Andreis is a typeface inspired by the art nouveau shapes that appear in the letters of a metal box, made at the beginning of the 20th century by the company G. De Adréis from Badalona in Spain. Its organic and feminine forms evoke the aesthetics of those years and add elegance to the projects where it is used.

With its extended complement, this comprehensive redesign of Bank Gothic by Elsner+Flake offers a wide spectrum for usage. After 80 years, the typeface Bank Gothic, designed by Morris Fuller Benton in 1930, is still as desirable for all areas of graphic design as it has ever been. Its usage spans the design of headlines to exterior design. Game manufacturers adopt this spry typeface, so reminiscent of the Bauhaus and its geometric forms, as often as do architects and web designers. The creative path of the Bank Gothic from hot metal type via phototypesetting to digital variations created by desktop designers has by now taken on great breadth. The number of cuts has increased. The original Roman weight has been augmented by Oblique and Italic variants. The original versions came with just a complement of Small Caps. Now, they are, however, enlarged by often quite individualized lower case letters. In order to do justice to the form changes and in order to differentiate between the various versions, the Bank Gothic, since 2007 a US trademark of the Grosse Pointe Group (Trademark FontHaus, USA), is nowadays available under a variety of different names. Some of these variations remain close to the original concept, others strive for greater individualism in their designs. The typeface family which was cut by the American typefoundry ATF (American Type Founders) in the early 1930’s consisted of a normal and a narrow type family, each one in the weights Light, Medium and Bold. In addition to its basic ornamental structure which has its origin in square or rectangular geometric forms, there is another unique feature of the Bank Gothic: the normally round upper case letters such as B, C, G, O, P, Q, R and U are also rectangular. The one exception is the upper case letter D, which remains round, most likely for legibility reasons (there is the danger of mistaking it for the letter O.) Because of the huge success of this type design, which follows the design principles of the more square and the more contemporary adaption of the already existing Copperplate, it was soon adopted by all of the major type and typesetting manufacturers. Thus, the Bank Gothic appeared at Linotype; as Commerce Gothic it was brought out by Ludlow; and as Deluxe Gothic on Intertype typesetters. Among others, it was also available from Monotype and sold under the name Stationer’s Gothic. In 1936, Linotype introduced 6pt and 12pt weights of the condensed version as Card Gothic. Lateron, Linotype came out with Bank Gothic Medium Condensed in larger sizes and a more narrow set width and named it Poster Gothic. With the advent of photoypesetters and CRT technologies, the Bank Gothic experienced an even wider acceptance. The first digital versions, designed according to present computing technologies, was created by Bitstream whose PostScript fonts in Regular and Medium weights have been available through FontShop since 1991. These were followed by digital redesigns by FontHaus, USA, and, in 1996, by Elsner+Flake who were also the first company to add cursive cuts. In 2009, they extended the family to 16 weights in both Roman and Oblique designs. In addition, they created the long-awaited Cyrillic complement. In 2010, Elsner+Flake completed the set with lowercase letters and small caps. Since its redesign the type family has been available from Elsner+Flake under the name Bank Sans®. The character set of the Bank Sans® Caps and the Bank Sans® covers almost all latin-based languages (Europe Plus) as well as the Cyrillic character set MAC OS Cyrillic and MS Windows 1251. Both families are available in Normal, Condensed and Compressed weights in 4 stroke widths each (Light, Regular, Medium and Bold). The basic stroke widths of the different weights have been kept even which allows the mixing of, for instance, normal upper case letters and the more narrow small caps. This gives the family an even wider and more interactive range of use. There are, furthermore, extensive sets of numerals which can be accessed via OpenType-Features. The Bank Sans® type family, as opposed to the Bank Sans® Caps family, contains, instead of the optically reduced upper case letters, newly designed lower case letters and the matching small caps. Bank Sans® fonts are available in the formats OpenType and TrueType.

Adita is a font family evolved from the fundamentals. It supports 113 languages, features a total of 485 glyphs and includes an italicized version for each of the 5 weights.

Deciso is a font family assembled from angular modules. It supports 113 languages, features a total of 485 glyphs and includes an italicized version for each of the 5 weights.

Sagebrush JNL was modeled from examples of a vintage French Clarendon wood type in which many of the characters had rounded parts rather than the traditional all-slab serif approach.

Czerny is a display typeface with clean contours and carefully cut-off edges. It combines the classical feel of old serif fonts with the sleek, minimalist aesthetics of contemporary design.

An excellent example of early 1900's sign artistry. This Letterhead Fonts' revised version of Mike Henderson's bold font features all new spacing, kerning and improved characters. Includes 6 alternates.

Out from a turn-of-the-century cartoon, Pennywhistle evokes the silly symphonies and merry melodies of an earlier age, while playing footloose and fancy free for a modern age.

Twentytwelve typefaces are the outcome of my project at the Jan van Eyck Academie in 2012. There're two sets of numbers: lowercase proportional and uppercase tabular (OpenType Stylistic Set 1).

