Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as "modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. The Bauer Bodoni was done by Heinrich Jost for Bauer Typefoundry in 1927. This version has finer details of the original Bodoni types. It works well for headlines, logos, advertising.

When Hal Taylor saw the 1930 logo for the Stetson Shoe Company of Weymouth, Massachusetts, he didn't run out and buy a pair of loafers. Instead, he seized on this striking example of an Art Deco logotype as the basis for a new typeface design. “I was impressed with the delicate and sophisticated letter forms,” Taylor recalls, “particularly the enlarged cap S -- in any other case it would have seemed unbalanced, but in the context of this logo, it worked perfectly.” All the letters in the original all-caps Stetson Shoe logo were rendered with condensed proportions except the O, which was a perfect circle. While the prominent O added visual interest to the logo, Taylor knew that such a character would limit his typeface to display applications. For versatility's sake, he drew his O for ITC Stepp with the same proportions as the rest of the alphabet. Taylor also gave the logotype's inverted S a more traditional design, but kept the original as an alternate character in the OpenType font. Taylor's toughest challenge during the design process was creating a lowercase. “A good type design tells you what it wants to be,” he says, “and after a little while the Stepp caps began to tell me what the lowercase should look like.” Taylor's lowercase is slightly more conventional than the caps. The jaunty g" and almost upside-down "s" add subtle charm, while the capital letters provide the broader gestures of Stepp's personality. Together, they create a versatile and distinctive typeface design. One of Hal Taylor's first jobs was as a photo-lettering typographer in Philadelphia, setting headlines and creating custom lettering. This was followed by a stint doing finished lettering for John Langdon, whose ambigrams appear in Dan Brown's best-selling novel, Angels & Demons. Today, Taylor works as a graphic designer in the publishing industry, but he still finds time to create an occasional hand-lettered book jacket, and draw handsome typeface designs. ITC Stepp is available in four weights, ranging from Light to Ultra Bold. All four weights have companion italics, and the lightest three weights also offer a suite of small caps."

TT Phobos useful links: Specimen | Graphic presentation | Customization options TT Phobos is a pliable display serif with a soft and gentle character. The features of the typeface are the moderate contrast between bold and thin strokes, pliable visual compensators, and the counter-clockwise bend of internal ovals. In addition to 6 weights and 6 italic, TT Phobos also includes two original decorative fonts, inline and stencil. Despite its pliability and display character, TT Phobos is dynamic enough and is well suited for text arrays even in large text blocks. The serifs of letters are completely asymmetrical and bring in dynamics when reading the text from left to right. Thanks to the harmonious contrast of black and white forms and internal negative spaces of the letters, as well as its broad letter spacing, the typeface is well read in small sizes. In this case, the character of the letters is completely preserved, partially thanks to the exaggerated elegant visual compensators. The ornamental pattern used in TT Phobos Inline varies for capital and lowercase letters. Capital letters implement a more complex double inline with a rhombic element in the middle, and in the lower case features a simplified form of the inline, made in a single movement. Thanks to the original cutting, TT Phobos Stencil stands out for its expression, and the rounded cuts add even more visual style to the font. TT Phobos consists of 14 faces: 6 weights (Light, Regular, DemiBold, Bold, ExtraBold, Black), 6 Italics, inline and stencil. There are 17 ligatures in TT Phobos, including several Cyrillic ones. The typeface has stylistic alternates, which adds an italic effect to the upright fonts, and a little solemnity of the upright version to the italics. In addition, we have not forgotten about the old-style figures and other useful OpenType features, such as ordn, sups, sinf, dnom, numr, onum, tnum, pnum, liga, dlig, salt (ss01), frac, case.

Toshna is a classic garaldic typeface family offering three real optical type sizes. The Display weight for titles and headlines is kept very tall, thin and graceful. The Book weight for body text is drawn essentially wider, more round with robust, bold details. The punctuations and accents strictly serve the demands of body text. They are substantially bigger and more readable. Despite the fact that the width is running economically, the user notes the fonts ‘big face, that qualifies for eye friendly long texts.

