The name says it all: here's a faithful revival of a Schelter und Geiseck release from 1911, designed by Moritz Greishaber and originally called Monos. Although it predates the Art Deco era, it has a Deco vibe. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

The pattern for this elegant, if slightly quirky, Art Deco typeface was drawn by Gustav Jensen for the 1931 classic, American Alphabets. Perfect for suggesting the exotic, the font also includes several graphic elements in Jensen’s inimitable style. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Lettering in a 1923 ad for Piera Nova, designed by Hernando G. Villa, inspired this delightful Deco offering. Like its namesake, this font is a talented teller of tales, both elegant and entertaining. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

This svelte type family, whose name translates as "Blonde Goddess", is ideal for creating loquacious headlines in tight spaces, as well as dense informational blocks such as movie credits. Available in three weights. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

Morris Fuller Benton's 1917 typeface named Invitation provided the pattern for this elegant and endearing face. Classic Engravers Roman style caps are exquisitely balanced with a sinewy lowercase, adding warmth and charm. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

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.

Based on lettering on a poster for an 1907 art exhibition by Joseph Maria Olbrich. Use uppercase characters for headlines, and lowercase letters for text use. For “dotted” spaces, use the underscore, and brackets or braces for framing characters. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

This graceful charmer is based on a Victorian-era typeface called "Romanesque". It takes its name from a cathedral in England considered by many to be the finest example of Romanesque architecture in the British Isles. The Opentype version of this font supports Unicode 1250 (Central European) languages, as well as Unicode 1252 (Latin) languages.

The American Type Founders 1923 Specimen Book and Catalogue called the inspiration for this typeface Engravers Text; it could easily be called elegant, enchanting and erudite, as well. The inline version of this font includes the complete 1252 Latin and 1250 Central European character sets; the Solid version includes the Turkish 1254 set in addition.

This typeface takes its inspiration from Will Bradley's Ultra Modern Initials, released by American Type Founders in 1934. Unlike the caps-only original version, both versions of this font contain complete Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan, and the Macintosh Roman character set, as well.

Mitchell was released by Inland Type Foundry in 1906 as a bolder version of their popular sans, Blair. This revival is faithful to the original, and is quite handy for both formal and informal use. Both flavors of this font feature the 1252 Latin, 1250 Central European, 1254 Turkish and 1257 Baltic character sets.

Ross F. George, master of the Speedball pen, called this rather rugged typeface "Personality Script", which might be a suitable name if you had the personality of a porcupine. It does grab your attention, though! Both versions of the font include the 1252 Latin and 1250 CE character sets (with localization for Romanian and Moldovan).

This typeface is a faithful reproduction of an elegant and somewhat quaint design by Morris Fuller Benton, which first appeared in the American Type Founders 1913 specimen book. It's equally at home as a text or a headline face. Both versions of this font include the complete Latin 1252 and Central European 1250 character sets.

This family of faces is based on the series Riverside Drive, designed by Peter Max for Photo-Lettering Inc. in the early 1970s. However, several letters have been altered to maintain design consistency and to improve legibility. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

One in the series of fonts called Whiz-Bang Wood Type, intended to be set large and tight. Rio Grande is a classic ultrabold "Egyptian" face, named for the river that separates Texas from Mexico. The Opentype version of this font supports Unicode 1250 (Central European) languages, as well as Unicode 1252 (Latin) languages.

The logotype lettering of a 1927 issue of Motion Picture magazine provided the inspiration for this playful romp through the alphabet. Named after an expression of the same time whose origin and meaning are shrouded in mystery. Both versions of this font include the complete Unicode Latin 1252 and Central European 1250 character sets.

Lettering on a package of Gibson guitar strings from the 1950s provided the inspiration for this font-on-the-go. If you want to set headlines on a bias, you can rotate the text 20° for best effect. Both versions of the font contain the complete Unicode Latin 1252 and Central European 1250 character sets.

This elegant monoline script is based on a typeface called "Médicis" from a Deberny and Peignot catalog, circa 1920. Graceful but robust, it is equally suited for invitations, announcements and headlines. Both versions of this font contain the Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

This Albert Auspurg offering from 1915 for the German foundry Schelter & Giesecke was originally called Kolibri, or Hummingbird. The design combines formal elegance with a carefree, wide stance, making it a perfect choice for inviting headlines. Both versions of this font include the complete Unicode Latin 1252, Central European 1250 and Turkish 1254 character sets.

The 1912 American Type Founders specimen catalog carried the pattern for this typeface, under the rather unimaginative name of "Pen Print". Its irrepressible insouciance makes it equally suitable for downtown or down home applications. Both versions of this font include the complete Latin 1252 and CE 1250 character sets, with localization for Romanian and Moldovan.

A typeface from the 1873 Miller & Richard of Glasgow specimen book of 1873 named Cuban provided the inspiration for this festive face. Its graceful curves and open stance gently whisper nostalgia, with traces of both the quaint and the exotic. Both versions contain the complete Latin 1252, Central European 1250 and Turkish 1254 character sets.

