Historical influences coalesce with a contemporary twist to form the striking slab serif typeface Regime. In the early 19th century, as the Industrial Revolution began to transform Britain, the slab serif was born. The impact of new technology created a demand for a visual language that was compatible with mass-production and that could capture the attention of a newly-literate consumer. The design of the first slab serif typeface is credited to British punchcutter and typefounder Vincent Figgins and was released under the name Antique in 1815. In the same year, Napoleon was defeated at Waterloo. The name Regime alludes to this moment in history, when Britain emerged as the principal naval and imperial power of the 19th century.

The first version of Kremlin was designed at ParaType (ParaGraph) in 1995 by Tagir Safayev. Based on an informal handwriting. Kremlin is a Russian word for a fortress or a citadel. The reason why the author selected this word for the font name is not quite clear even for him. Probably the appearance of the text line set in this font resembled a tight fence. Later the font was expanded in character set and got two style variations with extended proportions. The suffix "Pro" in the name was added to distinguish the new version from the previous one. The derivative work was done by Dmitry Kirsanov and Gennady Fridman in 2010. The font is recommended for advertising and display typography.

Fontology-E is an experimental font designed by Fabrizio Schiavi. It was created for the cover of the Fontology catalogue. Schiavi's need was to build an optical false modulation effect with versions of the logotype and typical rectangles of an empty font chart. The basic idea was to create a page that contained many rectangles in order to demonstrate the modulation. At the same time, it was important to understand that Schiavi inserted 8 versions of the same logotype each time the corresponding letter is digitized in e, a, d, f, g, h, c and b. The inside of the catalogue has the same layout and text, which is revealed by fanning the pages. Schiavi confess that Fontology-E is a highly experimental typefont.

A grunge font, drawn largely by hand. Characters are deliberately dissimilar. Very informal.

Password was inspired by the randomly generated characters used for extra online security.

This font was based on calligraphic letters I made with pen size 2B.

Van Wyck JNL was inspired by some old printing found in a catalog.

NerdishHex is a hexagonal distortion of NewNerdish that I thought was rather interesting.

Design-wise, it is an elegant, fine-grained font. There are 218 glyphs.

Three condensed styles which are part of the well-known Kabel font family.

FP Stage was inspired by old Victorian theater posters and corresponding typographic designs.

This font contains a set of symbols that are used on the EEC

The typeface was designed by Alexey Chekulaev inspired by artwork of Grigory Klikushin.

Mystery Stencil JNL was inspired by lettering spotted on images of European kitchenware.

Painted using tempera paints and a paintbrush, these letters are messy and angular.

The height of various characters was designed by reinterpreting the woodblock print Worinseokbo.

These cute characters are designed to brighten web pages, promotional items and displays.

A set of ornaments was designed at ParaType in 1992 by Elvira Slysh.

Type designer Xavier Dupré’s Garalda is a charming 21st century family that renews a legacy of finesse. As paragraphs on a page, Garalda’s overall impression is of a workaday personality, committed to the main purpose of the job: easy long-form reading. But setting it in display sizes proves something different: This reinvented Garamond is anything but basic. The Garalda story begins with the serendipitous finding of a book typeset in a rare Garalde, called Tory-Garamond, with which Dupré was not immediately familiar. This Garamond was used in bibliophile books in the decades surrounding 1920, but after that it became déclassé for an unknown reason. Dupré found the italic styles especially charming and discovered the family was probably the mythical Ollière Garamond cut from 1914. He obtained low resolution scans of the typeface and used them, rather than high resolution scans, as the basis for his new type family. This allowed Dupré the mental freedom to experiment and remix as he saw fit, culminating in a contemporary family with heritage. As seen in the simplistic rectangular serifs, Garalda is a humanist slab serif, but with a mix of angles and curves to give the classic shapes a fresh, unorthodox feeling. While almost invisible in paragraph text, these produce a graphic effect in display work. The set of ligatures in the roman and italics lend themselves to unique display use, such as creating lovely logotypes. In the italics, some swashes inspired by different historic Garamonds are included, sometimes breaking their curves to be more captivating. Just look at how the italic ‘*-s’ ligatures create ‘s’ with a cursive formation rather than merely a flowing slant. And how the roman ‘g’ link swings as wide as a trainer’s whip. These are all balanced by squared serifs in the roman to keep an overall mechanised regularity. The Garalda family comes in eight styles, includes some of the original arrows and ornaments, and speaks multiple languages for all typesetting needs, from pamphlets to fine book printing. The complete Garalda family, along with our entire catalogue, has been optimised for today’s varied screen uses.

