Concerto Rounded SG
Concerto Rounded is based on a 1920s concert program lettered by Lucian Bernhard. In many respects Concerto is a toned-down version of the exceptionally light Bernhard Fashion. Concerto makes use of extensive crossbars and...
font_category: decorative
Grand Slam SG
Grand Slam is based on an old cardwriting style known as Poster Gothic. This dynamic letterstyle was used in the heyday of the Hollywood movie poster because of its powerful and snappy appeal. The...
Quadrille 2
This is a simplified Tuscan, free from excessive ruffles and flourishes. Types of this general design began to appear in profusion in the 1830, and continued as a popular form until the end of...
Roundhead
A surprisingly modern looking condensed sans serif issued by Mackellar, Smiths & Jordan foundry in 1887. Its narrow width makes it useful for long copy headlines. Designed by the freelance type cutter Charles Beeler...
Memorial
The Fredrick Ullmer Co. in London acted as agent for many typefoundries, and this was one of their offerings. Some of the letters were rather outlandish, so we fearlessly decided to improve them. The...
Farringdon
An old wood type we picked up in London from the Fredrick Ullmer Company. It’s not marked, and we’ve never seen it in a catalog, so we don’t know who made it. We like...
Hansard
This is a neat lightface font from the 1880s, issued by MacKellar, Smiths & Jordan of Philadelphia. Just a hint of Victorian design on a few letters. All in all a clean, easy to...
Persia
Masoud Nejabati has drawn upon his capable calligraphic skills to create this typeface. Persia represents his first latin-based design. This gentle and finely rendered script reveals Nejabati’s extensive background in Islamic calligraphic art. The…
Southland JF
Based on a 40 year old hand lettered poster, this typeface is casual, yet streamlined. The name comes from a local Los Angeles colloquialism which refers to Southern California as “The Southland”.
Big Limbo
This freeform exercise in typographic design echoes the looseness of early 1960’s advertising. Brian breaks almost every typographic rule we can think of — but so what? The bold letterforms of Big Limbo are...