Named for Antoine Augereau, teacher of Claude Garamond, this much admired rendition of the classic Garamond typeface was created by George Abrams and released in 1997.

Based on Art Nouveau models, Greeting Monotype was created by M.F. Benton in 1927. The Greeting Monotone font works well for titling, packaging and greeting cards.

Morris Fuller Benton’s 1910 contribution to the Art Nouveau sanserif, designed for ATF, with all descenders eliminated to encourage combinations of this typeface with other shapes.

Hancock Bold Condensed is slab serif typeface. The original Hancock design was produced by the Keystone Type Foundry, circa 1903; a condensed version was added circa 1917 by Lanston Monotype. Steve Jackaman (ITF) designed and produced a digital version of Hancock in 1994, and completely redrew the typeface for its 2017 release. The new version has a 40% larger glyph set, and supports Latin 1 plus Central/Eastern European languages.

Right on the heels of the tremendous popularity wave that made Hollandse Mediaeval the most used Dutch typeface during the Great War years, Sjoerd H. de Roos was asked to design a 15 point type for De Zilverdistel, Jean François van Royen’s publishing company. So between 1914 and 1916, de Roos and van Royen collaborated on the typeface eventually known as Zilvertype, and which both parties viewed as an improved version of Hollandse Mediaeveal. Like Hollandse Mediaeval, Zilvertype was based on the Jenson model, but it is simpler, with more traditional metrics, lighter and more classic in color. This Pro digital version of Zilvertype comes expanded in all directions. It contains a roman, a bold and an italic. Each font contains over 685 glyphs, including small caps, eight different sets of figures, plenty of ligatures, some Dutch ornaments, and extended language support covering most Latin languages. Zilvertype Initials is also there to round out this distinctively Dutch text family and make it ideal for immersive text design.

Wedge’ is the outcome of a search for the essence of a formal alphabet for text — for 26 letters of the simplest form consistent with ease of reading.. Noted New Zealand architect Bruce Rotherham (1926–2004) was inspired by Herbert Bayer’s ‘universal alphabet’ created at the Bauhaus in 1927. While he admired Bayer’s pure geometry, Rotherham felt it was ‘virtually unreadable’. The Bauhaus-inspired inclination for architectural publications to use sans serif faces provoked Rotherham to consider how a readable Roman book face might be approached using some of Bayer’s same principles of simplification, but also retracing the evolution and use of the Roman form in an analytic manner. The Wedge alphabet was started in 1947 when Rotherham was an architecture student at the University of Auckland. It was worked on and refined over several decades but never commercially released, until now. Over sixty years after it was first conceived, Wedge is available from P22.

Torbjörn Olsson's Interrupt is a salty dog of a sanserif, harboring memories of freighters unloading their cargo in a run-down port. Interrupt works great for signs, and looks just fine painted on the side of a wooden crate or stencilled on an old tarpaulin. Interrupt is recommended for use over 36 points. You have run out of packing crates and would like to use it on paper? Sure, Interrupt can add its sturdy sailor's gait to any medium... just don't set any novel in Interrupt. Not even Melville. Interrupt is an OpenType typeface for both PC and Mac.

✒️Radja Wolly✒️is a font inspired by the Blackletter typeface, made with a modern impression but still looks strong and stencil tyle. Supported by alternative options such as swash, ligature and alternative characters, making The Radja Wolly Typeface very easy to create designs with strong or vintage themes. In addition, The Radja Wolly Typeface font is also supported with multilingual characters that can be used in several international languages. The Radja Wolly Typeface is very suitable for use in making music album cover designs, tattoo logos, wishkey labels, packaging pomades and so on which are made with dark and strong concepts.

Rever is an experimental typeface by a young designer Sasha Smirnov. It clearly alludes to 19th century typefaces with reverse contrast, but still the character shapes are as simple and geometric as possible. Rever answers the question “What can a reverse-contrast typeface look like today?” Its set of styles is non-traditional: in addition to a regular one, there are also an oblique (slanted to the left, not to the right!) and a stencil styles. The typeface can work for typographic experiments of any kind -- web, print or motion design. The font was released by Paratype in 2019.

