Ilustrations of different "moves" in Mexican wrestling; a sport popular in the late 60s and 70s.

A unique, special historical font. Add the feeling of the '60s to you designs with Dymond.

A hot revival of the 60s and 70s a great headline face with that retro look.

Futura is the fully developed prototype of the twentieth century Geometric Sanserif. The form is ancient, Greek capitals being inscribed by the Cretans twenty-five hundred years ago at the time of Pythagoras in the Gortyn Code, by the Imperial Romans, notably in the tomb of the Scipios, by classical revival architects in eighteenth century London, which formed the basis for Caslon’s first sanserif typeface in 1817. Some aspects of the Geometric sanserif survived in the flood of Gothics that followed, particularly in the work of Vincent Figgins. In 1927, stimulated by the Bauhaus experiments in geometric form and the Ludwig & Mayer typeface Erbar, Paul Renner sketched a set of Bauhaus forms; working from these, the professional letter design office at Bauer reinvented the sanserif based on strokes of even weight, perfect circles and isosceles triangles and brought the Universal Alphabet and Erbar to their definitive typographic form. Futura became the most popular sanserif of the middle years of the twentieth century. Ironically, given its generic past, Futura is the only typeface to have been granted registration under copyright as an original work of art, and, further irony, given the key part played by the Bauer letter design office, the full copyright belongs to Renner and his heirs. This decision in a Frankfurt court implies that a further small group of older typefaces may also be covered by copyright in Germany, particularly those designed for Stempel by Hermann Zapf. This situation appears to be limited to this small group of faces in this one country, although protection of designers’ rights in newer typefaces is now possible in France and Germany through legislation deriving from the 1973 Vienna Treaty for the protection of typefaces. Mergenthaler’s Spartan is a close copy of Futura; Ludlow’s Tempo is less close. Functional yet friendly, logical yet not overintellectual, German yet anti-Nazi... with hindsight the choice of Futura as Volkswagen’s ad font since the 1960s looks inevitable.

Pirouette is based on a logo that Japanese designer Ryuichi Tateno created for a packaging design project in 1999 (a shampoo container!). Tateno's logo experimented with complex, overlapped swash letterforms. He continued to develop these outside of the initial packaging project, until they took on a life of their own. Eventually, Tateno designed a full typeface out of the logo, Pirouette, which was the first place display face in Linotype's 2003 International Type Design Contest. The Pirouette typeface contains six different fonts. The basic font is Pirouette Regular. This is an engraver's italic lowercase paired with elaborate swash capitals. The swash capitals have two visual elements in their forms: thick strokes and thin strokes. Pirouette Text includes the same lowercase as Pirouette Regular, but the uppercase letters are much shorter and simpler. This "text" font can be used to set longer amounts of copy. Pirouette Alternate contains different lowercase glyphs and additional ligatures, which can be used as substitutes for the lowercase forms in the Pirouette Regular and Pirouette Text fonts. Pirouette Ornaments contains swashes and other knick-knacks that can either be added onto the end of a letter, or used as separate decorative elements or swooshes (accolades) on a page. Pirouette Separate 1 and Pirouette Separate 2 are two fonts that can be layered over top of one another in software applications that support layering (e.g., most Adobe and Macromedia applications, as well as QuarkXPress). Pirouette Separate 1 contains the thick stroke elements from Pirouette Regular's uppercase letters, as well as the same lowercase glyphs that can be found in Pirouette Regular and Pirouette Text. Pirouette Separate 2 contains only the thin stroke elements from Pirouette Regular's uppercase letters. By layering Pirouette Separate 1 and Pirouette Separate 2 over one another, you can give the uppercase letter's thick and thin stroke elements different colors and create unique, more calligraphic designs. The Pirouette family, Tanteno's first commercial typeface, was greatly influenced by the calligraphic and typographic work of the master German designer, Prof. Hermann Zapf, especially his Zapfino typeface.

Conversation Hearts are inspired by the sweethearts and conversation hearts that can be found all over the US and Britain, but not in Germany. A source of endless fun and surprise. As a typographer to me they are also a surprising document of written communication. Most people complain that nowadays the inscriptions are not as sweet as they used to be. While they used to held romantic and promising inscriptions like “Be True” “Sweet Talk”, today they carry “Tweet me” “Ur Hot” and “Party Girl”. So i took this as a motivation to work with conversation sweetheart on a conceptial inspirational and typographical level. The obvious: every letter pressed on the keyboard brings out a conversation heart that starts with the letter - i.e. L = Loverboy, H = Heartless but what to write? Since i didn't want to reproduce the old “Fax me” and “Email me” I had to come up with something new. Something with a personal relation and of course something that I Love - what else could i write in the shape of the heart? So I tried to access my upper subconsciousness and looked for two words for every letter in the alphabet. One for the capital letter pressed and one word for the lowercase letter. Resulting in a Kurt Schwitters worthy assemblage of vocables "Post-office" “Internship” “Zebra” “Answers” etc. It is not easy to read a text set in Conversation Hearts but easier as a text set in Zapf-Dingbats. To sparkle the visual appearance uppercase letters are filled hearts with “carved” inscription, while lowercase letters are an outlined heart with written inscription. Conversations Hearts is a part of the Light Hearted Font Collection that is inspired by a recording of Jean Baudrillard with the title, "Die Macht der Verführung" (The Power of Seduction) from 2006. Further inspiration came from the article, "The shape of the heart: I'm all yours". The heart represents sacred and secular love: a bloodless sacrifice. by British writer Louisa Young printed in EYE magazine (#43) London, 2002.

Perfecta Liner is a handwritten organic font that is perfect for branding, signatures, wedding invitations, promotions, product packaging, and more. Perfecta Liner is a modern, clean, authentic font. Perfecta Liner comes with ligatures, alternates, and supports 60+ Latin-based languages. Features: Total 261 Glyph Uppercase & Lowercase Numerals & Punctuation Alternates and Ligatures Multilanguage Supports 60+ Latin based languages

Xenotype is an examination of heavy horizontal weighting and develops ideas underlying 60s and 70s headline faces.