Bernhard Condensed No2 a freely drawn heading typeface published by SoftMaker.

Gerhard is an early 1900’s Victorian style typeface that has been carefully refined for today. It was inspired from delicately hand painted lettering on a century-old vintage piano. This typeface has an bold and elegant natural aesthetic that can work for eye-catching headlines yet work gracefully enough for wedding invitations. Small caps have been designed for sub headings and allow a visual difference. Put it to use on your next branding, signage or publication project. A number of glyphs and diacritics included make this typeface usable for a wide number of languages. Alternate letters and forms have been included to create some versatility with your design.

Introducing my Marioline Barnard Script, a passionatly crafted fancy script. Marioline Barnard script fully meets my expectations for a script that gives you luxurious vibes as much as casual vibes, elegant but simple, strong but light vibes. Marioline Barnard comes with beautiful uppercase and lowercase alternates (up to 11 level alternates, ligatures include), and swashes. Marioline Barnard has Multilingual support (Western European characters) and works with following languages: English, French, Italian, Portuguese, German, Swedish, Norweigan, Danish, Dutch, Finnish, Indonesian, Filipino, and Malay. Marioline Barnard is modern script font, every single letters has been carefully crafted to make your text looks beautiful. With modern script style this font will perfect for many different project, example: invitations, greeting cards, posters, name card, quotes, blog header, branding, logo, book cover, fashion, apparel, letter, logotypes, wedding invitations, product labels, and clothing product, stationery and more. Thank you.

a classical wood type era box ornament using blackletter... a beautiful arrangement for publishing edition and other jobs

The letterforms of Lucien Bernhard's stylish, if somewhat anorexic, Bernhard Fashion were beefed up and complemented with thick-and-thin stroke variation to create this elegant family, available in normal and bold weights. Additionally, Bernhard's variant forms have replaced several of the letters which commonly appear in other revivals. The Postscript and Truetype versions contain a complete Latin language character set (Unicode 1252); in addition, the Opentype version supports Unicode 1250 (Central European) languages as well.

Harpsichord (as I have named it) is from the late 1940s and was designed at Lucian Bernhard Studios in New York for Bernhard's Magnetype Collection. It was originally published as 'Community Low' along with 'Community Condensed'. Many of his Magnetype Fonts have been dormant which I hope to revive in the near future.

The pattern for this delightful little font was originally released as Bernhard Heavy Antique Cursive by the Bauersche Geißerei of Frankfurt am Main and designed, of course, by Lucien Bernhard. Dippy, trippy, under the radar and over the top. The Postscript and Truetype versions contain a complete Latin language character set (Unicode 1252); in addition, the Opentype version supports Unicode 1250 (Central European) languages as well.

Carmine Tango is an elegant script based on a 1934 design by Lucian Bernhard. The Carmine Tango font is a good script for many situations, including invitations, menus and brochures.

Based on Lucien Bernhard’s idiosyncratic Schoenschrift, Liberty was designed for ATF two years later, in 1927, by W.T. Sniffin.

MFC Nadall Medieval was originally designed by Bernard William "Berne" Nadall for Barnhardt Brothers & Spindler back in 1885 under the name "Faust Text" and later under the "Missal Text Series". While you could use its capitals to construct an initial monogram, this is not a monogram font, but instead a fully functional typeface for invitations and period lettering. This lettering style has been precisely recreated and expanded on to create a full typeface with a small collection of ligatures. Here's what's included with the MFC Nadall Medieval: - 397 glyphs in MFC Nadall Medieval - including Capitals, Lowercase, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the last graphics for a preview of the characters included) - Ornaments - two ornament glyphs. - Ligatures - for ff, fi, fl, ffi, and ffl combinations.

A titling font, combining caps inspired by the work of lettering artist Samuel Welo, and a lowercase based on the work of Lucian Bernhard. Both versions of this font contain the Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

The roots of Adana going back to the year 1930, to the Berlin-based German graphic designer Wilhelm Berg. His typeface can be interpreted as an answer to Lucian Bernhards Schönschrift. Adana Circular and Regular play well together in all kinds of adverts, as well with designs like Bodoni or Didot.

Günter Gerhard Lange designed Boulevard in 1955.

Barnhard Brothers and Spindler called this typeface Congo when it appeared in their circa-1910 type catalog. The design is characterized by strong Art Nouveau influences, tight spacing and a large x-height.

Botanique is a hand-drawn typeface based on Schmalfette Bernhard Antiqua by Lucien Bernhard. The original face was released in 1912 by Flinsch Type Foundry, which was later acquired by Bauer. Schmalfette means ‘bold condensed’ in German and Botanique adds a charming roughness to these attributes, evoking an organic and somewhat retro mood. Its uppercase glyphs shine with adorned stylistic alternates and cool blooming swash versions for both initial and final forms, all cleverly programmed into OpenType font features. Botanique is a ​great pick for display purposes, branding, packaging, editorial design, poster work and many more. The original face counts more than one hundred years, but yet communicates quite well, you bet. Specially if loaded with some contemporary flair and smart features such as this one. Let it bloom.

A charming headline font, bold yet feminine, based on Lilith, designed by Lucien Bernhard for Bauersche Gießerei in 1930. Some of the fussier elements of the original have been removed in order to create an elegant exercise in typographic chiaroscuro. Both versions of this font contain the Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

Ornaments 3 contains ornaments based on designs by Bernard Naudin for Deberny et Peignot, c. 1924; and ornaments based on designs by Oldrich Menhart, Karel Svolinsky and Jaroslav Slab for the state printing office of Czechoslovakia and Grafotechna.