Maat is a modular geometric stencil display font that includes a number of modular pattern characters, and can be used to create designs that echo early Modernism by merely applying letters, patterns and color. Maat is a loose interpretation of a hand lettered alphabet by the late Dutch designer Jurrian Schrofer called Sans Serious which was included in Wim Crouwel's publication Letters of Maat. It is inflected with a bit of influence from British designer Ken Garland's similar lettering form the cover of his textbook, The Graphics Handbook. Maat derives its name from the title of Couwel's booklet.

Gene Gable is known to many graphic artists from his on-line column 'Scanning Around with Gene', which was on the Creative Pro website for a number of years, covering a variety of topics ranging from printing techniques to paper ephemera; water applied decals to lettering stencils. Gene has also been a great help in providing vintage source material to Jeff Levine, which resulted in many additional font designs. It seems only fitting that he should be bestowed with his own-named font as well. Gene Condensed JNL is offered in both regular and oblique versions.

This unicase typeface, with alternate characters in several of the lowercase positions, is patterned after Mosaik, designed by Martin Kausche for Schriftgeißerei Stempel in 1954. A stencil treatment has been employed, and the outlines have been roughened to enhance its ancient feel. The typeface is named for a king of England, Æðelred the Unready, who ruled over a millenium ago. Unlike its namesake, this typeface is quite ready to do yeoman's duty on your next project. The Opentype, Truetype and Windows Postscript versions of this font contain both the Windows 1252/ANSI character set and the 1250/Central European character set.

Nebula Navigator is a font designed to meet the needs of modern design. With two distinct styles, stencil and regular, this font offers incredible flexibility for a variety of design projects. Whether it’s for sharp technology posters, dynamic sports branding, or stunning space visualizations, Nebula Navigator is ready to elevate your design to a new dimension. The font provides variety with both uppercase and lowercase letters, ensuring that every word you convey has maximum impact. With the ability to adapt from subtle text to bold statements, Nebula Navigator is the perfect choice for designers looking for something truly unique and versatile.

This group of icons has graffiti as central theme, based on the most representative images and styles of the artists; Guache, Toxicomano and DjLu. In addition, the 26th Street corridor (also known as El Dorado Avenue) was taken as the main reference because it brings together the work of many important exponents in this type of art; at least locally and nationally. Some icons are characterized by have a similar appearance with the Stencil technique or by have a loose stroke with high contrast. This font can be used in projects and works related to street art.

Inspired by public fonts in New York in the 1970s. Authority pays tribute to the almost unnoticed but powerful effect type have on our lives. From waiting on a cold morning to catch the 307 to Morton West High School, to the rain and snow worn stencil on a postal box. Public typography is a part of the little spaces in your lives where life actually happens. Government designed fonts were chosen to communicate authority and help grease the gears of the day-to-day grind. Authority beckons back to these days with it's mildly condensed feel, squared corners and weight presence.

Constructivist flavor typography goes pro enters the digital era with Delaware Pro AOE. Delaware Pro AOE is the revival and elaboration of a limited lettering specimen from a series of old loose book pages. What began as just Capitals & Lowercase was expanded to a rich pro glyphset including numerals, punctuation, small caps, small caps scaled figures, unlimited fractionals, superiors & inferiors, ordinals, tabular & proportional figures, and an expanded language glyph set. From titling to nightclub posters, fashion spreads to stencil play, the Constructivist Era is built up and out, waiting for you to put it to use.

Triplepass is a narrow grotesque with 3 styles: normal, with cut corners and a stencil shape. The font has a retro character, contains both humanistic rounded designs and modern smooth alternatives. The font is suitable for logos, large headlines, posters, signs, prints, font compositions, as well as for sports-related layouts where clear numbers and space savings are needed. Triplepass contains extended Latin, Cyrillic, fractions, ligatures and two icons of a basketball. It contains OpenType features: liga, numr, dnom, calt, ss01, ss02. The font is also case sensitive, has fractions, currency signs including the rouble sign.

Grotesk Polski FA developed in 1998-2006, was inspired by the Polish eminent pre-WWII text typeface - Antykwa Półtawskiego. Adam Półtawski designing his antiqua had took into consideration the special qualities of Polish language. He designed unique letters: k, w, y, z and R, K, Y. Another unique element of his typeface was polygonal dot. Grotesk Polski keeps all that shapes and goes further. It is a contemporary sans serif in four cuts: Regular, Italic, Bold and Stencil. The proportions of the typeface were rebalanced to give it a neo-grotesque form with a Polish twist.

