This quaint charmer is based on the original, 1913 antique version of Georg Belwe's eponymous classic. Equally suitable for headlines and text, this face is welcome in any setting. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

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.

Eponymous logotype lettering on an airline timetable from 1948 inspired this exercise in aerodynamics. This typeface’s streamlined design remains fresh, even sixty-plus years on. Both versions include the complete Unicode Latin 1252, Central European 1250 and Turkish 1254 character sets, as well as localization for Lithuanian, Moldovan and Romanian.

Mulhouse is a city in Northern France. It has a nice historical center and a car museum. Mulhouse font is a ‘movie poster font’: it was modeled after old movie posters from the 50’s. It comes with swashes for the upper case glyphs and a generous sprinkling of diacritics.

Here’s a simple, classic hand-lettered gem, based on an old photoface named Adonis. Suitable for headline or text use, it’s a refreshing and lively alternate to Comic Sans. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

It is the most common font and is used in most Arab countries because it has the potential to be written in a narrow space when compared to other Arabic fonts. It is suitable for titles of books, magazines, daily newspapers, commercials, banners, advertising, holiday cards, newspaper headlines, Introduction to students.

Franklin Type Foundry's 1897 specimen book offered the patter for this face. Numerals maching the lowercase are standard but, if you want numbers to match the uppercase letters, activate Stylistic Alternates in OpenType-savvy applications. Both versions support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Embryo Open is the companion of the Embryo Typeface. In contrast to its forerunner it is equipped with counters. These superheavy sweet fonts are perfect for logos, posters or flyers and can be used nicely together. Embryo Open has an extended character set to support Central and Eastern European languages.

Edigna is a clean, rounded sans-serif with a tall x-height. It contains five different weights and a matching inline style. The font family supports a variety of languages, including Western, Southern, Northern and Central European as well as Eastern European. It's good for headlines, posters, brands, and magazines.

Heart Strings, a charming and warm handwritten font, brings a delightful touch to designs centered around Valentine's Day. Its simplicity and distinctive style make it a perfect match for a wide range of creative projects. Let your imagination run wild—there's no limit to the sweetness this font can add! Uppercase

A clean, elegant and modern serif that has a strong personality thanks to its soft endings, rounded terminals, inspired from Cheltenham, Belwe and Souvenir. Masantina is equipped for complex, professional typography. The OpenType fonts have an extended character set to support Central and Eastern European as well as Western European languages.

Seriffi Morgan is a paper-tasting serif typeface, just what you need. It supports West and Central European languages as well as Baltic, Turkish and Romanian.

Jadore Vous is available in two versions: smooth and textured. This font particularly well suited for wedding invitations, cards, signature logos and other branding projects. Jadore Vous includes Upper and Lowercase Basic Characters, Numbers and Punctuation. It also includes large selection of ligatures and lowercase alternates that make your type look more like natural handwriting rather than a font. Jadore Vous is available for Western European, Central European and South Eastern European Languages. You can check your language typing characters in text box above.

A comprehensive set of initials (usually referred to as Uncials, Lombardic Initials, or Lombards) of the Germanic variety, designed after Henric Pieterszoon’s “Gothise Monnikke Letteren” as appearing in Enschedé, J. (1768), Proef van Letteren, Haarlem (p. 120); also mentioned as “Great Primer Uncials” and "2-line Brevier Uncials" in Vervliet, H.D.L. (1968), Sixteenth-Century Printing Types of the Low Countries, Amsterdam: Hertzberger (pp. 54-55, and 212-213). The font contains over one hundred glyphs, including as a bonus six layered plus two plain ornamental initials adapted from the Gutenberg Bible (Mainz, ca. 1455) and the Mainz Psalter (Mainz, 1457). Suitable to accompany most Gothic (especially Textura and Rotunda) typefaces, or to be displayed as drop caps or in full titles and headings. Specimen, detailed character map, OpenType features, and font samples available at Alter Littera’s The Initials “Gothic C” Font Page. Note: Several uncial initials in The Oldtype “Psalterium” Font have been derived from corresponding characters in The Initials “Gothic C” Font, adjusting them to cope with the special (large) x-height and letter spacing of the Psalterium font (so the two sets of initials are not directly interchangeable).

