Designed by Dick Jensen for the Visual Graphics Corporation, Serpentine is a contemporary sans serif display typeface. The light weight has some of the feel of a computer screen, while the medium and bold weights can be more versatile. This typeface has an uncommon ability to take on distinct personalities in its different weights, even though all three weights exhibit the same basic architecture.
Friz Quadrata is the work of a number of collaborators. The first weight was created by Swiss designer Ernst Friz and made its first international appearance with the design release of Visual Graphics Corporations. ITC then arranged with VGC so that Victor Caruso could add a bold weight to the original. Finally, in 1992, French designer Thierry Puyfoulhoux designed italic weights for both the original and bold weights.
Here’s a workmanlike interpretation of John Pistilli’s eponymous extreme Didone, originally designed for VGC in the 1970s. The typeface’s strong contrasts and graceful nuances guarantee that your headlines will get noticed. Both versions of this font include the complete Unicode Latin 1252, Central European 1250 and Turkish 1254 character sets.
Here’s our interpretation of the classic typeface Arrow, designed by Walter Diethelm for Visual Graphics Corporation in 1965. It’s clean, crisp, understated and elegant.
Both versions of the font contain the complete Unicode Latin 1252 and Central European 1250 character sets.
Considerable heft and clean lines—with a few whimsical grace notes—characterize this font, based on a typeface originally named “Ryter Night”.
Powerful yet playful, this gentle giant is the perfect choice for engaging headlines.
This hefty little number is an amalgam of two typefaces from the Flower Power era, Dave West’s Elephant Gothic and Wayne Stettler’s Neil Bold. It’s an extrabold, sassy headline face that will get your message across, loud and clear.
Both versions include the complete Latin 1252, Central European 1250 and Turkish 1254 character sets, as well as localization for Moldovan and Romanian.
Orotund is a digitization and considerable expansion of the cheeky and enormously popular 1970s/1980s film type called Eight Ball.
Based loosely on a VGC design, Serpentine, circa 1970.
Deutsch Black, designed by Barry Deutsch for VGC in 1966, provided the inspiration for this extrabold exercise in heavy ink coverage. A number of variants, in lowercase slots, were added to offer flexibility to your headline designs. Both versions include the complete Latin 1252, Central European 1250 and Turkish 1254 character sets, as well as localization for Moldovan and Romanian.
Stretto (Italian for narrow) is a revival and expansion of an Aldo Novarese font called Sintex, done for VGC in 1973.
Gaslon is a slight reinterpretation and major expansion of a 1973 film type called Corvina Black, originally designed for VGC by A. Bihari.
A second VGC face, this one by S. Biggenden, borrowing from the structure of MICR figures to lend computer associations to the page.