that work well together to form a better tool for you.

Arpa is a display sans and condensed font family. The source of inspiration of this typeface is “wheat-barley”. This typeface has three styles. Extensive Latin language support and features multiple weights.

Mister Earl was designed for Bitstream in 1991 by Jennifer Maestre. A narrow decorative sans serif. Cyrillic version was developed in 2001 by Natalia Vasilyeva. For use in advertising and display typography.

Futuristic display font inspired by our favorite childhood film. Includes thick and thin version Thick Uppercase Character Set A-Z Thin Lowercase Character Set A-Z Numerals & Simple Punctuation OTF file format

Honey Christmas consists of two fonts (display and script) designed to complement each other perfectly. Together or apart, these fonts are ideal for adding a chic and cheery touch to your crafts.

Check out this new guy: he’s casual & elegant, jaunty and sharp. Fancy, but not over-the-top. Blazedale is an instantly likable new display face ready to send a funky upbeat message.

Wood type for display. Serifs like brush strokes are associated with Japanese calligraphy ‘Shodo’. East meets West. There are two styles, Regular for ordinary use and 3D for more eye-catchy part.

Mstov is an alacritous kooky tech display typeface apt for headline, editorial, branding, packaging, printed materials and typographic applications. 220+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Lamoreli is a strong rounded face that provides high impact in a non-aggressive way. It is suitable for display, titling and headlines. It retains integrity even when considerably expanded or condensed.

Arepo is a display typeface inspired both by the Imperial Roman letter and the forms of Giambattista Bodoni. Together with Stone Print, SFPL, and Cycles it makes up a superfamily of typefaces.

Aloya is a cute display font. Whether you use it for cartoon related designs, children games or just any creation that requires a lovely touch, this font will be an amazing choice.

Facebuster is a no-nonsense block serif display typeface with hard geometry and minimal negative space. It's ideal for making a strong yet playful statement. It comes equipped with OpenType Small Caps.

Ridie is an elegant display of modern serif with beautiful contrast. Specially designed for fashion-themed projects, perfectly suitable for creating elegant, chic, lifestyle designs such as logos, titles, magazines, and more.

Plata font is a humanist display font with unique authentic value. available with 4 weights will add value to the authenticity of this font. generally suitable for use in logo design, packaging.

Aura was designed by Jackson Burke for the Linotype foundry in 1960. Aura is a sans serif display font, very similar to Helvetica Inserat. Use the Aura font for headlines and posters.

Classy Wishes is a display font. Classy Wishes is perfectly suited for stationery, logos, t-shirt, paper, print design, website headers, photo frames, flyers, music covers, posters, image sliders, and much more.

Lordcorps is a simple and casual display font with a military feel. With its neat and beautiful arrangement of letters, this typeface will look outstanding in both formal and non-formal designs.

Lettering in the credits of classic animated cartoons was the inspiration for Toon In JNL, a fun and lighthearted typeface. Use this font anywhere a relaxed, informal or playful message is displayed.

Me & You is a fun and playful display font. Masterfully designed to become a true favorite, this font has the potential to bring each of your creative ideas to the highest level!

The typeface was designed at ParaType (ParaGraph) in 1993 (by Tatiana Lyskova). Based on Bernhard Condensed typeface of the Bauer company, 1912 by Lucian Bernhard). For use in advertising and display typography.

Limousine JNL takes the basic outline shape of Crestview Six JNL (an actual design from the Art Deco era) and gives it a stylized treatment as a solid black letter display face.

Obligation is a cute and casual display font. No matter the topic, this font will be an incredible asset to your fonts’ library, as it has the potential to elevate any creation.

Liaison is a beautiful non-connecting handwritten script for headlines and display typesetting, e.g. for perfumes, reports of the glamour world, magazines about gardening and recipes, covers for romance novels and alike.

WTF Ghosrain is a creepy and spooky looking display font. It is perfectly suitable for any Halloween-related project or crafty idea! This font is perfect for making Halloween poster or flyer.

Casual Stencil JNL was modeled from a set of stencils used for store display work that are reminiscent of brush style casual lettering made popular by sign painters and show card artists.

Yummy Ice Cream is a cute and casual font with a friendly feel. This display font is the perfect fit for all of your logos, branding, social media, and crafty DIY projects.

Deckhouse is a tall and condensed typeface with small serifs. It has an authentic hand crafted feeling and works wonder for packaging, lettering, invitations, cover and other types of display design projects.

Amie is a friendly Sans Serif display face, with a hint of hand drawn flair. Ideal for poster work, album covers, book covers and for bringing an element of friendly style anywhere.