Darmhagh Underwood is a “rough” monowidth font based on the face used on the old Underwood manual typewriter. Darmhagh Underwood was first digitized in 1999 by Michael Everson and originally used the MacGaelic character set on the Macintosh platform, and ISO/IEC 8859-14 on the PC. In 2008 Darmhagh Underwood version 3 was released in OpenType format, completely compliant with Unicode encoding and with an extended character set. The particular Underwood typewriter from which samples were taken to design Darmhagh Underwood is on display in the National Library of Ireland. It belonged to Conradh na Gaeilge and was used to draft armistice documentation which led to the end of the Irish War of Independence in 1921. Darmhagh is pronounced [ˈdaɾuː].

Understood is a cool alternative for you to easily create a logo for your underground metal band. Using alternate front and ending letters brings the font to life, It comes with a basic character set and a small group of symbols and signs often used in the extreme music sector – the classics of Death- and Blackmetal like pentagram drops, roots, spikes and more.

Alderwood | A Condensed Hand Drawn Typeface: Alderwood is a hand drawn condensed typeface that comes in multiple styles / weights. Get it in regular, stamp, outlined with oblique versions of each. The subtle imperfection of hand drawn type adds character to projects that require a more grassroots vintage aesthetic. What's Included? → 6 Fonts Files → Western European Characters Included → Web Fonts

This font represents the type style created by this very famous classic typewriter.

ITC Usherwood font was designed by Leslie Usherwood, an informal and personable font which bridges the gap between modernity and tradition. There are hints of Bauer, Goudy and Augustea in this font, but ITC Usherwood remains both classic and contemporary, beautiful in form and functional in design.

Designed by Les Usherwood. Digitally engineered by Paul Hickson. Another typeface from Les Usherwood that was released after his 1983 death.

Designed by Les Usherwood. Chelsea is a ‘modern’ Old Style serif font family designed by Les Usherwood (Typsettra) in the early 1980’s. Steve Jackaman (ITF) digitally engineered the family exclusively for ITF’s Red Rooster Collection in 1993. Usherwood drew influence from Frederic Goudy’s 1911 creation ‘Kennerley Old Style’ when designing Chelsea; Chelsea, however, tends to be wider with a taller x-height. Chelsea has the clean and upscale feel that is present in all Usherwood creations, and its legible design lends itself to projects of any size.

Designed by Les Usherwood. Digitally engineered by Steve Jackaman.

Designed by Les Usherwood. Digitally engineered by Steve Jackaman.

Designed by Les Usherwood. Digitally engineered by Steve Jackaman.

ITC Leawood was begun by designer Les Usherwood and finished by his talented staff at Typsettra in Toronto, Canada, after his untimely death. A similar calligraphic series to ITC Usherwood, following alternative options, the typeface features small, well-defined serifs which aid legibility and allow for close spacing.

Claremont is a serif font family designed by Les Usherwood (Typsettra). Usherwood originally created four weights – a light, extra bold, light italic, and extra bold italic. Paul Hickson (P&P Hickson) and Steve Jackaman (ITF) digitized the family and created eight new weights, and it was released exclusively for the Red Rooster Collection in 1993. Claremont shares similarities to Bookman Old Style, but also shares properties with slab serif Egyptian-style typefaces. Like all Usherwood typefaces, the family was engineered with great care for maximum legibility and aesthetics. ©1993. International TypeFounders, Inc.

This yeomanlike typeface features the letterforms of the venerable Underwood Victoria typewriter on steroids. The original monospacing has been generally preserved, but the letters have been carefully kerned to add to the visual impact. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

Designed by Les Usherwood. Digitally engineered by Steve Jackaman. Originally in one weight, Steve designed and produced three additional weights.

Designed by Les Usherwood. Digitally engineered by Steve Jackaman. Many of the weights and the italics were created after Les’ death.

Designed by Les Usherwood. Digitally engineered by Paul Hickson. Les never released this completed typeface before his untimely death in 1983.

Designed by Les Usherwood. Digitally engineered by Steve Jackaman. This beautiful version of Century Old Style by Les may be superior to any existing versions.

Based on a font design by Les Usherwood called Eldorado, we had to change the name because Linotype has a dissimilar typeface of the same name!

DEZARU is a fictitious Japanese display font created by combining Japanese letters with well-known and understood san serif fonts from throughout the world. Imagine all promotional materials can be understood and understood by all audiences in various parts of the world, your message will reach the hearts of the audience, and your brand will be very easy to remember by many people because the display of this font is contemporary and different from the others. Logotypes, food banners, branding, brochure, posters, movie titles, book titles, quotes, and more may all benefit from this font. Of course, using this font in your various design projects will make them excellent and outstanding; many viewers are drawn to the striking and unusual graphic display. Start utilizing this typeface in your projects to make them stand out.

Dossier is a monospaced serif face that originates in Dwiggins's designs for typewriter. It has a soft and casual personality and comes in 8 weights and matching italics, making it ideal for text typography, package and advertisement design. Dossier is an adaptation of William Addison Dwiggins's unfinished typewriter faces. He worked with multiple typewriter manufactures including Underwood, Remington Rand, and IBM, but none of them were finished. He left a number of intriguing drawings which are now kept at the Boston Public Library. You could see in the drawings that Dwiggins was also interested in exploring designs of varied width. Toshi Omagari decided to combine these materials to make a cohesive family: the upright was taken from a drawing of monospaced lowercase for an unknown client, and the italic was from the work he did for Underwood which he called "Aldine". Toshi added narrower and wider alternates in the same way Dwiggins devised.

