Gerry Powell’s revival of the condensed and elongated Fat Face, cut for ATF.

Chapman is the result of spending too many hours staring at the often all-capital engraver typefaces from long-gone foundries. The wide serifs, high contrast, and various widths seem to have so much character but also remain so neutral. From these references, Chapman began to emerge. It seemed natural that the lowercase would be based on a Scotch Roman model, much like the original all-capital faces. Chapman does not pull directly from any one source but from the genres themselves. It was, from the beginning, the goal to create a typeface that would be relatively neutral but not boring; an adaptable solution that works anywhere and, depending on the chosen width, can be squeezed or stretched to fit anywhere. The idiosyncrasies of the original designs are tamed in some places and turned up in others. The result is something familiar but unique and contemporary.

Hagenbeck is an old style font face with the intention to get really bold. It's a design from 2019, drawn during a rainy stay in the eponymous district in Hamburg, the designers ‘hood for a long time. There is the bold weight and a decorative stamped version of this font face.

Addison is a typeface that brings together modern western styles with a rustic texture. Between Addison West, with thick block serifs, and Circus, a more decorative face, the two would bring an authentic and unique style to any artwork. The bold faces make a stand and standout for any design concept.

Quanta was designed without reference to existing sansserif faces. As an original design, Quanta draws on principles of letterform developed during my studies of lettercarving (in Wales with Ieuan Rees) and Roman proportion. My intention was to produce a highly legible and adaptable sans-serif, initially intended to be a TrueType GX font, then as a Multiple Master font, later as a five weight range from extremely thin to extra black. A related uncial design will be released shortly.

Tazugane Gothic is a Japanese typeface family developed by the Monotype Studio. The project began as a companion Japanese typeface for the famous Neue Frutiger. The goal for Tazugane Gothic was a humanist sans serif face with a clear and legible forms, and nearly unlimited applicability in a broad range of uses, from signage and publishing to advertising and websites. The Tazugane Gothic font family is extremely versatile with ten different weights from Ultra Light to Extra Black.

FA Mobie is a contemporary decorative fat face. For use on posters, leaflets, ads.

Lawyerbait was designed to be a clean, light and easy to read display face.

Yngreena is a serifed typeface with calligraphic origins. In updating it in 2011, I began to add alternative letters and reached the point where it made sense to create an alternative family of faces rather than include all the alternatives as part of an OpenType font. The letters K, R, V, W, Y, f, g, k, t, v, and w are tamer in Yngreena Alt. As a result, though it is still a decorative text face, Yngreena Alt is better suited for lengthier blocks of text than is the original Yngreena face.

Heavy techno music, a personal computer, a font creation program and some inspiration had been the sources to the Face 2 Face font series. Thomas Nagel and his friends had the demand to create new unusual faces that should be used in the leading german techno magazine Frontpage" Even typeset in 6 point to nearly unreadability it was a pleasure for the kids to read and decrypt the messages. WhaleTree is a hommage to Walbaum. The word is a gemanized translation where Wal means Whale and Baum means Tree. :-)"

The inspiration for AlbertBetenbuch came from a typeface drawn by Albert Dürer and an interpretation of that face in Arthur Baker’s Historic Calligraphic Alphabets (Dover, 1980). It is not a recreation of either. The characteristic common to AlbertBetenbuch and the faces inspiring it is the decorative zig-zag with the upper-case letters. In late 2018 the inside of the shadowed style was separated out. It looks very much like the plain face but its spacing matches the shadowed version. It can be layered with the shadowed version to easily create two-colored letters.

KampIngriana was originally constructed in 1995-6. It was not constructed to meet any specific purpose but out of curiosity, to see what the result would be if two quite different faces were blended. KampIngriana is the offspring of Ingriana, a friendly, soft face, and KampFriendship, which mimics a serifed face drawn by hand. The original blending had many oddities that I did not clean up until 2020. It originally had five styles: regular, italic, bold, bolditalic, and extrabold. Medium, mediumitalic, semibold, semibolditalic, and extraboldItalic were added in 2022.

Veronika is a semi-serif text face, available in three styles: Regular, Italic, and Bold. All three faces are available in OpenType format, with both lining and old-style figures. Grüger, a German artist and designer, first began the design of her typeface by writing out its letterforms with a wooden stylus. She wanted to create a new semi serif face that had uniform stroke widths, but still maintained some aspects of calligraphy. Veronika achieves this; the terminals that begin the first strokes of most letters are round and bulbous, as if the writing instrument added extra emphasis on that spot. This adds a dynamic, movement-like quality to texts designed with Veronika. Aside from some sans serif-ness, Veronika appears similar to old style typefaces from the renaissance: classical inscriptions inspired the proportions of the capital letters, and the lower case letters stem from Carolinian minuscule. These proportions allow Veronika to function very well in text and at small sizes. However, only when you design larger headlines, logos, or other elements with Veronika, will you notice all of its special qualities, like its weight distribution and stroke characteristics.

Single Fighter is a supercharged, street-wise brush font bursting with energy. With extra attention to quick strokes and sharp details, Single Fighter is guaranteed to deliver an unapologetically loud & fast-paced message; ideal for logos, apparel, quotes, product packaging, or anything which needs a typographic turbo-boost.

Doncaster is a bold display face which emphasises legibility and clarity. The seven typefaces have a timeless quality, making them equally at home today or even in Victorian inspired design work. All of the faces are ideal for poster work, signage or for really eye-catching but not ostentatious headings and titles.

