http://www.myfonts.com/fonts/typodermic/gord/

Gord is a collage of famous curvy 1970’s fonts.

OTF | 1 Font | + JPG Preview

http://www.myfonts.com/fonts/typodermic/edifact/

Edifact is a severely damaged 1960s style techno font.

OTF | 1 Font | + JPG Preview

http://www.myfonts.com/fonts/typodermic/goldburg/

Goldburg is based on the lettering found on Idaho historical Markers. The lettering was designed by George Bowditch, in the late 1950s based on unknown historical sources.

OTF | 1 Font | + JPG Preview

http://www.myfonts.com/fonts/typodermic/gendouki/

Gendouki is a wide, futuristic sans-serif display font with filament stencil lines inspired by spaceship access panels.

OTF | 1 Font | + JPG Preview

https://www.myfonts.com/fonts/typodermic/dirty-bakers-dozen-2/regular/

Dirty Baker’s Dozen, was released in 1998 and has since become the gold standard in raunchy stencil fonts. This version of Dirty Baker’s Dozen is pants-full of handy symbols, fractions, accents and what not. Need numeric ordinals? Probably not, but if you do, Dirty Baker’s Dozen will be there with boots on and numeric ordinals a-blazing. Two new styles were introduced in 2009: Scorch & Spraypaint. When you're using Scorch or Spraypaint styles in an OpenType savvy application, common letter pairs will be automatically replaced by custom pairs for a more realistic, filthy effect.

TTF | 1 Font | + JPG Preview

http://www.myfonts.com/fonts/typodermic/heroid/

Heroid proudly flexes its letterforms in regular and bold. Endowed with a selection of alternate caps, this is one super typeface strong enough to punch its way through a steel door.

OTF | 2 Fonts | + JPG Preview

http://www.myfonts.com/fonts/typodermic/hit/

Hit is crunchy and primed for fun. Crispy letters, chewed from potato chips will inspire readers to strip down to their underwear and impede traffic en-masse with their ridiculous bicycles.

OTF | 1 Font | + JPG Preview

http://www.myfonts.com/fonts/typodermic/honfleur/

Honfleur is an Art Deco fashion font, inspired by lettering on an antique perfume poster.

OTF | 1 Font | + JPG Preview

http://www.typography.com/fonts/obsidian/overview/

A majestic typeface uses digital means to achieve traditional ends. Decorated typefaces have long been a battleground for technology. In the nineteenth century, steelplate engraving allowed letters to become elaborate, flowery confections, giving rise to a style that lives on in the shaded and curlicued letters of banknotes and diplomas. Type foundries responded to this new fashion by creating ever more intricate printing types, to help printers attempt the same sorts of effects achievable through engraving. Producing these typefaces proved challenging: elaborate hand work was time consuming, resulting in fonts with severely abridged character sets (rarely more than just capitals), and attempts at mechanization produced only “engine-turned” letters with uniform patterns that were bland and unevocative. The nineteenth century would never see a solution to its own riddle of how to industrialize the shaping of letters. We began the Obsidian project with two questions: can a decorated typeface pay homage to this tradition while being relevant to designers today, and what tools can we create to help us get there? Type design is still largely a manual art, and we felt the acute need for technical solutions to help us both explore our options through rapid prototyping, and execute successful ideas across the massive scale demanded by a contemporary typeface. Not content to be a set of decorated capitals, Obsidian would have 1,400 glyphs spanning both roman and italic styles, bringing its esprit to the most esoteric of punctuation marks and accents. Having completed work on our Surveyor family, which celebrates the rich traditions of engraved letterforms, we used this work as a foundation for Obsidian. To explore the ways in which a typeface might be decorated, we developed a set of proprietary tools to add highlights to letterforms — ultimately creating a suite of software for interpreting two-dimensional letterforms as three-dimensional objects, through the application of virtual light sources that vary in position, angle, and intensity. Obsidian followed an iterative process, in which the tools revealed not only opportunities for improvement in the code, but in the typeface’s underlying design, and even unexpected virtues that we allowed to reshape the design brief itself. The result is a type family that escapes the shackles of historical style, while honoring the best traditions of decorative typography from the industrial age.

