Twigglee was inspired by the hand lettering on the plates in a 19th century book on ornaments by Owen Jones. It has no lower-case letters; the upper-case letters are simply repeated on the lower-case keys.

Mark Jamra based the design for Jamille on the forms of the 18th century Modern Face fonts of Didot and Bodoni, but was also influenced by the work of artists like Adrian Frutiger, who reworked such fonts to adapt to the demands of modern technology. A very legible font, Jamille will give text a classic, elegant feel.

BR Sonoma is a new geometric grotesque built for the 21st century with a finely tuned modern aesthetic. BR Sonoma builds on the foundations laid by the classic Swiss grotesques such as Helvetica and Univers but combines their features with a stronger geometric base usually found in other early classics such as Avant Garde, Futura and Avenir.

Hermann Zapf and Akira Kobayashi redeveloped Palatino for the 21st Century, creating Palatino nova. The Palatino nova family also includes revised versions of Aldus (now called Aldus nova). A bold weight is added into the font family. The character set support is similar to Palatino nova, but Greek and Cyrillic are not available in book weight fonts.

This original typeface appears to be lifted straight from an old crumpled piece of parchment or from a pirate map. An absolute must-have for Halloween, children's publications, pirate-themed texts, and any writing that needs to convey a haunting feel. These tattered letters conjure up spirits and spooks of buccaneers, swashbucklers, and conquistadores from centuries past.

Pontif is a typeface based on the inscriptional lettering work of Luca Horfei, the Vatican scribe who designed the major inscriptions for Pope Sixtus V's Baroque-makeover of Rome in the sixteenth century. Garrett Boge modeled the design on a Horfei manuscript and on-site research in Rome in 1996. Pontif is part of the LetterPerfect Baroque Set.

Hiroshige was designed in 1986 by Cynthia Hollandsworth (now Batty) of AlphaOmega Typography, Inc. The typeface was originally commissioned for a book of woodblock prints by the great nineteenth-century Japanese artist Ando Hiroshige, whose work influenced many Impressionist artists. The typeface has a gentle calligraphic flair that creates an interesting page of text as well as elegant headlines.

Mexican City is a slab serif font with western feel. With its neat and beautiful arrangement of letters, this typeface will look outstanding in both formal and non-formal designs. Perfect for headlines or logos, jacket, Porter finds its inspiration in the style of mid-19th century typefaces using generous slab serifs and a hard-working appearance.

Bublik (one weight) belongs to a mixed stylistic group. It combines features of sans serif and serif typefaces. Some letterforms were inspired by antique Slavic typefaces and scripts of XV-XVIII centuries, especially by skoropis' (handwriting). The type has a fresh and original look. Bublik was awarded for Excellence in Typographic Design in TDC2 2005 Type Contest.

Although designer Michael Gills was influenced by 18th century French type designer Pierre-Simon Fournier, Charlotte is best described as a modern roman typeface. Its clean cut style, accentuated by a strong vertical stress and unbracketed serifs, exudes an authoritative tone, guaranteeing its effectiveness for almost all text setting applications, but especially where a formal unmannered appearance is desired.

Hiroshige was designed in 1986 by Cynthia Hollandsworth (now Batty) of AlphaOmega Typography, Inc. The typeface was originally commissioned for a book of woodblock prints by the great nineteenth-century Japanese artist Ando Hiroshige, whose work influenced many Impressionist artists. The typeface has a gentle calligraphic flair that creates an interesting page of text as well as elegant headlines.

Millerstown is full of that solid, 19th Century, transatlantic spirit of enterprise. It is an all capitals face, decorative but clear and legible, ideal for signage, posters and banners. "Millerstown Races" is a carefully constructed oblique which brings a sense of speed and motion. Bring a touch of American inspired flair to your next design project!

This typeface family includes Spanish Roman letters and “Griffo” style italics, both hand-drawn by Francisco Lucas in Madrid, 1577. The letters, sometimes slightly mismatched in size or off the baseline, capture the look and feel of sixteenth-century printing. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Beata is a delicate, attenuated design with elegant proportions, modeled on the fifteenth-century inscription by Bernardo Rossellino for the Tomb of Beata Villana in Santa Maria Novella, in Florence. The font, consisting of caps and small caps, was designed by Garrett Boge and Paul Shaw in 1997. Beata is part of the LetterPerfect Florentine Set.