Megumi was originally commissioned as a headline face for a fashion and lifestyle magazine with a heavy Japanese influence. The uppercase letters are narrow and have an almost monospaced aesthetic, being influenced by Romaji letterforms. Serifs are severe, and curves sinuous. Although experiments were made with extra weight, it was decided that only this ultra light weight would be developed, to be set large in headlines. The italic has an over-the-top 35° slant (so slanted in fact that the backslash from the italic is the exact same shape as the forward slash in the Roman) and a discretionary ligature feature that can be engaged to add extra interest to headlines. The Roman has a few wide alternate glyphs for round uppercase characters. Both styles have a stylistic set (ss03) feature which switches regular parentheses for angle brackets, which the Art Director thought “looked cool”. In a mess of venture capitalist pull-outs and Covid related issues, the publication never came to be, but the Hipster Japanophile Magazine World’s loss is your gain, as this beautifully crafted, editorial oddity is now available to license. Use it editorially, obviously, but it would also look great on posters, perfumes, postmodern publications, and perhaps some other things that don’t begin with p.

Introducing “Rapido Racers” - a Quirky Display Speed Font that encapsulates the essence of speed, agility, and dynamism. Crafted meticulously to resonate with the fast-paced world of racing and e-sports, this font is a harmonious blend of pixel perfection and artistic craftsmanship. With 13 unique variations, each tailored to fit the theme of speed and sportiness, Rapido Racers is versatile yet specific in its application. Whether you’re designing logos that stand testament to the electrifying world of racing or branding materials that echo the swift movements of e-sports athletes, this font is your companion. Its strong display characteristics make it ideal for crafting eye-catching titles on posters or headings on web pages.

Satellite PT started out as an experiment. Wanting to explore the geometry of using angles instead of curves, I started sketching out the face using grid paper. I had seen similar fonts that tended to be completely symmetrical. My exploration tended to include what I humorously call 'faux humanist' elements, such as asymmetrical bowls, tapers and 'flare-serifs' (for lack of a better word) for select terminals. The result was a quirky and interesting face at display sizes. However, at small sizes, as ink bleed starts to take over, the angles disappear in favor of the overall forms (rounded bowls, etc.) and the 'faux-humanist' effects start to mimic modulation found in more traditional, modulated text faces. While it is hardly a true text face, the result is surprising legibility at text sizes.

Carousel is a fat faces display type designed by Gary Gillot in 1966. Fat faces were offshoots of the modern, or Didone, typefaces that were de rigueur during the early 1800s. These fat faces were among the first typefaces to be used solely for advertising purposes. Naturally, they were always used in larger point sizes, in display functions. Carousel could be called an optimization of these old advertising typefaces. With high x-heights, ultra contrast between thick and thin strokes, and perfectly engineered drawing techniques, Carousel is a highly crafted typeface. Give it a spin in your next advertising campaign! Carousel's fine thin strokes are very graceful in their appearance, and lend a strong, yet soft, feminine feeling to anything they touch.If you like Carousel check out wearing Annlie, another fat face from 1966."

A lovely script face remastered from found drawings, great for antique, vintage and romantic designs.

A bold new look great for magazines and paperbacks a strong yet beautiful headline face.

An open, evenly spaced book face designed for quality headlines and enhanced readability in text.

Cute emoticons showing a variety of smiles, frowns, and faces and words reflecting those emotions.

A unique serif face with a happy look; great for kids books or fun ads.

Jasper is a script face drawn with a broad nib suitable for a handwriting impression.

A beautiful very bold serfi face, formal legible design, with matching Italic, Powerful yet elegant.

The Clog font family is represented by four different outlines - Normal, Open Face, Shadowed and Engraved. Each of them could be your best choice when designing a wine label, package or magazine headline. By using Open Face and Shadowed outlines you will discover how easy it is to produce unique design of its own style.

Darling, you don’t just look GOOD, you look FANTASTIC! IRRESISTIBLE! IMMACULATE! Those soft curves, those sharp lines, those INLINES... that MAGNIFICENT symmetry. This is a face that could launch a thousand spaceships, a face that doesn’t care if you feel good, because Heavens to Betsy, you LOOK good. Just utter those magic words: Simply Marvelous.

Yefimov Serif is a contemporary serif face, with low contrast, squarish shapes of round glyphs and emphasized businesslike nature. It is one of the last original faces by Vladimir Yefimov. Yefimov Serif will suit perfectly for business texts, periodicals and corporate identity. The typeface was completed by Maria Selezeneva and released by ParaType in 2014.

Qubo, a new forcefully drawn monoline face. Its clear graphics create its appeal and give it distinctive characteristics. The slightly squared round elements make for an open and elegant look; subtle details refer to humanistic models. Qubo is a neutral, cool and very versatile typeface. It works superbly both in print and on the web. Qubo is well-equipped for ambitious typography. The Qubo family consists of 14 styles, comes in OpenType format with extended language support for more than 40 languages. All weights contain ligatures, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals.

LD Charlie Clown is an enjoyable scrapbooking font that can put a smile on anyone's face.

A face designed specifically to complement celtic decorated capitals and based on text from the book.

A French form of Fat Face, derived from the British; matrices survive at Berthold in Berlin.

Regina is a calligraphic-influenced hybrid light-face Tuscan-serif roman with a companion swash italic.

Double Feature JNL reworks the classic Huxley Vertical into an elegant trilinear Art Deco display face.

Curbdog is a bold, playful display face with light horizontals and curved terminals in the italics.

Disjecta, derived from disjecta membra meaning fragmented or disjointed, was developed as a grunge script face.

A hot revival of the 60s and 70s a great headline face with that retro look.

Paragon is a display Roman family of nine faces, combining elements of formality and fun. It embodies a high degree of contrast between near hairline horizontal strokes and bold vertical strokes. The family is offered in three widths and in regular, small capitals and title faces. Use Paragon to lend impact to your next design project.