One in the series of fonts called Whiz-Bang Wood Type, intended to be set large and tight. Spindletop’s ultra-condensed letterforms allow a lot of information to be packed into little horizontal space. Named for a famous East Texas oil field that made a lot of people rich in the early part of the twentieth century. Both versions of this font include the complete Unicode 1252 Latin and Unicode 1250 Central European character sets.

The Vtg Stencil series of fonts from astype are based on real world stencils. The UK No. 76 design was derived from authentic stencil plates from Great Britain. UK No.76 comes in four flavours – the Regular style and the Alt style with alternate and shorter forms of the letters M, W and the figure eight. Since summer 2015 both styles are now available in a Rough version with an extended glyph randomizer. PDF Specimen

This willowy wonder is based on Morris Fuller Benton’s Stymie Obelisk, one in a series of typefaces he designed for American Type Founders in the 1930s. An obvious choice when real estate is at a premium, its classic forms will add just the right amount of punch to any headline it graces. Both versions include complete Latin 1252, Central European 1250 and Turkish 1524 character sets, with localization for Moldovan, Romanian and Turkish.

Tenby is a series of modular geometric display sans serif fonts with a hint of Art Deco combined with a 1980s finish. The fonts' underlying grid is ten squares high. Their widths correspond to condensed (Tenby Four), normal (Tenby Five) semi-extended (Tenby Six), extended (Tenby Seven), and extra-extended (Tenby Eight). Each contains two weights, light and regular. Although smaller text sizes are still quite legible, the fonts work better at large sizes.

A personal calligraphic series commissioned by Bitstream from Gudrun Zapf von Hesse. Although Carmina BT is a neutral design, optimized for use in digital publishing, Zapf von Hesse’s unique calligraphic spirit is still quite visible in the family’s letterforms. This is not surprising, as all of Zapf von Hesse’s typefaces are calligraphic in nature. Yet Carmina BT is suitable for almost any conceivable digital text application, from book design up through signage use.

One in the series of fonts celebrating the Halcyon Days of Handlettering. Strongs Draughtsman is a monoline font that evokes the sensibilities of the early twentieth century. Based on a font called "architects' pen strokes" as delineated by Lawrence and Charles Strong in their The Art of Show Card Writing from 1922. Both versions of this font contain the Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

In 1994, Apple® Computer, Inc., asked David Berlow for “a future gothic” to replace Chicago®, their system font. Now called Charcoal®, the design was released with Mac® OS 8 in 1996. Through operating system bundles it found its way into every form of design. Released from constraint, Berlow designed Truth FB, a radical series with a spectrum of seven weights. Like its forbear, Truth FB opens new design avenues; FB 2005

In 1937, Morris Fuller Benton designed Empire, titling capitals that became the headline style for Vogue magazine. In 1989, David Berlow revived it for Publish magazine, adding an italic and a lowercase, both unavailable in the original. He revisited Empire in 1994 with Kelly Ehrgott Milligan, adding two heavier weights, small caps, and an elegant set of Art Deco–flavored oldstyle figures, ultimately expanding it to a seven-part series; FB 1989–94

Sadina™ is the first font family in Sadina's series, based on geometric modernism with a classic touch. Designed with triple thicknesses to build a beautiful mix between modern humanist style, contrast, and classic sense, it provides support for double linguistic zone scripting in the world, depending on "Western European and Cyrillic" languages. It supports Professional Opentype features and supports a wide variety of alternative letters and styles for scripting and an attractive titling.

A redesign of drawings of News Gothic from the Smithsonian, Cyrus Highsmith and the Font Bureau studio created Benton Sans, one the most popular and versatile families in this genre. This version of the family is part of the Reading Edge series of fonts specifically designed for small text onscreen, having been adjusted to provide more generous proportions and roomier spacing, and having been hinted in TrueType for optimal rendering in low resolution environments.

Kroppen Round is a geometric, stencil-style font based on Talbot Type Kaleko Round, and is available in four weights. Kroppen is not strictly a stencil font given that several characters, notably the O, are not stencilled. The design has more to do with achieving each character from a single stroke, or series of single strokes. Kroppen Round features an extended character set to include accented characters for additional Central European languages.