“Hey, look at me!” cried the new advertising typefaces. With the nineteenth century and the industrial revolution came an esthetic revolution in type design. Brash, loud, fat display faces elbowed their way into the crowd of book faces, demanding attention. Those who admired traditional book types harumphed and complained. Robert Thorne had fired the opening round with his Fatface. With the cutting of Figgins Antique, the battle was well and truly joined. Job printing came into its own and it seemed like everything changed. The world of printing had been turned upside down and the gentile book-type aficionados recoiled in horror much as the rural landed gentry recoiled at the upstart middle class shopkeepers and manufacturers. William Savage, approvingly quoted by Daniel Berkeley Updike over a hundred years later, described the new display faces as “a barbarous extreme.” These were exciting times. According to Geoffrey Dowding in his An Introduction To The History Of Printing Types, “The types which we know by the name of Egyptian were first shown by Vincent Figgins in his specimen book of 1815, under the name Antique.” Of course, dating the design is not quite as simple as that. Nicolete Gray points out that Figgins used the same “1815” title page on his specimen books from 1815 to 1821, adding pages as needed without regard to archival issues. As a result, there are different versions of the 1815 specimen book. In those copies that include the new Antique, that specific specimen is printed on paper with an 1817 watermark. The design is dated by the 1817 watermark rather than the 1815 title page. Figgins Antique ML is an all-cap font. This typeface is for bold statements. Don't waste it on wimpy whispers of hesitant whimsies. And please don't use it for extended text -- it will only give someone a headache. Think boldly. Use it boldly. Set it tight. Go ahead and run the serifs together. Solid and stolid, this face is very, very English. FIGGINS ANTIQIE ML represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Added glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 331 glyphs. 2. Added OpenType GSUB layout features: liga and pnum. 3. Added 86 kerning pairs. 4. Revised vertical metrics for improved cross-platform line spacing. 5. Redesigned mathamatical operators. 6. Included of both tabular (standard) & proportional numbers (optional). 7. Refined various glyph outlines.

Linotype Afrika, from German type designer Jörg Herz, is part of the TakeType Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contest 1999 for inclusion on the TakeType 3 CD. Dancing, jumping, and playing, the lively beings of this symbol font exude joy. Ornaments and a few frolicking animals complete the font. Combining the single figures, whether as decoration or border, creates a pattern which will surprise you with its lightness and dynamism.

This whimsical typeface is based on an untitled work by William Hugh Gordon in his 1931 book, Lettering for Commercial Purposes. If you are looking for a font to add warmth and quirky charm to a project, this is the one. Both versions of this font contain complete Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

The pattern for this face was designed by Will Bradley in 1894 for the cover of Inland Printer magazine, and was licensed the following year to American Type Founders. Its classic lines and condensed footprint make this typeface a natural for elegant and inviting headlines. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

Retail Merchant JNL is strictly for making prices. The 0-9 keys have large numbers, the shift position of the same keys have smaller, centered numbers, and the alphabet keys have a variety of smaller numbers with underscores in single digits, pairs of numerals and even a few complete prices such as "$1.00". Thrown in for good measure are companion words... "at", "for, "each", "lb." and "dozen"...

Among many of Alf Becker’s contributions to Signs of the Times magazine was 1 1935 offering named Chicago Modern Thick and Thin, which provided the inspiration for this face. It’s a perfect choice for friendly headlines with an Art Deco vibe. Both versions include the complete Unicode Latin 1252, Central European 1250 and Turkish 1254 character sets, as well as localization for Lithuanian, Moldovan and Romanian.

The ATF syndicate released the inspiration for this quaint charmer in its 1884-1885 series of specimen books under its current name. Its warmth and unassuming naivete make it perfect for headlines seeking to evoke simpler times. Both versions of this font include the complete Latin 1252, Central European 1250 and Turkish 1254 character sets, along with localization for Lithuanian, Moldovan, Romanian and Turkish.

The Gravity family is a unique series of heavy square slab serifs intended mainly for display usage. Gravity Normal exhibits impact with legibility. Gravity Nova is fine-tuned to showcase brawn and beauty. Gravity Supernova, the most audacious of the family, commands attention with its extremely dense, mechanical design. Each weight includes diacritics for Western and Central European languages and is tightly spaced for maximum impact.

The letterforms for this typeface are pretty much standard block gothic, but its prismatic treatment features a twist: the letters appear to be lit from below rather than above, which is usually the norm. The result is a perfect choice for dramatic headlines. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

Garnet as a modern font kit inspired by fonts and calligraphy of XX centure. It includes Capitals (6 Styles) and Script so you can combine them as you like. Geometric Sans + Handwritten Script is a modern and fresh looking combination which can be used for many tasks. Garnet is good for headlines, posters, packaging, book covers, cards and as a starting point for logotypes.

Homenko was the only Ukrainian typeface for metal type casting developed in the last century. It has already become a 'classic'. Vasyl Homenko worked on it from 1964 to 1967. The typeface successfully combines the qualities of lineal humanist typefaces with the Ukrainian tradition of asymmetrical slab serif. The works on its digitization and further development has been in progress since 2000. The present version contains Latin Extended characters, Cyrillic with stressed alternates and several ornaments based on Vasyl Homenko's works. It works perfectly for books for children and is ideal for publications related to culture, history, literature and traditional art of Ukraine and other nations of Eastern Europe.