Chartreux is a geometric monospaced display sans typeface which has a distinct uppercase style and is inspired by the early Twentieth-Century era. The Chartreux name is derived from a rare breed of domestic cats, descending from the Chartreuse Mountains in France. Chartreux is recommended for luxury brands, logos, fashion, cinema, architecture, invitations, display work, posters and headings.

The Twist font is a bold typeface with a playful appearance. I tried to combine 2 fonts inspired by TV broadcasts, mid-century storybooks. It is suitable for broadcast, labels, logos, magazines, clothing and other commercial purposes. You can choose from three styles, regular, round, and rough, so you can get the retro/modern look you want

This engaging slab serif face made its debut in the 1906 ATF specimen catalog, and wears well over a century later. Its warm lines and a wide stance ensure that your headlines will be noticed. Both versions feature the complete Latin 1252, Central European 1250 and Turskish 1254 character sets, with localization for Lithuanian, Moldovan and Romanian.

Although designer Michael Gills was influenced by 18th century French type designer Pierre-Simon Fournier, Charlotte is best described as a modern roman typeface. Its clean cut style, accentuated by a strong vertical stress and unbracketed serifs, exudes an authoritative tone, guaranteeing its effectiveness for almost all text setting applications, but especially where a formal unmannered appearance is desired.

Hiroshige was designed in 1986 by Cynthia Hollandsworth (now Batty) of AlphaOmega Typography, Inc. The typeface was originally commissioned for a book of woodblock prints by the great nineteenth-century Japanese artist Ando Hiroshige, whose work influenced many Impressionist artists. The typeface has a gentle calligraphic flair that creates an interesting page of text as well as elegant headlines.

This older, somewhat funkier relative of the classic face, Engravers Roman, made its last appearance in the 1912 ATF Specimen Book. Here, it has been revived to do yeoman-like duty in a new century. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

Ranch Hand JNL is a tall, condensed wood type with slab serifs. The font is somewhat bolder in weight than Nostrand JNL, but like its counterpart, fully captures the spirit and flavor of Nineteenth Century advertising, fliers and notices.

Pullman is based on turn-of-the-century lettering reminiscent of the signage on some luxury Pullman-style train cars of that period. It is a heavy script font with a lot of character and an authoritative, elegant look.

The Circularis family includes 8 styles and weights - eight uprights with eight italics. Circularis is characterized by the nice and smooth unordinary circle geometric contruction inspired at last century, nice readability, low price and finaly many variation of useful.

Based on some script in the 19th century. Inky texture gives realistic handwriting appearance. Smooth writing feeling creates antiqued and nostalgic atmosphere. There are two other script designed by in the same concept. -Daisy Lau -Lily Wang -Pansy Bo

Some pleasant Art Nouveau spurred serif hand lettering was found on the cover of a 1902 issue of “The Century Magazine”. This is now the digital typeface Nouveau Heading JNL, and is available in both regular and oblique versions.

21st century innovation demands a 21st century style. It’s the age of virtual assistants. It’s machine learning and AI. It’s blockchain and cryptocurrencies. Shape the feel of these modern concepts with the mechanically-inspired forms of Chypre. Chypre’s subtle technological feel is perfect for our culture’s evolving electronic media applications. At its source, the carefully adjusted character designs and the balanced weight contrast convey to the modern reader an understanding of cutting edge concepts through a pleasing human feel. Unlike many other tech-driven fonts out there, this next-gen cyborg is a great option for text settings as well as headlines. The new face is composed of six styles, including numerous alternates which dramatically alter the appearance. There are also extra letter shapes, numerous figure options, and extensive language support. Designed to fit where you need a high-tech feel, Chypre is a modern font for a modern age.

Jan Tschichold designed Sabon in 1964, and it was produced jointly by three foundries: D. Stempel AG, Linotype and Monotype. This was in response to a request from German master printers to make a font family that was the same design for the three metal type technologies of the time: foundry type for hand composition, linecasting, and single-type machine composition. Tschichold turned to the sixteenth century for inspiration, and the story has a complicated family thread that connects his Sabon design to the Garamond lineage. Jakob Sabon, who the type is named for, was a student of the great French punchcutter Claude Garamond. He completed a set of his teacher's punches after Garamond's death in 1561. Sabon became owner of a German foundry when he married the granddaughter of the Frankfurt printer, Christian Egenolff. Sabon died in 1580, and his widow married Konrad Berner, who took over the foundry. Tschichold loosely based his design on types from the 1592 specimen sheet issued by the Egenolff-Berner foundry: a 14-point roman attributed to Claude Garamond, and an italic attributed to Robert Granjon. Sabon was the typeface name chosen for this twentieth century revival and joint venture in production; this name avoided confusion with other fonts connected with the names of Garamond and Granjon. Classic, elegant, and extremely legible, Sabon is one of the most beautiful Garamond variations. Always a good choice for book typography, the Sabon family is also particularly good for text and headlines in magazines, advertisements, documentation, business reports, corporate design, multimedia, and correspondence. Sabon combines well with: Sans serif fonts such as Frutiger, Syntax. Slab serif fonts such as PMN Caecilia, Clairvaux. Fun fonts such as Grafilone, Animalia, Araby Rafique. See also the new revised version Sabon Next from the Platinum Collection."