The ITC Klepto™ typeface from Phill Grimshaw is a hunkered down, bulldog blunt design. It's bold, rough around the edges, and more than a little quirky. ITC Klepto's extended character set, however - which even includes Greek and Cyrillic designs - makes the face a versatile international player. Grimshaw claimed that the name "Klepto" was a natural because the design was stolen from a series of headlines he drew for an advertising campaign

The Bing family is an experimental series of type designs inspired by classic movie marquees and contemporary fabricated signage. The Bing family consists of a multiple contour Inline, a single contour monoline Script derived from the Inline interior, and a single contour Black derived from the Inline exterior. All Bing fonts can be specified independently at medium and larger point sizes, or all three may complement one another as a type system.

Umerica first made its appearance in 2007 as a series of characters in a pdf I posted to Typophile. It has taken a lot of time, and determination, for me to finally decide to complete it. I had the basic font completed in 2008, but put it aside as the creation of the italics it deserved were beyond me. That was then. Now the italic version has finally been added twelve years later.

The Bermuda Family was designed by Garrett Boge and Paul Shaw, in the vein of freely-drawn showcard lettering — jaunty, fun and friendly. In fact the drawings were made with a Speedball™ B-series pen nib, the stock tool of the showcard letterer. Bermuda Open is a stroked outline version and its character shapes are repeated in the other three styles, each with a separate fill variant — Solid, Dots and Squiggles.

Contax Pro is a contemporary design based on generous proportions and clean, crisp lines. Forget about 'Helvetica'. Look out 'Univers'. Contax Pro is the new geometric sans typeface series for the 21st century. Contax Pro makes for easy reading and is ideal for long lines of copy. Contax Pro includes true drawn small capitals and old style figures. The family comes in 6 weights: ultra light, thin, light, regular, medium and bold.

I've always admired the work of Rudolph Koch. Culpepper is what I think Neuland would have looked like if it had been developed with lowercase, small caps and a range of weights. I started work on this series in the late 80’s and, like so many of my ideas, it was shelved when life drew me in another direction. Culpepper is the name of one of the islands in the Galapagos chain.

Happy Halloween (and All Souls Day and Day of the Dead)! I’ve seen other fonts made up of bones of various kinds, but none with this variety. Henry Gray’s Anatomy of the Human Body (the book, not Grey’s Anatomy, the TV series) was heavily scoured to find more unusual bones shaped like letters. You’ll find Los Muertos both fun and appropriate for the up-coming holidays. (Uppercase is Solid, lowercase is Outline).

Ornata B is the second of a series of old ornaments that I am trying to save from oblivion. I am not just scanning these, I am completely redesigning the ornaments from scratch, thereby eliminating imperfections. These ornaments have been first designed by the Elzevier printer family from the Netherlands. The designs date back til the 17th century and I think they just had to be saved. Your digitizing type-designing savior, Gert Wiescher

Mithella is a sans serif family with a pleasant touch. Some letters, especially linear ones, look normative like other rounded sans serifs, but the difference can be seen clearly in curved letters so that it gives a pleasant impression for each series of words. Mithella comes with eight weights ranging from thin to black to complement your design needs be it branding, blogging, logos, advertising, games, cooking, packaging, editorial and publishing, web and screen design.

Comic books based on popular characters have been around pretty much since the advent of comic books themselves. An edition of the "Car 54 Where Are You?" series published by Dell (and based on the hit TV show created by Nat Hiken) displayed "Car 54" in a bold hand lettered stencil design on the cover. These few characters became the inspiration for Patrol Car Stencil JNL, which is available in both regular and oblique versions.

Raleigh was produced in 1977 by Robert Norton based on Carl Dair’s Cartier typeface which was designed for the 1967 Montreal World's Fair. It was renamed after Dair’s death. Adrian Williams added three weights for a display series, and Robert Norton developed the text versions. A contemporary old style serif with calligraphic features. For use both in text and display typography. Cyrillic version was developed at ParaType in 2001 by Vladimir Yefimov.

Eckhardt Signwriter JNL is based on a casual display lettering face popular with many sign painters and show card writers of yesteryear, best suited for large print projects. Jeff Levine has named this font (along with others in a series) after the late Albert Eckhardt, Jr. (1929-2005) who had owned Allied Signs in Miami, Florida from 1959 until his passing. Al was a talented lettering artist and a good friend to Jeff.

