Friedhof family is inspired by a tombstone lettering dated from about 1900. Beside the solid, fat style, it contains handtooled and shadowed (Geist + Deko) variations, as well as narrowed & lowercase styles. Note: Very complex, shadowed fonts may not work on slow machines!

Introducing Winchester Blackletter Vintage Winchester Blackletter Vintage is a handmade Modern Victorian handlettering, which is combining modern and classic typography with some awesome alternates. Yes we back to early 1800s, bring classic touch on this decade. Thanks for use this font. MaulanaCreative.

A simplified blackletter designed by Peter Behrens, architect and graphic artist who came into prominence around 1900. Issued by Rudhard's Typefoundry, Offenbach A. M., this face was typical of many in the Jugendstil period. Its squarish look works well in Craftsman period layouts.

An eccentric chamfered sans serif wood type design with a right side engraving line from the 1800s was found within the pages of the Thorowgood foundry of London, England. This font is now available as Chamfer Engraved JNL in regular and oblique versions.

Atlantis: The Lost Empire is a 2001 I made the alphabet prepared for Atlantis Lost Empire, the first feature-length animated movie of Walt Disney in 2000 years, in 2 versions in accordance with the original. It is suitable for today's use.

This charming little number is based on a rubber-stamp alphabet set, sold in the early 1900s under the name "Perfection", which suits it well. Both versions of this font include the complete Unicode 1252 Latin and Unicode 1250 Central European character sets.

Inspired by the images on some EBay auctions, Jeff Levine sketched out and revived this early 1900s serif design used on some French sign letters. Named for a friend in the graphics industry, this font captures the charm of the Art Nouveau period.

Introducing Winchester Blackletter Vintage Winchester Blackletter Vintage is a handmade Modern Victorian handlettering, which is combining modern and classic typography with some awesome alternates. Yes we back to early 1800s, bring classic touch on this decade. Thanks for use this font. MaulanaCreative.

An original display typeface was designed in 2000 by Vladlen Erium for the series of international musical events. A wide Sans of distinctive letterforms with rounded corners is well used in advertising of teenage goods and modern technologies. Licensed by ParaType in 2003.

Three of the four letters of the name “Jane” on the cover of a vintage piece of sheet music inspired So Nouveau JNL. The free-form swoops emulating the pen lettering of the early 1900s adds a nostalgic charm to this typeface.

LHF Spencer exemplifies the quirkiness of late 1800's lettering. Uppercase is set below the baseline, adding a hand drawn look. Curved swashes juxtaposed with traditional thick and thin strokes make Spencer's letters stand out in a design. Includes 29 OpenType alternates.

A debut from the most anticipated vintage digital typefoundry by Gilang Purnama and Ilham Herry, who stucked their mind, body and soul back into the first era of 18th century. They build this intense visual-time machine that no one capable before. Started by the visual branding of the Ephemera Fonts, they bring every letters of it to the another level of journey. They called it Ephemera Sickles. Ephemera Sickles is a ornamented letterhead style typeface-inspired by the era of victorian (1800-1900) and this style was commonly used by engrossers at the turn of the century to embellish official documents, such as diplomas and other certificates. Carefully crafted for every single letters with the soul of Sickels Lettering, Spencerian, and some research from the Penmanship Journal book. The style is named after Charles Sickels, who headed the art department of Electro-Light Engraving Co. in New York City during the early 20th century. There’s no doubt that such a very strong presence typeface like Ephemera Sickles will bring a powerful identity to your visual project. Will be a perfect joint for a logo, visual branding, poster, beer label, packaging, classic bar decor, vintage hotel, et cetera.

Roughmarker font consists of two handwritten scripts, a slant (regular) version and upright. This Script fonts are manually handwritten with quick and rough strokes. We write them on paper until we find a very proportioned form. Then we scanned and took the selected glyphs to be processed into a font. The biggest challenge in making textures fonts are the very many node points, many node points make the font processing performance a bit slow. At first we tried raising the node parameters to 2000-4000 points in one glyph. This is a big number, but if this number is lowered it will eliminate the impression of brush and natural look. We repeatedly look for gaps to minimize points so that the font capacity is not too large and comfortable when typed. This script font is equipped with ligature as well as several alternate according to handwriting habits, very effective in the sense of not too much but often used. This font is the great choice for contemporary brands, especially for businesses in fashion, urban style, websites, trends in architecture, cosmetics, and energetic lifestyle themes. An attractive typographic layout makes it also looks more premium in writing quotes.