OTF | 6 Fonts | + JPG Preview

http://www.typography.com/fonts/mercury-text/overview/

Mercury: high performance meets high style. The product of nine years’ research and development, Mercury Text is a family of high-performance text faces designed to thrive under the most adverse conditions. Even while the headline font Mercury Display was still on the drawing board, we suspected that many of its ideas might someday lend themselves to a good text face. Mercury’s compact proportions and clear gestures would naturally reproduce well in small sizes, and we imagined that its spiky geometry and taut curves could make text sparkle. Alexander Isley gave us the opportunity to explore these possibilities in 1999, when he asked us to solve an interesting problem for the New Times newspaper chain. Newspapers are one of typography’s most challenging environments, not only because their high-speed presses coincide with pulpy papers and thin inks, but because they contain so many different kinds of information — arranged in countless ways — that are composed not by designers but by software. The New Times faced all these difficulties, plus one more: its eleven weekly editions were printed in different regions, each of which was subject to different atmospheric conditions on press. We were asked to consider the idea of a type family whose design could anticipate and counteract these differences, so that formats developed for the Phoenix edition could be deployed in Miami as well. We designed Mercury Text in a series of grades, sibling members of a type family which share the same underlying geometry, but offer different degrees of darkness on the page. (Unlike the weights of a type family, which grow progressively wider as they get bolder, a font’s grades increase in color without affecting copyfit.) For the New Times, this meant that different regional editions could use different grades to counteract the local conditions of each press, in order to achieve the same end result. In other media, grades offer the ability to separate typography from its physical substrate, so that the type-warping effects of handmade paper, roll film, flat-panel monitors, or retroreflective sheeting can be all corrected for in the font itself. A year of press-testing ensured that Mercury Text would perform under the most adverse conditions, and in the widest range of formats. Its proportions were fine-tuned to suit those of the news column (offering space-saving advantages in any setting) and its styles were remastered with common editorial functions in mind. Another year spent studying more than 3,800 examples of informational typography in different publications ensured that the fonts’ character sets included all the numeric and graphic symbols necessary to tackle every part of even the most demanding project.

OTF | 60 Fonts | + JPG Preview

http://www.typography.com/fonts/mercury-display/overview/

Spirited, subtle, ferocious. A succinct family of display faces, Mercury answers the call for a contemporary serif that’s smart, quick, and articulate. The signature typeface we designed for Esquire magazine began its life as a would-be historical revival, but developed into one of our most avowedly modern type families. During its initial design exploration, Mercury was envisioned as a revival of the work of Johann Michael Fleischman (1701-1768), a German punchcutter denizened in Amsterdam, whose unrevived typefaces had so expressively captured the drama and tension of the Dutch baroque. As Mercury’s design developed, it began to draw upon the work of other contemporary punchcutters: both the sparkling display faces of Jacques-François Rosart (1714-1774), and the progressive italics of Pierre Simon Fournier (1712-1768), were inspirations in Mercury’s evolving design. The more time we spent with these historical models, the more it became clear that none of them truly possessed the qualities that were so exciting about the genre as a whole. As a collection, these faces were vibrant: tightly wound, yet quiet, using the tension between introverted and extroverted gestures — and between black letterforms and their white counters — to create a sort of “excited calm” on the page. It was these qualities that we hoped to capture in Mercury, so ultimately we chose to ignore the dictates of historical form and follow a more personal and expressive path instead. Mercury debuted in the pages of Esquire in 1996, and though it had been designed to serve merely as an everyday headline font, it quickly became an indispensable part of the magazine’s painterly editorial openers. The sharp corners and tightly coiled curves that made Mercury lively at headline sizes made it irresistible in outsize typographic collages, and hinted at what we thought could potentially be a vibrant and hard-working text face as well. Rather than compromise the design’s crisp features, we explored these ideas separately, in what would become one of our most substantial type families: the high-performance Mercury Text collection, designed to thrive under all kinds of adverse conditions.