Confident and versatile, Lust Pro™ is an exercise in indulgence—an attempt to create something over the top and vastly useful. If Lust Pro seems both new and familiar, that’s because it is. The series unapologetically channels Herb Lubalin, but produced with a deliberate, contemporary twist. There is an intentional slyness infused in the letterforms—the extreme thick and thin lines flow effortlessly without becoming gratuitous. It’s always just enough, not too much. What makes the type series so appealing? The curves. When asked to describe the letterforms, most people unwittingly allude to the human form, using adjectives usually reserved for describing physical traits… creating all-too-familiar comparisons. Summerour has grown to accept this as unavoidable and reasonable given his acknowledgement of its influences and has provided nuances within the letterforms to accentuate that. Intended to be set large, the typeface boasts 3 widths and 5 weights and matching italics for both the Regular and Didone variants (that’s 60 fonts in total), making it perfect for editorial use and a highly flexible solution for any display need.

This is a free abridged edition of the full-featured Gutenberg B and Gutenberg C fonts. Although (as the name suggests) it was originally conceived as the first release in the B42-type series, it actually represents the colophon to this series. In addition to having a narrower scope, the font differs from its full-featured predecesors in both letter and word spacing, as well as in glyph design, using exclusively straight lines for every glyph and providing a significantly rough appearance at medium to large point sizes. The font includes the usual standard characters for typesetting modern texts, as well as a few special characters, alternates and ligatures that can be used for typesetting nearly as in Johann Gutenberg’s 42-line Bible and later incunabula. Please note that the use of this free font is subject to the same terms and conditions as those for Alter Littera’s pay fonts. Specimen, detailed character map, OpenType features, and font samples available at Alter Littera’s The Oldtype “Gutenberg A” Font Page.

Glyphic Neue was inspired by the Op Art style of lettering in the United States that ran rampant in many photo type houses in the 1960's and 1970's. The Glyphic Series from the Franklin Photolettering group was an influence and spring board for this family of fonts, hence it's name. But Glyphic Neue departs from its unicase Franklin influence in several ways. Firstly the designer created both upper and lower case forms. The lowercase has been designed with barley protruding ascenders and descenders and with an x-height equivalent to the cap height, so that upper and lower can be exchanged indiscriminately for a quirky effect. Some of the letters take a cue from the original Glyphic series but many have been redesigned entirely to fit the designers vision. The italic forms differ enough from the upright version making it almost an entirely different display alphabet. Glyphic Neue is a versatile family of 6 fonts -- 3 widths, each with an accompanying italic that look equally at home when used on a party flier or a sports team visual identity.

Confident and versatile, Lust Pro™ is an exercise in indulgence—an attempt to create something over the top and vastly useful. If Lust Pro seems both new and familiar, that’s because it is. The series unapologetically channels Herb Lubalin, but produced with a deliberate, contemporary twist. There is an intentional slyness infused in the letterforms—the extreme thick and thin lines flow effortlessly without becoming gratuitous. It’s always just enough, not too much. What makes the type series so appealing? The curves. When asked to describe the letterforms, most people unwittingly allude to the human form, using adjectives usually reserved for describing physical traits… creating all-too-familiar comparisons. Summerour has grown to accept this as unavoidable and reasonable given his acknowledgement of its influences and has provided nuances within the letterforms to accentuate that. Intended to be set large, the typeface boasts 3 widths and 5 weights and matching italics for both the Regular and Didone variants (that’s 60 fonts in total), making it perfect for editorial use and a highly flexible solution for any display need.

David Berlow undertook the revival of Frederic W. Goudy’s Village family in the early ’90s as the first real step in the successful redesign of Esquire magazine. Goudy originally cut Village No. 2 in 1932 to bring early ideas up to date, adding the italic a year or two later for his own satisfaction. Font Bureau expanded Village, the model for Goudy’s mature style, into a ten-part series designed for Esquire’s use in text and display; FB 1994

Noah’s Ark was designed to combine it with the bestiary animal series I designed. A simple font, well harmonized with the highly synthesized designs of animals and insects. So, it seemed natural to use them for posters. Noah's Ark is a stylized font with a constant stroke, which stands between writing and the typeface. Its design is inspired by the fonts used in the 1940s. It is made up of linked letters, excluding numbers and other signs.

