Venetian 301 is the Bitstream version of the Centaur type family. Centaur was designed by the American book designer Bruce Rogers on the basis of Venetian typefaces of 1470 of Nicolas Jenson. Beautiful Italic based on a face by Ludovico degli Arrighi was developed by Frederic Warde who was an American calligrapher and typography researcher was added as Italic to Centaur. Adapted for mechanical composition by English Monotype in 1929. Its lettershapes owe much to pen-drawn letters of Italian humanist minuscule and cursive. This elegant humanist face is useful for the finest typography both for book text and display matter. Cyrillic version included small caps was developed for ParaType in 2003 by Dmitry Kirsanov.

This set of initial decorated letters is an entirely original creation, drawn inspired by Italian renaissance engraver Vespasiano Amphiareo's paterns published in Venice circa 1568. It contains two roman alphabets : the first of large Initials, the second of small caps. Both containing thorn, eth, L & l slash, O & o slash. It can be used as variously as web-site titles, posters and flyers design, publishing texts looking like ancient ones, or greeting cards, all various sorts of presentations, as a very decorative, elegant and luxurious additional font... This font is conceived for enlargements remaining very smart and fine. The original height of the initials is at least about one inch equivalent to about four lines of characters, small caps may have the same height than the caps of the font used with, but cover two lines is better. This font may be used with all GLC blackletter fonts, but preferably with "1543 Humane Jenson", "1557 Italic", "1742 Civilite", "1776 Independence" without any fear for doing anachronism.

Venesia is a beautiful and clean font with an ornamental style, perfect for use in various designs such as mugs, t-shirts, invitations, greeting cards and more

Supreme decorative typeface, with wedged display serifs.

Linotype Venezia Initiale is part of the Take Type Library, selected from the contestants of Linotype’s International Digital Type Design Contests of 1994 and 1997. Designed by German artist Robert Kolben, the font is based on the classic forms of Roman writing in the 1st and 2nd centuries found chiseled on countless buildings and monuments. Linotype Venezia Initiale is a timeless, elegant font particularly well-suited to headlines or as initials in combination with other fonts, working especiall well with sans serif alphabets.

Doge’s Venezia is one of a set of four typefaces, the others being Doge’s Delight, Doge’s Darker and Doge’s Banner. Together they make up a splendid family of Victorian inspired Tuscan faces, allowing for an integrated design approach.

This is a simple excursion into taking a prototype and recasting it along different lines, emphasizing the spontaneity of a hand cut look. It is primarily meant for the printed page.

Bold Sans Serif.

Based on the extrabold extended version of Venus, a typeface originally issued by Bauersche Giesserei from 1907 to 1927. Use it when you want to be heard loud and clear. Both versions support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Derived from the world famous Rennie Mackintosh Font, the Venezia version gives a very modern look to this classic font, especially when filled with a gradient fill in a graphics package such as Photoshop or CorelDraw - although it even looks great "out of the box". The Venezia name comes from the native name of the city of Venice - one of several Italian cities Mackintosh visited on a sketching tour of Italy early in his architectural career. Venice was also one of the venues of an exhibition of Mackintosh's work on a European tour.

Bluenote is a font based on Franklin Gothic condensed. In the 60s and 70s the record label Blue Note published all those classic jazz records of my youth. Someone at their arts department cut letters to ribbons and designed wonderful record covers with those fragmented glyphs. I recently had a look at my music collection and rediscovered these letters. Being a hard-working type designer I couldn't resist the challenge, here is the result from your dilligent designer Gert Wiescher

Introducing Demine – Condensed Bold Sans Serif Font The Perfect Typeface for Large Displays Demine – Condensed Bold Sans Serif Font is an ideal choice for meeting your large display typography needs. With its distinct features, this font stands out in the world of design. Bold Impact for Attention Demine’s bold design unquestionably captures attention. Whether it’s billboards, posters, or signage, this font excels in conveying a powerful message that can’t be ignored. Furthermore, it ensures that your content immediately seizes the viewer’s gaze. Optimal Readability Even at Scale Despite its condensed form, Demine prioritizes readability. Each character is thoughtfully crafted to remain clear and legible, ensuring your message is effectively communicated, even at larger sizes. Consequently, it guarantees that your audience can easily comprehend the content. Versatile Design Applications Demine’s versatility shines through in various design applications. It’s not limited to headlines; it also excels in branding, packaging, and any project where making a bold statement is essential. As a result, it can adapt to a wide range of creative endeavors. In Conclusion Demine – Condensed Bold Sans Serif Font epitomizes typography that marries boldness with clarity. When you need your message to shine large and clear, Demine is your go-to choice. Elevate your designs with Demine’s impactful presence, and witness your message soar to new heights, leaving an indelible impression on your audience.

Dexy is an interesting font that seems reminiscent of car model brandings.

I accidentally fell in love with type design, and more specifically, the inscription on the historic Bemis building in Seattle. A high waist and great contrast are characteristics of this classic caps lettering that inspired my debut typeface, with additions of 3/4 caps and ornaments to boot. Read and hear more about the creation of this digital revival.

Archimoto V.01 Responded to the design of working drawing techniques in the world of architecture and letters on old stuff photography lens bodies, archimoto is designed with a more modern form, a little touch of detail in the corner area is so smooth that it aims to provide comfort to the eyes, by bringing 20 sizes including italic archimoto can be used more freely and can be adjusted more extensive exploration of its use. archimoto can be used as headlines and body text, the level of readability that looks comfortable makes the arrangement of letters more beautiful.

Aldine 401 is a Bitstream version of Bembo type family. It was designed on the base of artwork of Francesco Griffo for Aldus Manutius. Originally the font appeared in “De Aetna” in 1495 — the book by Pietro Bembo about his journey to Mount Etna. Griffo’s design was one of the first old style typefaces followed by Garamond. It was the forerunner for the standard text types in Europe for the next two centuries. A modern version of Bembo was designed at Monotype under the supervision of Stanley Morison in 1929. Aldine 401 is still very popular in book design due to its well-proportioned classic letterforms and lack of peculiarities. Italic was based on the handwriting of Giovanni Tagliente. Books and other texts set in Aldine 401 can encompass a large variety of subjects and formats because of its classical beauty and high readability. Cyrillic version was developed by Isabella Chaeva and released by ParaType in 2008.

Byte 305 is a modular font, resulting from experiments in creating a practical, legible font from a minimum set of geometric components on a uniform grid. It has full upper and lower case character sets and includes all accented characters for Western and Central European languages. It's available in three styles – 105, 205 and 305. Each style has different corners, 105 is square, 205 is bevelled and 305 is round. Each style is available in three weights, Light, Medium and Bold.

Introducing the first typeface by Azure studio, Space 101! Space 101 is a handcrafted chalkboard reminiscent typeface with irregular slender lines and a quirky personality. This typeface is perfect to add character and charm to bodies of text and heading where the slight imperfections tie your whole design together. The inspiration for Space 101 was found in an old signwriting book. The character shapes were updated and improved while still retaining the same charm. The typeface gave me interstellar space travel vibes reminiscent of early books based around space travel, which is why I decided to call it Space 101. I hope you enjoy this typeface and if you have any questions or comments get in touch. I'd love to hear from you. fonts@azurestudio.co.nz