This is long awaited thorough revision to Skarpa family. The revision has inculded both another look at letter shapes as well as kerning and metrics of the files. The shapes encapsulated in this font stem from old time architectural drawings hand executed at drawing board with tracing paper and rapidographs. Think of lettering stencils sliding across the tracing paper and craftily exectuted drawing descriptions. The font is based on geometric forms devoid of excessive flourishing. Would suit modern designs either in fashion, technology or laboratory setting. Would look good on door plaques in pharmacy or simple drawer plaques - especially Medium or Bold specimen.

By overwhelming popular demand, this is the wide display companion to Canada Type's Clarendon Text family. It comes in ten styles: regular, medium, bold, with small caps and oldstyle Figures counterparts, as well as stencil and sketch versions of the regular and the bold. All the fonts come equipped with superscripts/numerators, denominators, and scientific inferiors. The OpenType fonts also contain automatic fractions and class-based kerning. The Clarendon Wide fonts are available in all popular formats. Language support includes Western, Central and Eastern European character sets, as well as Baltic, Esperanto, Maltese, Turkish, and Celtic/Welsh languages.

Introducing, Pinmold, a modern stencil display font suitable for military theme design, urban street style, or even for gaming title for a war game. This type of font also perfectly made to be applied especially in logo, headline, signage and the other various formal forms such as apparel, novel, label / packaging, and various advertising purposes. Features : numbers and punctuation multilingual PUA encoded regular and rough version We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.

Orbita is a new playful display font. Based on our popular ‘Stencil Creek’ skeleton and keeping its freshness and grace. The aim was to create a new version, dynamic and full of movement, so we came along with this idea of adding a pop up effect which creates a visual illusion of strokes moving in different directions. The family includes 4 versions of this font. It’s perfect to create headlines, posters, book covers, cards, wrapping paper, invitations, T-shirts, labels, packaging and an endless array of options for your projects. In these flags is also featured one of our popular font, ‘Nautica’

Copenhagen has been in need of a typeface that unites the city’s many visual expressions. The three designers Morten Rostgaard Olsen, Henrik Birkvig and Ole Søndergaard have designed and developed the typeface FP København. Now available from MyFonts in 44 styles: Serif & sans serif, uprights & italics, small caps, pictos-characters, stencils, sprayed style, OT-features, ligatures, contextual alternates etc. The shapes of the letters are inspired by the city’s culture and the visual environment and design in Denmark in the 20th century. It is relatively low and wide as the city itself and with rounded corners that give it a warm visual mood.

A rounded version of Albiona, a contemporary slab-serif which revisits aspects of Robert Besley’s classic Clarendon. Originally named after the Clarendon Press in Oxford, the type family was subsequently extended by Stephenson Blake in the 1950s. Albiona adds the inwardly-curved stroke terminals of the same foundry’s Grotesque series, and includes italics and old-style and tabular numerals. The original Clarendon’s ball serifs and calligraphic eccentricities have been rationalised for functional contemporary uses. The family consists of five weights plus italics and a stencil, and its clean readable style is perfect for both extended text as well as headline setting.

Crafter Pieces - Multi-Style Font is a truly unique font that offers multiple styles within a single typeface. With a total of 8 different styles accessible through alternate characters, this font provides versatility and creative options for various design applications. From super bold and stencil to thin, slab, serif, sans-serif, sport, and postage stamp styles, Crafter Pieces is a font that can be applied to any design and suit any theme or style. Each style can stand on its own or be combined with others, making it a perfect choice for branding, logos, posters, quotes, books, magazines, headlines, and more. The versatility of Crafter Pieces is truly exceptional, as it allows you to experiment with different styles within a single font. The availability of 8 distinct styles in one typeface opens up a world of possibilities for your creative projects. Whether you need a super bold look for a striking poster, a stencil style for an edgy branding design, or a thin font for an elegant quote, Crafter Pieces has it all. With Crafter Pieces - Multi-Style Font, your design possibilities are endless. Whether you're working on a modern or vintage theme, an edgy or elegant concept, this font will be your go-to choice, offering a wide range of styles to suit every project and creative vision.

Blackletter Moderne JNL was inspired by the original 1935 pencil drafts for “Deutsche Schrift” (German script); designed for the country’s railway system – and is available in both regular and oblique versions.