Sonico is a font family stretching upwards and beyond. It supports 113 languages, features a total of 482 glyphs and includes an italicized version for each of the 5 weights.

Print Shop Treasures JNL is another fun collection of nostalgic cartoons, stock cuts, corner pieces, embellishments, sales helpers and miscellany; all carefully re-drawn from examples of vintage letterpress pieces.

The Zigfrid family was made after my visit to Deutschland and impression of old typography on the streets of Berlin. Zigfrid contains 5 different styles with a geometric, “trendlist” feel.

A little bit of thick-and-thin Art Deco hand lettering is offered up in Wonderful JNL, based on some promotional text found on an old piece of sheet music.

Cooper Black, commissioned by Barnhart Brothers & Spindler, is the best known of Oswald Cooper’s typefaces. Bitstream has expanded the 1921 original into a complete series of round-edged text faces.

Adieu is an old-fashioned display font traced and modified from a group of Victorian fonts. It is very stylized, but it is very attractive to many of my clients.

Sixpak is rooted in the concept of creating a font in which each individual character is composed of no more than six squares with rounded corners, to resemble enlarged pixels.

In contrast to the traditional process, Zubizarreta was created with the technique of emptying ink out to shape the letterforms. Oddly enough, the result is a type reminiscent of Basque.

Twentytwelve typefaces are the outcome of my project at the Jan van Eyck Academie in 2012. There're two sets of numbers: lowercase proportional and uppercase tabular (OpenType Stylistic Set 1).

Small family called Bartender, for the lovers of retro style typefaces. Ideal for product names, packages, labels, old fashioned coffee shops, bars and everything with specific characteristics of past times.

An assortment of 42 expertly-drawn decorative vector panels in the form of a single font. Inspired by early 1900's artist J.M. Bergling. Each letter generates a different design.

A 1940s-era package of "Herald Square" carbon paper sold by the F.W. Woolworth 5 & 10 cent stores offered up the hand lettered Art Deco design of Stationery Department JNL.

Deck the halls with boughs of holly..." The fun letters of this font are sure to get you in that holiday spirit! The capital letters each have a hanging ornament.

These Fleurons are a bit of Easter fun, with humorous cartoon rabbits, little chicks, and lots of lovely chocolate eggs! Just the thing for that Easter card or party invitation.

Twentytwelve typefaces are the outcome of my project at the Jan van Eyck Academie in 2012. There're two sets of numbers: lowercase proportional and uppercase tabular (OpenType Stylistic Set 1).

Twentytwelve typefaces are the outcome of my project at the Jan van Eyck Academie in 2012. There're two sets of numbers: lowercase proportional and uppercase tabular (OpenType Stylistic Set 1).

ButtonFaces explores just how much emotion and description of a character can be put into a simple iconic representation of a face. Use them as 'Emoticons' or traditional printers ornaments.

Rosette Ornaments was inspired by the wide spectrum of ornamental styles produced during the Victorian era. There is an assortment of 47 ornaments all located under the character set keys.

The oldest known form of visual communication, rock art expresses the culture and traditions of primitive humankind. P22's Petroglyphs picture font presents ancient drawings and illustrations from four continents.

Letters and Lace is a replica of hand-crafted lace letters. Delicate and artistic, these letters will give warmth to any text. Comes with a full set of accented characters.

Qundart – simple handwritten font. Can be used in postcards, greetings, promotional banners. The font is cute and lightweight. Composition: Latin and Cyrillic (full set of symbols of the Ukrainian alphabet).

Penmanshift JNL by Jeff Levine is actually a semiscript - a vertical text font with the curved lines of a script alphabet, but the look and feel of a poster letter.

Remembering us of the early graffiti on the New York subways. And similar to creating and producing a graffiti, a "Piece", also the styles of Line44 are superposed in layers.

Twentytwelve typefaces are the outcome of my project at the Jan van Eyck Academie in 2012. There're two sets of numbers: lowercase proportional and uppercase tabular (OpenType Stylistic Set 1).

Ulissia is a hand-drawn slab serif typeface with a strong character. It reminds me of the 50s, 60s and the film noir period or of old Wild West movies.

Twentytwelve typefaces are the outcome of my project at the Jan van Eyck Academie in 2012. There're two sets of numbers: lowercase proportional and uppercase tabular (OpenType Stylistic Set 1).

Oriental Ornaments was inspired by the ancient design motifs of the far east. There is an assortment of 85 ornaments located under the character set and shift + character set keys.

Twentytwelve typefaces are the outcome of my project at the Jan van Eyck Academie in 2012. There're two sets of numbers: lowercase proportional and uppercase tabular (OpenType Stylistic Set 1).

Human Silhouettes are inspired by people and daily situations. It includes a wide variety of topics and may be used individually or in combination with wide range of design possibilities.

Goudy Catalogue was designed by Morris F. Benton in 1919. A medium weight adaptation of the of the original Goudy design, it is about 15 percent heavier than the Oldstyle.

Interlaced Ornaments is composed of various geometric shapes appearing to be woven together. There is an assortment of 69 ornaments located under the character set and shift + character set keys.