OTF | 9 Fonts | + JPG Preview

http://www.typography.com/fonts/chronicle-text/overview/

Chronicle, a “blended Scotch.” A vigorous hybrid of time-honored forms and contemporary design strategies, Chronicle Text is a new suite of high-performance text faces that brings strength and utility to the classic serif. Seriffed text faces are often casually grouped into two major divisions: wholehearted Old Styles, which vaguely reference their calligraphic origins, and steely Moderns, whose highly rational designs aspire to mathematical precision. Old Styles are prized for their warmth, which they achieve through heavily bracketed serifs and a policy of planned inconsistencies (an Old Style’s lowercase c and o are thickest in different places, for example.) Moderns produce the opposite result — a detached, elegant simplicity — and, crucially for both typefounders and designers, their forms naturally invite endless variation in weight and width. Bridging these extremes is the Transitional style, which combines the energy and ardor of Old Styles with the sobriety and adaptability of Moderns. The most functional and enduring subspecies of Transitional is the Scotch, a form of typeface originating at the end of the eighteenth century, and associated with Scottish typefounders Alexander Wilson and William Miller. The opening of the Binny & Ronaldson foundry in Philadelphia, begun by Scottish émigrés Archibald Binny and James Ronaldson in 1796, helped establish the style in the United States, where it has since remained a fundamental part of the modern typographic vocabulary. Some of the twentieth century’s most significant designs are tributes to the Scotch style, including W. A. Dwiggins’ interpretive Caledonia (1938), and Matthew Carter’s definitive anthology Miller (1997). Nineteenth century Scotch faces enjoyed early popularity among book printers, but the rise of industrialized newspaper publishing quickly revealed their limitations. Delicate hairlines and serifs vanished under thin ink, low quality paper, and ruthless presses that operated at breakneck speeds. Signature details, like the pipe-shaped tail on the capital R and lowercase a, became traps for ink and pulp — a problem that plagued every lowercase letter in the dainty Scotch italic. The faces that were gutsy and smart when carefully printed were undone by the slightest variables: underinked they became dour, overinked they felt sluggish. Beginning in 2002, we revisited the Scotch style with the goal of producing two families of fonts: a text face that would withstand the effects of different kinds of media, and a display face that would unlock the potential of the Scotch style to support a broad range of weights and widths. The result is Chronicle Text, a series of hard-working text faces produced in four press-sensitive “grades”, and Chronicle Display, an abundant collection of 46 display faces that includes three different widths, six different weights, and versions for two different sizes — each in both roman and italic.

OTF | 24 Fonts | + JPG Preview

http://www.typography.com/fonts/hoefler-titling/overview/

A spirited Old-Style. A family of energetic display faces in the baroque style, Hoefler Titling is the display-size counterpart to Hoefler Text. As its name suggests, Hoefler Text was designed to be used in text sizes. For Hoefler Titling, this display-size cousin, we decided not to adapt Hoefler Text’s design, but instead to create an entirely new family of typefaces that would be sympathetic with Hoefler Text without aping its mannerisms. This sort of equivocal relationship between text and display faces has a long tradition in typefounding: excellent modern examples are Hermann Zapf’s Palatino (1948) and Michelangelo (1950), and Matthew Carter’s Galliard (1978) and Mantinia (1993). Like Hoefler Text, the style of Hoefler Titling reveals its designer’s affection for two beloved text faces — fonts that coincidentally share the same unusual secret. One inspiration for Hoefler Text’s roman was Janson Text (1932), Chauncey Griffith’s sober text face that revives the types thought to be made by Dutch punchcutter Anton Janson (1620-1687), but later discovered to be the work of the Hungarian Miklós Kis (1650-1702). The italics of both Hoefler Text and Hoefler Titling show strains of Morris Fuller Benton’s Garamond No. 3 (1936), which is modeled on typefaces originally indentified with Claude Garamond (c. 1490-1561), but later proven to be the work of Jean Jannon (1580-1658). With this in mind, Hoefler Titling is more a gloss on the baroque style than the revival of any one historical typeface, and as such it freely explores territory unknown to either typefounder. The family includes three weights, each outfitted with romans, italics, small caps and swashes.

OTF | 12 Fonts | + JPG Preview

http://www.typography.com/fonts/historical-allsorts/overview/

Old and improved. A resurrection of six beloved typefaces, the Historical Allsorts collection uses digital techniques to achieve warm, handmade results. All of the typefaces we think of as “classics” are modern inventions. Each of the grand fonts whose name pays tribute to some typefounder past — every Garamond, Caslon and Bodoni on your computer — is a recent invention, created by a designer in a modern drawing office, attempting to capture the essence of some historical artifact. Unless you have set Giambattista Bodoni’s foundry types by hand, you’ve never actually “used Bodoni.” Type designers call these adaptations “historical revivals,” and they form the foundation of the modern typographic corpus. Some revivals acknowledge themselves to be interpretations, adopting a personal, ironic, or even antagonistic stance toward their historical sources. But most are created with reverence, their designers dutifully going about capturing the virtues of some attractive artifact in a modern medium. Inevitably these projects are highly subjective, since only the designer can decide which qualities are virtues and which are flaws, and even attempting to distill a collection of visual forms down to “qualities” reveals the perspective of the modern interpreter. Someone attempting a Garamond revival does not have Garamond’s workbooks or essays to read, nor any preparatory drawings that might reveal his specific intentions. Our notion of “Garamond” is enshrined in a collection of printing types created by the hand of Claude Garamond (or his workshop), and even these printing types might fail to capture what we think of as the essential quality of Garamondness.