Yugoslavia is an elegant human-looking calligraphic font, made with pen and inspired by classic concatenated typefaces that were born in the nineteenth century and are still in force today. The font includes an additional full set of lowercase swashes for use at the end of words, plus a set of 8 reversible ornaments for captions and decoration of phrases and titles, and 3 strokes of different styles for highlighting and embellishing words. This font is ideal for designing greeting cards or weddings, invitations, diplomas, etc. Where you can print a classic style, luxurious or elegant and that in turn transmits, to the design, tradition and history.

Cantilever is a variable, 20 style display typeface designed by Stew Deane. The idea came from using variable type mechanics to create a typeface that became more than type — it's designed to be impactful, fill space and turn text into something graphic and visual. Being fixed-width (at whatever width you choose) means it is perfect for stacking, as well as stretching ultra wide. It's a typeface designed to take centre stage and own space. By using the variable sliders in your design software you can give your typography a bespoke, ownable aesthetic. The sliders in Cantilever are Weight and Width, and are designed for maximum impact in any space. Play around.

Check out other members of the Pocket family: Pocket and Pocket Swash This hand drawn serif font is perfect for giving a fun touch to your projects. It combines a handmade look and rough texture with classic serif forms. It has support for most western and central European languages, and has alternates for most letterforms accessible through Opentype features, allowing for variations that make it look authentically hand-drawn.

Head 'em up and roll 'em out! Western styling with a wagonful of whimsy combine in this little beauty, based on a typeface named Blackjack, designed by Vincent Pacella for Photolettering in the 1970s. The PC Postscript, Truetype and Opentype versions contain the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well

This assertively Art Deco face is based on Cubist Bold, designed by John W. Zimmerman for Barnhart Brothers & Spindler in 1929, and takes its name from one of the co-founders—with Pablo Picasso—of the Cubist Movement. Both versions of this font contain the complete Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

Blackfriars, a Victorian-era release from the Stephenson Blake Type Foundry, provided the basis for this rough-hewn gem. Slightly clumsy yet eager to please, this typeface adds a cheerful warmth to any project it graces. The PC PostScript, TrueType and OpenType versions contain the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

Lucilee is a full featured, OpenType script font from Michael Clark. It is a sweeping italic with many alternates, including ligatures, beginning and ending swashes, and a full Central European character set. It is a joining script that is fluid and also suitable for titling. Lucilee was designed with packaging in mind, but can be used for a wide variety of uses.

Daretro Mandra is elegant serif font. Made for any professional project branding. It is the best for branding, printing, wedding and quotes. Every letter has a unique and beautiful touch. Our fonts are inspired from the country of paris exquisite places according to this font. Includes: Daretro Mandra (OTF) Features: Beautiful Ligatures Beautiful Alternates PUA Encoded Multilingual Support Numerals and Punctuation

Here's an Art Deco classic with a bit of an edge. This typeface is based on a somewhat less refined but more energetic version of Broadway, designed by Morris Fuller Benton for ATF in 1928, originally named Broadway Poster. Both versions of this font contain the complete Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

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.

An old brass stencil of the word 'large' was spotted for sale in an online auction. What set it apart from many other vintage stencil items was the beautiful, hand-punched Western letters with a diamond-shape center. Those five letters served as the basis for Old Chisholm JNL, which retains the look and hand-made charm of the original metal stencil.

Here’s another offering from the Baltimore Type Foundry, originally called Airport Tourist, which was obviously influenced by Paul Renner’s Futura Display, designed in 1932 for Bauersche Gießerei. This version features tight sidebearings and aggressive kerning, so your headlines will pack a punch. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

The 1930s produced many distinctive and stylish autos. One was the Auburn, and this typeface was suggested by a period poster for the make. Another fine car of the time gives the font its name, because “it’s a Duesie!” Both versions of this font contain the Unicode 1252 Latin and Unicode 1250 Central European character sets, with localization for Romanian and Moldovan.

Maryland Bawlmer is a modern and luxurious calligraphy with a natural look. perfect for wedding invitations, calligraphy logos for branding, elegant websites, personalized gifts, social media posts, photography and more! Featuring 81 ligatures, 7 Alternate Set Styles (SS01-SS07) and Supports Western European, Central/Eastern European, Baltic, Turkish, Romanian Language Elegant, modern, luxurious, stylish and a natural touch blended in Maryland Bawlmer

This exuberant face was suggested by a piece of French sheet music from the 1930s for the song Sur un Air de Shimmy, The name comes from an Australian song from the 1950s about a noncompliant boomerang. Both versions of this font contain the Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.