Designed and built in London by TypeUnion, Silo Slab is a fluid slab serif typeface embodying energetic curves and a clean, functional structure. The Silo Slab Family is made up of 6 weights, which range from a delicate Extra-Light, all the way through to a punchy, loud Extra-bold and each carry a versatility for multiple applications and uses. Each weight has a matching italic. Silo Slab features open type alternate characters, and extensive language support to provide a flexible, substantial user experience.

Epitet, a subtle compact type family with a modern mixture of geometrical and simple shapes, comes in 6 weights, from Thin to Bold. It is a clean elegant sans serif typeface, with a small x-height. Epitet is highly legible in all sizes. Very versatile and easy to use, Epitet can be used in a wide range of corporate and editorial applications. I'm sure Epitet could get even more epitets, but the appropriate use of Epitet would be the biggest one it could get.

Ingenious Groovy font is a type of display font that emerged in the 1960s and 1970s during the psychedelic era. It features bold, curvy lettering with an exaggerated cursive style, incorporating elements such as swirls, loops, and curves. The Groovy font is designed to give off a sense of retro vibrancy, and it is often used in advertising, music covers, and other whimsical design projects. The font is available in a variety of colors, including bright yellow, orange, and pink, adding to its playfulness and funkiness.

Azero is a extra heavy sans serif font with four style variations. The uppercase alphabet in particular is stylized to feature a wavy baseline on many of the characters, for a unique look that's just enough to add some unusual vibe and uniqueness. When your layout calls for heavy type with a wide (but not too wide) look, Azero is a strong choice. Great for bold headlines, logos, branding, wide horizontal banners, themes with a Hispanic flair, fitness products, food packaging, or retro poster styles.

French type designer Xavier Dupré created this serif FontFont in 2003. The family has 8 weights, ranging from Light to Bold (including italics) and is ideally suited for advertising and packaging, festive occasions as well as editorial and publishing. FF Angkoon provides advanced typographical support with features such as ligatures, small capitals, alternate characters, and case-sensitive forms. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. In 2004, FF Angkoon received the TDC2 award.

Alesand A new contemporary font family designed with balance and versatility. The addition with outline and extrude font styles, makes it very simple to coat these fonts together perfectly. Simply duplicate the "Extra Bold" layer and change the setting to "Outline, Extrude", and the type will be automatically offset for you! And supports international communication extending to Western languages. Perfect for displays, headers, invitations, save the dates, weddings, brand creation, graphic design and so much more, Alesand will become a playful staple in your font library!

Strong Beast is a BOLD AND STRONG ALL CAPS organic hand-drawn typeface. This item consists of 7 FONTS in various styles which you can play around with it. NOTE : Please Check the Help File first and for all the characters are also available, accessible in the Adobe Illustrator Glyphs Panel, or in Adobe Photoshop Character Open Type Panel. We hope you enjoy the font, please feel free to comment if you have any thoughts or feedback. Thanks for purchasing and have fun! Regards, Ironbird Creative

British type designer Neville Brody created this display FontFont in 1991. The family contains 3 weights: Light, Medium, and Bold and is ideally suited for advertising and packaging, festive occasions, editorial and publishing, logo, branding and creative industries as well as poster and billboards. FF Blur provides advanced typographical support with features such as ligatures, alternate characters, and case-sensitive forms. It comes with tabular lining and proportional lining figures. In 2011, FF Blur was added to the MoMA Architecture and Design Collection in New York.

The hand lettered title on the cover for the (ca. 1917) sheet music for “After the War is Over” provided the design inspiration for National Nouveau JNL, which is available in both regular and oblique versions. A precursor to the Art Deco movement which would arrive within the next decade, this bold thick-and-thin design embraces the elements of both Art Nouveau and Art Deco in one type design and gets its name from the patriotic spirit of America during “The Great War”.