Joy Redick designed Blackoak, a big and heavy Egyptienne-sytle titling slab serif face, in 1990. The extremely robust style of the characters in this typeface was consciously distorted; creating letterforms that appear flattened and stretched, like a rubber band. Blackoak is drawn in the style of old wood tpes, just like those that one envisions when one thinks of the large, decorative posters that once filled Wild West America. The wood type collection of the Smithsonian Institute in Washington, DC acted as a primary source of inspiration for this design. True to its rooks, Blackoak is meant for use exclusively in headlines in very large point sizes, or for logos and other corporate advertising purposes.

This decorative, headline or logotype geometric font consists entirely of uppercase letters. The glyphs of uppercase are rounder than their lowercase counterparts, allowing playful interaction within words, contrasting round and square shapes. The font is an extension of the Paragraph fonts family, however the capitals of ParaCap and lower case glyphs of Paragraph are not designed to be used together. That said, you are welcome to try :)

JH Farid font is designed based on Naskh calligraphy; it is typical for book covers including spine, headlines, short text paragraphs, poetry…..

JH Naskh Expanded font is designed based on Naskh calligraphy; it is typical for book covers including spine, headlines, short text paragraphs, poetry…..

Morning Violetta is modern contemporary display sans, and well suited for magazines, brochures, logos, headline or quotes, stand alone display, and short paragraphs.

Developed for ParaType (ParaGraph) in 1995 by Alexander Tarbeev, based on letterforms of various screen fonts. For use in advertising and display typography.

Developed for ParaType (ParaGraph) in 1997 by Alexander Tarbeev, based on PT Pragmatica, 1989, by Vladimir Yefimov. For use in advertising and display typography.

The typeface was designed at ParaType (ParaGraph) in 1990 by Alexander Tarbeev based on Pragmatica typeface, 1989 by Vladimir Yefimov. A monospaced condensed sans serif.

Meet Brexon! A heavy display typeface that commands attention. Ideal for use in prominent headlines and heavy text layouts.

Cap off your project with this all capital letter font. Bold and stylish with hand lettered appeal. Great for any paragraph or headline that demands attention.

JH Naskh expanded light font is designed based on Naskh calligraphy; it is typical for greeting cards, book covers including spine, headlines, short text paragraphs, poetry…..

These six faces are interpreted from examples shown in Rob Roy Kelly's "American Wood Types" They are not merely scanned copies, but have been redrawn from scratch with various optical adjustments. Kelly points out that the true glory of the American Wood Types are the negative spaces, which are, in their dynamic active forms, the antithesis of the anemic flimsy letters produced by type foundries in the 19th century. The Alphabets Wood Types are designed with digital manipulation in mind. Stretch, curve and distort at will! These designs were released prior to similar revivals from Adobe. Each font has two full alphabets (one full height, one smaller) and numerals. However, certain points and accents will not be found.

Bouncy, slanted and urban brush typeface Scripton combines 2 different glyph weights within single font file which gives an specific rhytm and contrast to titles and paragraphs.

The typeface was designed at ParaType (ParaGraph) in 1993 by Tagir Safayev. Similar to Choose One/Ten typeface, by Bryan Thatcher. For use in advertising and display composition.

Balkerious is a modern elegant font. Font with a touch of classy elements. Perfect for logos, headlines, cards, invites, paragraphs, cover photos, web design, lettering, and other designs.

Introducing Greywall, a bold stretch sans serif font. Greywall it perfect for posters, logos, magazines, covers, banners, t-shirts and headers, or even large-scale artwork.

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.

Pantra is a minimal and clear geometric sans. Pantra is clear, approachable, and effective in both headings and paragraphs and comes in 4 weights: light, regular, medium and bold.

Varisse spans over two centuries of type design and draws its inspiration from well-loved classics that are as fresh today as they were when they were created. The range stretches from a quintessential 18th century transitional serif to an uncompromising 20th century sans. Think Baskerville, think Gill. The idea was to create a family that shared similar forms and the same vertical metrics, allowing them to be mixed to provide impact and readability as required. With a generous x-height and a host of options, Varisse Variable is ideally suited to branding, packaging, magazines and editorial. It also provides a wealth of opportunity in website presentation. The variable axes of weight and serif allow selection of styles from sans light to serif heavy with all the options in between.

Pounder Fonts were designed by Tom Nikosey / CozyFonts Foundry. This font, as all my fonts started with pencil sketches based on the letter O. Once I arrived at the comfortable shape I worked out the C, G, & Q. The H, M, T matched the visual weight and so I moved on to E & S. As the E & S are 2 of the most repeated characters in fonts' I wanted a little bit extra here. The font is obviously heavy weighted yet very legible and almost architectural in presence. There are flashes of Art Deco yet futuristic style. After sketching the feel of this font I was excited by the possibility of the numerals styling. I can see these used for many applications. Why the title Pounder? Why not it seems to fit.

TD Beta is a bold and light sans serif typeface inspired by Futura and Helvetica. It is best used for headlines, titles, display, and even long paragraphs on digital collaterals.

Magwey is a fun and friendly retro groovy font, with experimental ink traps. suit for magazine cover, brochure, logos, Headlines or Quotes, Stand alone displays, and short paragraphs or contents.

Ultra heavy

This style was actually inspired by some old stock certificates Tom had collected. It’s a very versatile font and allows for some horizontal stretching. Fits almost any space.