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...
font_category: decorative
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”.
Syracuse
Syracuse is a font inspired by the typefaces of the “Arts & Crafts” designers of the early 20th Century. As such, it has a distinct “hand” look. In “Syracuse” you will find hints of...
Ambient
“When you push the stage props of the life aside, there will remain the truth …” Ambient is a deconstructed sans-serif font, which captures the essence of basic Roman letterforms … with a few...
Ambule
Huxley Vertical meets Peignot in this stylized cap/lowercase hybrid design called Ambule. French designer Julien Janiszewski has created a clean, straightforward design that is strikingly effective in both text and display settings. Ambule Oblique…
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...