Designed by Les Usherwood. Digitally engineered by Steve Jackaman. Unofficially named ‘No Frills’ in the early stages of development, his widow Elsie decided that it would be called Kingsrow.

Designed by Les Usherwood. Digitally engineered by Steve Jackaman. This beautiful recreation by Les of the Frederick Goudy typeface, Kennerley Old Style, circa 1911-24, may be superior to any other.

Caxton font is the work of Canadian designer Leslie Usherwood. Caxton is a serif font graced with subtle details and calligraphic influence resulting in elegant simplicity suitable for both text and display.

Designed by Les Usherwood. Argus is a flared serif font family. Its analog form was designed by Les Usherwood (Typsettra) in the 1980’s, and Paul Hickson (P&P Hickson) and Steve Jackaman (ITF) designed the digital version exclusively for the Red Rooster Collection in 1992. Argus is an expressive, graceful typeface that was inspired by Baroque typography. Its diamond-shaped punctuation shares similarities with other glyphic typefaces, such as Arthur Baker’s ‘Baker Signet.’ The font family gives a beautiful gravitas to any project, whether it be packaging, motion picture, or magazines.

Designed by Les Usherwood. Digitally engineered by Steve Jackaman. A few weights were originally released by another foundry; but this complete version of the family is a better match to Les’ original drawings!

“Victoria Underwood” was found within the pages of the 1923 American Type Founders specimen book. It was one of many printing fonts faithfully replicating those used on various makes and models of actual typewriters. The purpose of such type was to allow mass production of letters or notices that could appear personalized rather than shop printed. Antique Typewriter JNL is the digital version of this design, and is available in both regular and oblique versions.

Designed by Les Usherwood. Digitally engineered by Paul Hickson. Les based the design on a turn-of-the-century typeface of the same name. The foundry is believed to be Soldans & Payvers, circa 1904.

Look well, Fontlovers, we wouldst have words with thee! By Odin's beard, let the naysayers beware, for 'tis true, Thor doth speak --and shouldst speak -- Mighty Words! Yay there shall be a "Thee" and a "Thou" and a "Thy" and a "Smite!" Verily, 'tis understood that Elizabethan English dost suit the Gods of Asgard, mortals can never get enow.

Originally designed by Les Usherwood for a famous European car company, Elston Pro has been completely redrawn and remastered by Steve Jackaman and Ashley Muir. The new Elston Pro family has been fleshed out with a glyph set that is over 40% larger than the original Elston release, and contains all the high-end features expected in a quality OpenType Pro font.

The Speakons are made out of 500 icons in three different styles. They change automatically into icons by typing the right words through its OpenType feature. It was specially designed to break down our language barriers. To be understood internationally. It’s also perfect if you just need a huge icon family. Give it a try! You don’t want to miss it.

David Berlow undertook the revival of Frederic W. Goudy’s Village family in the early ’90s as the first real step in the successful redesign of Esquire magazine. Goudy originally cut Village No. 2 in 1932 to bring early ideas up to date, adding the italic a year or two later for his own satisfaction. Font Bureau expanded Village, the model for Goudy’s mature style, into a ten-part series designed for Esquire’s use in text and display; FB 1994

Getman is a light Gothic typeface. It made all the rules and traditions of classic Gothic typeface, but it has lightweight shapes, making it easy to read and understood. Getman is based on the works of type masters 1910s. This font has all 104 European alphabets, all Slavic alphabets, OpenType features (ligatures, oldstyle numerals, fistorical forms, localized forms, fractions, ordinals and others). Getman has an historic beauty of the medieval Germanic national script. Glory to the Germans!

Designed by Les Usherwood. Digitally engineered by Steve Jackaman. Originally designed by Frederick Goudy for the original Life magazine, circa 1908. Because of delays in production, the face was never used by the magazine. However, Gimbel Brothers, the famous New York department store, opened in 1910, around the time of the release of the typeface, which was used almost exclusively for its advertising and was often known as Goudy Gimbel, but the typeface was better known by the Monotype series number Goudy 38.

Linotype Charon is the work of Renate Weise. Linotype Charon is a typeface with two sides to it: both objective and classic, it is neither neutral, nor an everyday typeface. Charon is modern and animated; its curving letters seek to touch the reader. Linotype Charon is named after the ferryman of Greek mythology who brought the souls of the dead across the River Acheron into the Underworld, connecting living and the dead. Linotype Charon, with its light swing and script character, can be used for either short texts or headlines.

»Prima Script« was designed especially for use in Menus and Cook-books. One of my sons is a chef in Munich and he was always bugging me to make a new font for his menus. I already designed one for him »Konstantin« but he likes to have new stuff every couple of years what I understood. So here is the new »Prima Script« (that’s what he said when he first saw the font). To give it more usability I made alternate initials and end letters as well as medieval cyphers. Then I did a couple of swashes and a handdrawn Sans font to complete the set. Have fun!

Wavespired is a unique font that combines the playful and jazzy lettering of the 1950s cartoon modern style with a modern and sleek design. This font is perfect for creating eye-catching logos and headings that will stand out in any design project. The font is influenced by the retro vibes of the fifties, but with a fresh and modern twist that makes it ideal for today's design needs. The font is legible and easy to read, making it perfect for headlines, titles, and other design elements that need to be easily understood. The font is perfect for any project that requires a fun, retro-inspired design with a modern twist.