Break out the love beads and fire up the lava lamp! Here’s a fresh take on the Artone alphabet, designed by Seymour Chwast in the 1960s. Beefy, bodacious and bottom-heavy, this typeface keeps on truckin' along. Both versions of this font include the complete Unicode Latin 1252 and Central European 1250 character sets.

A few simple rules govern the letterforms of this decidedly digital-age typeface, and the nonstandard stencil treatment adds a gentle sense of motion to the overall design. Available in two weights, all versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

In his compilation of stencil alphabets, Dan X. Solo called this one simply "Concave Stencil". Excellent for marking cases of whiskey or gunpowder, or for setting strikingly up-to-date headlines. Both versions of this font contain the Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

A 1970s Photolettering catalog indentified the pattern for this typeface as "Exotique" ...from France, no less. Named for a French expression meaning “pun,” this face is, indeed, witty and playful, with nary a groan in sight. Both versions of this font include the complete Unicode 1252 Latin and Unicode 1250 Central European character sets.

An old Art Nouveau typeface named "Daphne" provided the inspiration for this decidely different font. This version is upright, but the linocut treatment employed visually suggests the slight rightward slant of the original typeface. Bold, unusual and distinctive. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

This typeface is patterned after lettering on a 1931 poster for a German Spa by Fritz Loehr. Informal and idiosyncratic, it will lend its own peculiar charm to any project it graces. Both versions of this font contain the Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

This typeface takes its design cues from Dudley Upright, a Dan X. Solo find from the sixties. This version is considerably wider than the original, which increases its legibility while retaining its flower-power vibe. Both flavors of this font feature the 1252 Latin, 1250 Central European, 1254 Turkish and 1257 Baltic character sets.

This stately typeface takes its inspiration from Erbar Medieval, designed by Jakob Erbar for the Ludwig & Mayer foundry of Frankfurt am Main, released in 1914. Equally at home in headlines or text blocks, this face is both elegant and inviting. Both versions contain the complete Latin 1252, Central European 1250 and Turkish 1254 character sets.

The 1885 specimen book of the Palmer and Rey Type Foundry of San Francisco featured the inspiration for this typeface under the name Courier. This version has been thoughtfully designed to use Contextual Alternates to avoid unsightly swash collisions. Both versions of this font include the complete Latin 1252 and Central European 1250 character sets.

Long before there was Scooby Doo, there was scooby-dooby. This exuberant font is based on the works of whacked-out 50s album-cover artist Jim Flora, whose imaginative illustrations defined hot jazz and cool cats. The Opentype version of this font supports Unicode 1250 (Central European) languages, as well as Unicode 1252 (Latin) languages.

A rather droll unicase typeface, discovered in a 1970s chapbook of suggested lettering for Soviet propaganda posters, inspired this bouncy beauty. Way more fun than a barrel of Volga Boatmen. The PC Postscript, Truetype and Opentype versions contain the complete Latin language character set (Unicode 1252) plus Central European (Unicode 1250) languages as well.

This unicase beauty is based on the typeface Vesta, originally designed by Albert Auspurg for H. Berthold AG, Berlin and introduced in 1926. Classic, stylish and elegant, this typeface will add grace and charm to any project. Both versions of this font include the complete Unicode 1252 Latin and Unicode 1250 Central European character sets.

A travel poster from the 1940s for Mexican tourism provided the inspiration for this voluptuous font with a strong architectural feel. A few unexpected idiosynracies in the letterforms add to its charm. Both versions of this font contain the Unicode 1252 Latin and Unicode 1250 Central European character sets, with localization for Romanian and Moldovan.

Quirky is so unpredictable and full of weirdness that you don't know what’s coming at you! The font has more than 250 different ligatures, that should be enough to boost your text into something funky and wild!

The “Moorish arch” treatment of certain letters on a 2001 book on Dutch design, executed by René Knip, provided the inspiration for this exotic unicase typeface. The font also includes arabesque designs in the brace, florin and section mark positions. Both versions of the font include 1252 Latin and 1250 CE (with localization for Romanian and Moldovan) character sets.

A typeface named Times Gothic, which made its first appearance in the 1905 ATF specimen book, inspired this headline sans. Use it to add a bit of quirky visual interest to headlines and subheads. Both versions include the complete Latin 1252, Central European 1250 and Turkish 1254 character sets, with localization for Lithuanian, Moldovan and Romanian.

This cuddly face is based very loosely on Dave Farey's Beesknees. This version is a little more regimented but no less fun, and is notable for the addition of a lower case, not found in Farey's design. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

The raw emotional energy of German Expressionism is evident in this font, based on Judith Type, designed by C. H. Kleukens in 1923. This version takes its name from the Biblical character who lost his head to the original font’s namesake. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

An uncredited typeface discovered within the pages of Alphabete: Ein Schriftatlas von A bis Z named "Fat Cat" provided the pattern for this exercise in minimalist type design. Best used sparingly for inescapable, if somewhat cryptic, headlines. Both versions of this font include the complete Latin 1252 and CE 1250 character sets, with localization for Romanian and Moldovan.