Cargo TRF is a revision of existing Cargo typeface dated 2001. The new version of Cargo consists of three styles—A (plain), B (punch-out holes) and C (screw heads). Cargo TRF is recommended for use in big sizes as a display typeface. It is available in OpenType format with Western CP1252 character set.

PT Lehmann™ was designed for ParaType in 2002 by Tagir Safayev. Inspired by letterforms of Shiroky (Wide) Renaissance typeface and other fonts of Ossip Lehmann foundry, St.-Petersburg, c. 1874. A face of the so-called Elzevir type has thin triangular serifs and sharp spiral-like terminals. For use in advertising and display typography.

Zentenar Initialen is based on the initials designed by Prof. F. H. E. Schneidler, c. 1937, for his Zentenar-Fraktur types. Alternative letters are contained in the AR font. Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz

This was put together by Dan X. Solo to provide a quick way to set headings for a circus brochure. The name was given in recognition of the Baraboo Circus Museum. The end pieces are in pairs on the uppercase keys A-B, C-D, etc. The alphabet itself is in the lowercase position.

Jeff Levine took Crown Heights JNL [named after his childhood neighborhood in Brooklyn, NY] and gave it a make-over; transforming it into a Western-style all-caps display face called Homesteader JNL. The point of interest being the rounded characters: C, G, O and Q - usually not as geometric in Old West typography.

Chub was inspired by and dedicated to: Jimmy Dean Pork Sausage, J Otto, Ben & Jerry, Spunk, Chuck Jones, Run DMC, those teenage kids with their big baggy pants, French Market coffee, George Clinton, Bill Clinton, Chistina Ricci, Sesame Street and the letter C. God bless all those big, fat, fun things that make life grand.

Emerge BF was inspired by Admiral, c.1900, from the Keystone Type Foundry. Its relatively condensed proportions allow for a close fit in a distinctive, yet highly legible form. It's a great choice for headlines and text settings (where it shows a beautifully crisp, typographic color) on book covers, magazine advertisements, posters and so forth.

Zigfrida Typeface was born from a process of re-designing a logo where, through a grid created, I was developing all its main characters. As the project grew, it was noted that it was necessary not only to limit itself to the Latin alphabet, but also to develop Cyrillic characters. Its possibilities of use are endless, can be used in projects for your favorite sport, signs, posters, large formats, advertising projects, architectural, packaging, titles, among others. The result of all this was the development of a font that has up to 747 glyphs that can understand 100% of Latin languages and the vast majority of countries that use the Cyrillic alphabet. It has unique personality and characteristics that bring a differential to any project it is part of. ----- A Zigfrida Typeface nasceu a partir de um processo de re-design de um logotipo onde, através de um grid criado, fui desenvolvendo todos os seus principais caracteres. A medida que o projeto foi crescendo, observou-se que era preciso não apenas se limitar ao alfabeto latino, mas também desenvolver os caracteres cirílicos. Suas possibilidades de uso são infinitas, pode ser utilizada em projetos para seu esporte favorito, sinalizações, cartazes, grandes formatos, projetos publicitários, arquitetônicos, embalagens, títulos, entre outros. O resultado de tudo isso foi o desenvolvimento de uma fonte que possui até 747 glifos capaz de compreender 100% dos idiomas latinos e a grande maioria dos países que utilizam o alfabeto cirílico. Tem personalidade e característica únicas que trazem um diferencial para qualquer projeto que ela fizer parte.