A skillful revival of the Uncial by S.H. de Roos for Lettergieterij Amsterdam in 1938.

Herbert Thannhaeuser’s Gravira, released by Schelter & Giesecke in 1935, redrawn and revived for nowaday’s use.

The Timeless Letterforms of Rennie Mackintosh inspired by the graceful lines and textures of Papyrus.

This font was inspired by my sister Emily's handwriting. She has neat, fluid cursive handwriting.

Maplehurst JNL is an original design by Jeff Levine with a strong Art Deco influence.

Blocky Shape is a bold script with attractive features. Get inspired by its unique style!

typeface based on old lettering by an 1930's advertise lettering in a Flight Magazine

Lovebug is a casual, warm font inspired by the curves of balloons and squishy jelly.

An informal script designed for ATF as an italic for his Piranesi by W.T. Sniffin.

Commercial Script No2 is a bold weight of a moderately flourished script published by SoftMaker.

Ballpoint Signature is made with natural hand-drawn inspired by beautiful handwriting, and includes alternates.

Radiac is a semi-monospaced unicase design inspired by lettering constructed from pieces of tile.

Nacho Rough! A dirty version accompanied by a Thin version, including a set of dingbats.

The most popular type of this kind, designed for ATF by M.R. Kaufmann in 1936.

This font family was inspired by lettering found on old letterheads from the 19th century.

Designed by Georg Trump in 1938, this typeface was Weber’s answer to Ludwig & Mayer’s Candida.

A crisp, geometric semiscript, based on the font Adonis, originally released by American Type Founders.

Another font by Hilde Rikken (age 10) with crazy serifs and almost every special sign.

An elegant typeface with rounded corners influenced by the work of Visual Graphics Corporation ( VGC ).

The monospace companion to Jim Lyles’ Prima Sans, designed by colleague Sue Zafarana at Bitstream.

Switched On and Switched Off where two fonts developed by placing points on a pre-defined square grid template. The experiment was to explore all the variations possible by just using straight connecting lines on a grid. I stumbled on the final concept, almost accidentally, and was amazed by the numerous possibilities. Both designs where created to work together. By adjusting the stroke and inline proportions between the two fonts, I was able to achieve a good overall color balance between 'Switched On' (dark letters on a light background), and the 'Switched Off' design as a knockout treatment (light letters on a dark background). Used in this way, both fonts visually appear similar in overall weight and proportion. They harmonize well together. Used separately, they make for some interesting visual effects and headline treatments. The fonts are best used at large point sizes, but they are still legible in a variety of smaller sizes. I think that by experimenting with these two fonts one can achieve some stunning visual effects. Explore and have fun.

ITC Eras font is the work of French designers Albert Boton and Albert Hollenstein. It is a typical sans serif typeface distinguished by its unusual slight forward slant and subtle variations in stroke weight. ITC Eras is an open and airy typeface inspired by both Greek stone-cut lapidary letters as well as Roman capitals.

Ideal for magazines, posters or flyers, Inlove is a modern take of Ariel Di Lisio’s passion for geometric and very contrasted typefaces. Because the strong influence over his work, Ariel was invited during 2009 to be part of the Herb Lubalin Exhibition at New York. Designed by Ariel Di Lisio and digitized by Ale Paul.

Building a modular digital typeface is like playing with the pieces of a Lego. Possible combinations are induced by the shapes of the pieces. All designers must have tried something like this once. Bitmap is a simple unpretentious font. It is the first pixel font made by the Brazilian typeface designer Buggy in 2001.

Propagate is a font display is made by hand, inspired by classic posters. Propagate comes with uppercase, lowercase, numerals, punctuations and so many variations on each characters include opentype alternates, common ligatures and also additional swash to let you customise your designs. Perfect to use for Logotype, Letterhead, Poster, Apparel Design, Label and etc.

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.

A font design of Paul Zimmermann, first released by Ludwig Wagner, Leipzig, in 1960, now revived and extended by Central European, Baltic, and Turkish character sets and their small caps. This font contains both lining and oldstyle numbers. To get access to all ligatures, it is recommended to activate both standard and discretionary ligatures.

Stencil Punch JNL is modeled from lettering examples made by a Diagraph stencil cutting machine. Diagraph was the first company to make the stencil punch machines used in industry and by the military. Thanks to Neal Haynes for his kindness and assistance in providing me with sample cuts direct from the company's machine testing department.