Satero was designed by Prof. Werner Schneider in 2007. Never before have we had so much written material to consume; this is the age of mass-communication. Unfortunately, the decision of which typeface to use is too often made lightly. The typeface is one of the most elementary means of language, and it can play a major role in a text's legibility and the amount of time the reader needs for it. The Satero Type System offers a high degree of legibility due to its dynamic and forms. The individual characters have been based on classical concepts. They are clearly made, and leave all unnecessary elements behind. The type works to create an environment of extreme legibility. Essential parts of the a, c, e, s, and r are to be found at the x-height line, which is the most important area of a line of text in determining legibility. The Satero Type System includes two members whose basic forms are the same. The Sans Serif members are more horizontally differentiated than common grotesques, which aides their legibility. The Serif design employs asymmetrical serifs, avoiding elephant feet" altogether. Their dynamic is progressive. The condensed nature of the seriffed counterparts is optimal for newspaper and magazine applications, where space is at a premium and paper must be saved. All fonts in the Satero Type System include a number of alternate glyphs, as well as ligatures and proportional lining figures; all weights except the Heavy and Heavy Italic fonts are also equipped with small caps, small cap figures, and oldstyle figures as OpenType features. "

Satero was designed by Prof. Werner Schneider in 2007. Never before have we had so much written material to consume; this is the age of mass-communication. Unfortunately, the decision of which typeface to use is too often made lightly. The typeface is one of the most elementary means of language, and it can play a major role in a text's legibility and the amount of time the reader needs for it. The Satero Type System offers a high degree of legibility due to its dynamic and forms. The individual characters have been based on classical concepts. They are clearly made, and leave all unnecessary elements behind. The type works to create an environment of extreme legibility. Essential parts of the a, c, e, s, and r are to be found at the x-height line, which is the most important area of a line of text in determining legibility. The Satero Type System includes two members whose basic forms are the same. The Sans Serif members are more horizontally differentiated than common grotesques, which aides their legibility. The Serif design employs asymmetrical serifs, avoiding elephant feet" altogether. Their dynamic is progressive. The condensed nature of the seriffed counterparts is optimal for newspaper and magazine applications, where space is at a premium and paper must be saved. All fonts in the Satero Type System include a number of alternate glyphs, as well as ligatures and proportional lining figures; all weights except the Heavy and Heavy Italic fonts are also equipped with small caps, small cap figures, and oldstyle figures as OpenType features. "

Imagine a font that is easier to read the smaller it is – or the further away the text is. There are already many line screen fonts, I wanted to take it to the extreme and use as few lines as possible, while keeping the grid of the fonts metrics. The result is a typeface that lives up to its name. Each individual line makes no sense on its own; individual letters are only recognisable in the context of all associated lines, individual letters are most likely to be recognised in the context of whole words. Attached to a building wall, text would be readable from a great distance and become increasingly difficult to decipher the closer you get to the building. Placed on the ground or on a large flat roof, text would only be readable from an aeroplane or - depending on the size - in Google Earth. Kontext has old style figures, superscript numerals, case-sensitive questiondown and exclamdown and an alternative ampersand, 390 glyphs at all. Use the same value for font size and line spacing to keep the lines in the grid, or change the line spacing in 10% steps. Change the spacing in 50-unit or 25-percent increments to keep the grid. The »V« in the font name stands for vertical (lines). The numbers in the font name refer to the brightness of the background and letters themselves, with the first number describing the background and the second the letters. Starting with »00« (white) to »200« (dark) See also my family Kontext Dot

Fiton Kiton a display font, fun character with a bit of ligatures. To give you an extra creative work. Fiton Kiton font support multilingual more than 100+ language.