In 1903, faced with the welter of sanserif typefaces offered by ATF, Morris Fuller Benton designed News Gothic, which became a 20th-century standard. In 1995 Tobias Frere-Jones studied drawings in the Smithsonian and started a redesign. Cyrus Highsmith reviewed News Gothic, and with the Font Bureau studio expanded it into Benton Sans, a far-reaching new series, with matched weights and widths, offering performance well beyond the limits of the original; FB 1995-2012

Palio is a family of fonts derived from the classic Didone, its capitals are slightly condensed and the lower case definitively abandon the reminiscent of the baroque endings strokes, which are still endure in many typefaces. It is an elegant font especially the slant version that actually is a truly italic. This version very readable and is enriched with a series of alternative variables and swashes that make it more expressive for certain projects that need some flowering.

In 1966 and 1967 a series of weird events spooked Point Pleasant, a small town in West Virginia. Townspeople described a creature that looked like a man, with red eyes and moth-like wings, which appeared at several locations around town. The Mothman myth was born. Mothman font is spooky as well. It is a very scratched and distorted typeface, completely hand drawn, using ink and various sharp utensils. Mothman font will surely leave a lasting impression!

Apres is a clear and comfortable typeface from David Berlow, originally designed for the Palm Pre smart phone. This humanist geometric design projects a friendly and forthright familiarity, without being static or mechanical. This version of the family is part of the Reading Edge series of fonts specifically designed for small text onscreen, having been adjusted to provide more generous proportions and roomier spacing, and having been hinted in TrueType for optimal rendering in low resolution environments.

Eckhardt Titling JNL is another treatment of a popular typeface that lends itself well to the hand-lettered sign and display work of days past. A clean sans serif with a slight touch of Art Deco, this font renders well from small point sizes to large posters. As with other fonts in this series, it is named in honor of Jeff Levine’s good friend Albert Eckhardt, Jr. who owned Allied Signs in Miami, Florida from 1959 until his passing.

Suggested by J.M.Bergling’s 1917 “New Romeo Initials, Last Midnight is a display face created in a distinctive pseudocalligraphic Belle Époque style that we’ve come to associate with beloved fairy tales. Rich in typographic goodies, with two additional stylistic sets and a host of standard ligatures, Last Midnight now even has a Roman small caps set in both smooth and rough varieties — great for all of your tale-telling, folkloric, swashbuckling, & spellcasting needs! Part of The Ampersand Forest's Sondheim Series.

This family is based on an offering in Barnhart Brothers & Spindler’s Type Specimen Catalog No. 9, issued around 1910, originally named "Grant". It makes a handsome addition to the Whiz-Bang Woodtype series, and is available in both a Rustic and Refined version. Named for a town in Texas, which the locals pronounce "Reh-FURRY-o". Both versions of this font contain complete Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

Based on the 10- and 36-point Diethelm-Antiqua types designed by Walter Diethelm and issued by Haas (Münchenstein) 1948-51. DiethelmAR™ series text-size fonts are based on the 10-point designs. Eastern European accents, swash capitals, alternative figures and small capitals are available. The DiethelmARd fonts are based on the 36-point (dreicicero) designs. OpenType fonts are available individually or in two packages: text fonts (with EE accents, small capitals) and display fonts.

A new series of eclectic decorative initials, Capital Ideas 1 NF features numbers and uppercase letters rendered in nixietube displays, along with a whimsical walk through the alphabet patterned after Milton Glaser's Hologram. Capital Ideas 2 NF features K. H. Schaefer's eponynmous Versalien for Schriftguss AG in 1927, and Walter Haettenschweiler's Breitfette Unziale from 1958, along with a fancy nine-element box border. Dressing up your next projects with these snappy caps is, indeed, a capital idea.

Abitare Sans was originally commissioned by the group Rizzoli Corriere della Sera. It’s a typeface of 30 weights designed to be used in Abitare magazine. The request of the president Mario Piazza was a new CP Company with some redesigned glyphs, but the result is a radical evolution of its concept being intended to be used as a font for text far more readable. In Abitare Sans the geometric structure was kept without neglecting the numerous editorial requirements.