PFM, PFB | 8 Fonts | + JPG Preview

http://www.typography.com/fonts/idlewild/overview/

Now arriving: Idlewild. A distinctive typeface that’s at home everywhere it goes. For the longest time, we've been reaching for a typeface that wasn't there. We knew it was something spare and tranquil, its letterforms reaching ambitiously outward, and we could hear it speaking in hushed but captivating tones. We imagined it as industrious, combining space-age optimism with the confidence and composure of a master craftsman. We could see the typeface among the realm of satisfying things, objects designed not merely to be used but to be enjoyed: a well-balanced knife, a performance engine; the tool that fits the hand just so. As the design took shape, we were happy to see it take on these qualities and more. Growing to five weights, from a precise Thin to a resolute Bold, Idlewild developed into a family of typefaces with poise and determination. What we never expected was how companionable it would be for so many of our other fonts, and how many different temperaments could be coaxed out of it. Alongside Knockout, Idlewild became frank and sober; with Gotham it was grand. The workaday Claimcheck makes Idlewild chic, Vitesse makes it contemplative, and Sentinel makes it joyful. Idlewild has the most curious effect on Tungsten, a design with which it looks simultaneously contemporary and historical. That rarest of type families, Idlewild is a design whose distinct personality manages to embolden, not overwhelm, its surroundings.

OTF | 5 Fonts | + JPG Preview

http://www.typography.com/fonts/giant/overview/

Part of the Shades collection of two-color fonts, Giant is an unexpected brew of different idioms from the world of commercial lettering. Designer Barbara Glauber wanted to “crash different vernaculars” when she designed They Might Be Giants’ Factory Showroom album. The typeface she commissioned us to design (formerly known as They Might Be Gothic) pits industrial letterforms against commercial ones in a stylistic deathmatch: we applied the faceting of surface-gilt window letters to the typography of the feltboard office directory, with an added dose of industrial stencilling that periodically ignores the dictates of logic.

OTF | 3 Fonts | + JPG Preview

http://www.typography.com/fonts/requiem/overview/

A true renaissance letter. Inspired by an illustration in a sixteenth-century writing manual, Requiem celebrates the fertile world of Renaissance humanism. The typefaces of the first generation after Gutenberg were all based on contemporary handwritten forms. But with the Renaissance came a renewed interest in the inscriptional lettering of the classical period, especially the capital letters that come to us directly from Roman monuments. Attempting to dissect these letters scientifically was a common pastime among the most prominent Renaissance minds: Fra Luca de Pacioli, remembered as the father of double-entry bookkeeping, took up the subject in De Divina Proportione (1497); publisher Geoffroy Tory offered a more mystical analysis in Champ Fleury (1529). One of the great treatises on the constructed alphabet was On the Just Shaping of Letters (1535), by no less than the old master Albrecht Dürer. Approaching lettering from the perspective of practitioners were the writing masters, whose writing manuals taught the methods by which every form of lettering could be rendered. First among equals was Ludovico Vicentino degli Arrighi (1480-1527), a calligrapher at the Apostolic Chancery in Rome. His writing manual Il Modo de Temperare le Penne (1523) includes one of the most elegant renderings of the classical alphabet, letters which were freed from the shackles of geometry and simply shown floating in a solid field of black. These letters served as the basis for Requiem’s Display Roman and Small Caps. Missing from most of the renaissance writing manuals — including Arrighi’s — is a viable roman lowercase. The upright lowercase was more the province of typefounding than calligraphy, so the few writing masters who attempted a lowercase did so hesitatingly, often with gloomy results. (The lowercase in Giovanni Francesco Cresci’s 1570 Il Perfetto Scrittore is among the best, though even this is overly gothic.) Requiem’s lowercase is therefore an invention, as are its figures and punctuation, but for its italic it returns wholeheartedly to the full-blooded “chancery cursive” for which Arrighi is most famous. Finally, Requiem includes two sets of alphabets contained within decorative “cartouches,” whose endpieces are inspired by the work of Arrighi’s contemporaries Giovanni Battista Palatino and Vespasiano Amphiareo.