Life is an elegant roman face, designed by W. Bilz and developed by Francesco Simoncini at Ludwig & Mayer in 1964. It is a contemporary design based on the Transitional designs of the eighteenth century. The Life font can be used for almost any kind of copy. Life is especially suitable for newspapers, both in editorial and advertising due to its high degree of legibility.

The Alien Argonaut typeface is an emaciated typeface made from the lettering of beings that have lived amongst us for centuries, evolving with humankind. Study your environment, all is not what it seems. Use this typeface to try and blend into their world within ours. Purchase Alien Argonaut today, for knowing the roots of others may help you learn to live in harmony with them.

Meet Big Bright, a (very) tall sans serif inspired by some photo of a vintage mid-century furniture catalogue I saw on instagram. It's perfect for logos, headings and posters. Big Bright has a vintage edge yet and modern feel and can sway from soft and gentle to striking and bold depending on how it's styled. Hope you have big love for Big Bright

A unique display font with lots of beautiful alternate characters that you can combine to get attractive final lettering with nice and dynamic shapes just in seconds! Dictio will work great in many design forms, for example, Magazines, postcards, logos, Wedding projects, and many more. The idea for the letters came from the typographic examples from the beginning of the century, magazines and book covers.

Fusion Slab was developed based on Fusion Sans Pro, as an amalgamation of traditional early nineteenth-century letters. Fusion Slab is a family of 3 weights with very tall x-height which is suitable for long headlines. On the other hand, its ascenders and descenders are extremely short so text lines can be set with a very low leading value. It provides support for Latin and Greek.

Caslon Antique was designed by Berne Nadall and brought out by the American type foundry Barnhart Bros & Spindler in 1896 to 1898. It doesn’t bear any resemblance to Caslon, but has the quaint crudeness of what people imagine type looked like in the eighteenth century. Use Caslon Antique for that “old-timey” effect in graphic designs. It looks best in large sizes for titles or initials.

Inspired by the iconic Fenoglio-Lafleur Liberty building in the city of Turin, in an area with significant Stile Liberty buildings and New Gothic architecture. Lafleur is a decorative face with a remarkable art nouveau flair from 19th century. Perfect for creative contemporary uses in print and on screen. We recommend it for book covers, packaging, branding, editorial, web, advertising, apparel, purposes are endless.

The uppercase letters of this magical, mystical face is based on various alchemical symbols used from the thirteenth through the sixteenth century; the lowercase letters are based on those found on a 1935 poster, signed simply “Strekalovsky.” Ideal for adding a little pocus to your hocus, or cadabra to your abra. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Sole Sans, companion to Sole Serif , is a newspaper sanserif available in a wide range of weights and styles. It’s a workhorse, suitable for headlines, diagrams, graphics and tabular work. Contrast at the junctions between arches and stems is a feature of early 19th-century sanserifs which inspired Sole Sans. It was originally designed for the leading Italian financial newspaper Il Sole 24 ore.

This font provides a typical set of characters for the ancient Nabataean language, used in what is now Jordan and adjoining regions during the period of the Roman Empire, based on lapidary letter-forms of the first century of the present era. It includes a full set of alphabetic characters as well as the ancient numeral forms, with ligatures and variant shapes for some numerals.

Cinzeled Victorian Alphabets is a bold and imposing display font. Add it to your creative ideas and notice how it makes them stand out! Letters crafted to obtain the cinzeled style from the press works from XVIII and XIX centurys.

Barnhart Bros. and Spindler called this Faust Text when they introduced it in 1898. A quarter of a century later, they brought back a number of obsolete faces and renamed them. This one became Missal Text in their 1923 catalog.