Solemnis was designed by Günter Gerhard Lange in 1953 and is a uncials-based typeface.

A dark, condensed, nineteenth century sanserif made popular by Linotype, the capitals deriving from Barnhart Brothers and Spindler, the lowercase from Farmer.

There are many fonts inspired by Lucian Bernhard. I have always admired his 1906 award-winning poster: ‘Priester’— believed to be the birth of the ‘Sachplakat’ (or Object Poster). I have interpreted the hand lettered “Priester” logo into a formal typeface and only hope I have done it justice. Usage recommendations: Captions, fliers, packaging, cards, posters, ads, book jackets, manuals, bulletins, magazines, greetings, announcements.

Reliant is a free interpretation of the classic design from fonts "BernhardSchoenschrift", originally designed by Lucien Bernhard and "Liberty", designed by W.T. Sniffin for ATF in 1927, following the original designs from Lucien Bernhard. This enhanced OpenType version has complete sets in Greek and Latin alphabet with Central European, Vietnamese, Baltic and Turkish complete resources with all diacritic signs and punctuation marks plus extra characters belonging this ranges. A Cyrillic alphabet completes the font, and we thanks to Dmitry Greshnev from Green Type. He help us to fix our original Cyrillic alphabet to the Cyrillic readers. We added a extensive set of ligatures (stylistic and contextual alternates plus discretionary ligatures) providing a lot of letterform variations that make your design really special, plus swashes and tails ornaments (to artistic increase any letter of this font) more fractions and number ligatures (a strange idea from Iza W). Over 800 glyphs which you have total access using software such as InDesign, Illustrator, QuarkXpress and others.

Berlin Sans is based on a brilliant alphabet from the late ’20s, originally released by Bauer with the name Negro, the very first sans that Lucian Bernhard ever designed. Assisted by Matthew Butterick, David Berlow expanded this single font into a series of four weights, all complete with expert character sets, plus a dingbat font. Imaginative & little-known, it promises enticing opportunities to the adventurous typographer; FB 1994

The Belucian series offers a distinguished text design supported by dynamic headline structure. In need of a distinctive display style, Smart magazine asked Font Bureau in 1990 to revise the work of Lucian Bernhard from 1925. David Berlow prepared Belucian Demi, now accompanied by Kelly Ehrgott-Milligan’s 1994 Demi Italic, added Book and Book Italic for text, and designed Ultra for dynamic impact in headlines; FB 1990–94

Rosengarten is a condensed, bold typeface inspired by the work of Lucien Bernhard and the Plakatstil mouvement. With bold, rounded serifs, this typeface was created for use in headlines and larger point sizes. A complimentary sans serif style was integrated as a secondary weight with accompanying italics to allow a combination of styles to be set in layouts. This typeface includes an extended Latin and Cyrillic language support.

Günter Gerhard Lange designed El Greco for Berthold in 1964. This script dresses up informal documents and adds lightness to formal documents.

Here's a good old Victorian job printing font. Faithful to the original issued by Barnhart Bros. & Spindler about 1880. Nothing wildly decorative about it, yet it clearly looks old.

Live long and prosper. Barnhart Brothers and Spindler. 1884. Originally named Vulcan. Enough said. Both versions support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Cooper Black, commissioned by Barnhart Brothers & Spindler, is the best known of Oswald Cooper’s typefaces. Bitstream has expanded the 1921 original into a complete series of round-edged text faces.

This classic face is based on Kleukens Scriptura, designed by Friedrich Wilhelm Kleukens in 1926 for D Stempel AG. It served as an alternative to Lucien Bernhard's Cursive and an inspiration for Oswald Cooper's Pompeian Script. Both versions of the font contain the complete Unicode Latin 1252 and Central European 1250 character sets.

Günter Gerhard Lange designed this “fun” typeface for Berthold in 1957. Although a departure from his more serious designs, Champion shows Mr. Lange’s diversity.

Pleasant Evening JNL was modeled after an Art Nouveau serif typeface named ‘Racine’ [found in the 1881 Barnhart Bros. & Spindler type specimen book] and is available in both regular and oblique versions.

Freak was originally released by The Great Western Type Foundry in 1889. According to Maurice Annenberg, Great Western became Barnhart Brothers & Spindler when the Barnhart brothers bought out the Toepfer family in 1868.The plant superintendent, Charles Spindler, became Secretary of the new firm. Specimen books as late as 1899 show the name Great Western alongside the BB&S name. At some point, prior to 1925, Freak was renamed “Bamboo” by BB&S. It was delisted when BB&S was absorbed by ATF in 1929. Listed in McGrew under “Bamboo”.

One of the original nineteenth century designs, cut at Barnhart Brothers & Spindler in Chicago about 1880, passed on to us through ATF. Unlike most Circus types, the serifs of P.T. Barnum are bracketed.

Samosata NF is based on Lucian Bernhard’s eponymous Gothic, but it employs all of the alternate characters seldom seen today. The result is an elegant, classical typeface with subtle Art Deco shadings. Available in two weights, all versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

Patron is a sans serif influenced by two dissimilar type designers, Günther Gerhard Lange and Roger Excoffon. Patron is a sans serif influenced by two dissimilar type designers, Günther Gerhard Lange and Roger Excoffon. Patron unites their contradictory approaches to create an expressive, yet versatile grotesk. As a result, Patron is characterised by a generous x-height, flared stroke endings and an unconventional shift in balance, inspired by Excoffon and a rigorously precise, modern interpretation for which Lange was most famous.

A Barnhart Bros. & Spindler type from the late victorian period. We have been faithful to the spirit of the original buy "calmed down" a few of the lowercase letters to make the lines read more smoothly.