OTF | 14 Fonts | + JPG Preview

http://www.typography.com/fonts/sentinel/overview/

Sentinel: the slab serif that works. For everyone who’s ever wished Clarendons had italics, everyone whose favorite slab serif is shy a few weights, and everyone who’s ever needed a slab serif to thrive in text: we designed Sentinel for you. The first slab serifs were designed to be oddities. It was their intention to be eye-catching, to be novelties amidst the world’s conventional book types. Never mind that some of these faces treated different letters inconsistently, or had inherent qualities that limited the size of their families: these were eccentricities, and to a novelty typeface, eccentricity is strength. Two centuries later, their legacy includes three beloved species of typeface that are handsome, popular, and maddeningly difficult to use. Each is marred by a crippling deficiency, a situation inspiring us to create Sentinel. A slab serif whose capital O is close to a perfect circle is called a Geometric. Its capital H will have horizontal and vertical strokes that appear the same weight, a policy that’s consistently applied throughout the entire alphabet. If the strokes are inflated beyond a certain weight, it becomes impossible to create a matching lowercase: the structural complexity of the lowercase a, e and g limits how heavy the design can go before these characters close in on themselves. The Geometric that maxes out at the Bold weight can only achieve a Black by compromising the underlying design, and in a typeface characterized by rigid geometries, these kinds of concessions can be glaringly obvious. Sentinel was designed to address the many shortcomings of the classical slab serif. Unbound by traditions that deny italics, by technologies that limit its design, or by ornamental details that restrict its range of weights, Sentinel is a fresh take on this useful and lovely style, offering for the first time a complete family that’s serviceable for both text and display. From the Antique style it borrows a program of contrasting thicks and thins, but trades that style’s frumpier mannerisms for more attractive contemporary details. It improves on both Clarendons and Geometrics by including a complete range of styles, six weights from Light to Black that are consistent in both style and quality. Planned from the outset to flourish in small sizes as well as large, Sentinel contains features like short-ranging figures that make it a dependable choice for text. And most mercifully, it includes thoughtfully designed italics across its entire range of weights.

OTF | 12 Fonts | + JPG Preview

http://www.typography.com/fonts/acropolis/overview/

A reimagined display face, with a twist. Acropolis is the “Grecian” (bevelled) member of The Proteus Project, a collection of four interchangeable type families designed in different nineteenth century styles. Every historical revival involves creating things that the original source lacks. In the case of Acropolis, the traditional grecian style has been outfitted with a crucial component which past typefounders neglected to provide: an italic. Lacking any historical precedent, Acropolis Italic attempts to be sympathetic to historical form while avoiding nostalgic clichés.

OTF | 2 Fonts | + JPG Preview

http://www.typography.com/fonts/topaz/overview/

Part of the Shades collection of two-color fonts, Topaz is an inline face that’s both suave and resolute. “Inlines” are black typefaces with white highlights, and “Outlines” are white typefaces with black borders. The typographic scholar R. S. Hutchings noted that “it is often difficult, if not actually impossible, to distinguish between them.” Topaz is our attempt to further blur the distinction: its sinuous curves and careful asymmetries, together with its off-center highlights, yield a typeface which is simultaneously an inline, and outline, and a dimensional letter.

OTF | 3 Fonts | + JPG Preview

http://www.myfonts.com/fonts/fontfont/ff-schmalhans/

German type designer Hans Reichel created this sans FontFont in 1996. The family has 6 weights, ranging from Light to Black and is ideally suited for advertising and packaging, book text, film and tv, editorial and publishing as well as small text. FF Schmalhans provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths.

OTF | 6 Fonts | + JPG Preview

http://www.myfonts.com/fonts/fontfont/ff-sari/

German type designer Hans Reichel created this sans FontFont in 1999. The family has 12 weights, ranging from Light to Black (including italics) and is ideally suited for advertising and packaging, festive occasions, editorial and publishing, logo, branding and creative industries, poster and billboards as well as web and screen design. FF Sari provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super - and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths.

OTF | 32 Fonts | + JPG Preview

http://www.myfonts.com/fonts/fontfont/ff-qtype/

German type designer Achaz Reuss created this display and sans FontFont in 2004. The family has 26 weights, ranging from Extra Light to Black in Compressed, Condensed, Normal, Semi Extended, and Extended and is ideally suited for advertising and packaging, logo, branding and creative industries, poster and billboards as well as sports. FF QType provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, fractions, super- and subscript characters, and stylistic alternates. It comes with tabular lining and proportional lining figures.

OTF | 20 Fonts | + JPG Preview

http://www.myfonts.com/fonts/fontfont/ff-schoensperger/

German type designer Manfred Klein created this blackletter FontFont in 1991. The font is ideally suited for film and tv, poster and billboards as well as software and gaming. FF Schoensperger provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, and stylistic alternates. It comes with proportional oldstyle figures.

OTF | 1 Font | + JPG Preview