Corleone was originally designed as a two font family in 2001 and offered for free. This year we've expanded the font family to twelve fonts including small caps and italics. While the new Corleone has been greatly refined and is a much more professional quality font we've decided to still offer the original two fonts for free. Corleone is the perfect font for t-shirts and other merch, the new small caps make this font stand out and bring attention to whatever you use it on. Corleone is the font you can't refuse. Tech notes: Corleone was designed after a famous movie logo in the 1970's with a title name that sounds a lot like The Grandfather if you know what I mean. The movies had three installments, my original font was patterned after the logo for the third movie, the new Corleone Primo and Secondo versions are patterned after the logos of the first two movies. The differences are noticed mostly in the lowercase letters. One thing you will not find in this font family is the puppeteer or puppet master hand because it's been registered as a separate trademark of Paramount Pictures. If you're using an application that works in layers then you'll be interested in the four extra over score glyphs included in some of the versions of this font. Sorry, MS Word does not work in layers so this feature will not work in MS Word. When you open up the glyph map in Adobe Creative Suite you should see the over score glyphs when you scroll down to the bottom. These extra over score glyphs allow you to extend the top line of a single capital letter, with four different lengths you should be able to mix and match to achieve the length that you desire. When using the over score glyphs it's best to divide your word or headline into separate text objects, the cap being one object and the remaining letters being the second. If you try using the over score glyphs on a single text object then with each over score that you add the text after it will get pushed down the line.

First, the important information…Nori is a hand-lettered typeface that contains over 1100 glyphs, 250 ligatures, 487 alternate characters, 125+ swash and titling alternates, lining and old style numerals. To make sure it is perfectly clear—Nori is the result of brush and ink on paper. The textures produced in each glyph are real and the imperfections are intentional and add to the sincerity of the letters. I say this to be as blunt as possible in order to avoid confusion and to frame what this typeface represents—calligraphic, handwritten letters captured digitally for their warmth and poetic variation for print and screen. Like my handwritten, calligraphic or brush-driven faces before it (the Baka series and the TDC2 2010 winning typeface, Fugu), Nori is a product of my analog and digital hand. To view the words and sentences formed by this typeface is to look at how my hands, yes hands, make letters. The fluidity, as well as the irregularity, is human, honest and intentional—to do so lets the brush I am holding breathe life into each letter. Once digital, any number of points and repetitive processes can’t mask its influences—and I like that. The brush, a simple instrument, my tool, my friend designed to emulate traditional Japanese sumi-e brushes... the Pilot Japan Kanji Fude brush pen. Each letter, each variation was written over and over again until I found the right combination. From there, each was scanned, digitized and optimized. Points were removed in order to ‘clean’ the glyphs up some but I did not want to compromise the integrity of the actual brush stroke. Once this base set of characters (about 350) were completed, the thoughtful manipulation of the glyphs, their gestures and forms were further expanded to solidify the embellishments used within the ligatures, alternates, swashes and additional features. This process was admittedly self-indulgent to an extent. I wanted the words created with this typeface to have the flexibility of variation and cohesiveness of movement that someone fluidly producing these letters by hand might have.  I hope you enjoy this typeface as much as I did during the six months working on it. A specimen and style guide is included with the purchased of Nori.

The Vernacular trilogy was designed by Swiss designer Hans-Jürg Hunziker, who had worked for Adrian Frutiger in Paris for many years. Based on the concept of a transitional Linear Antiqua, he has developed a colorful bouquet of typefaces that contain the entire spectrum of typefaces for book design and corporate identity. Thanks to his "Swiss school" and his outstanding skills, he has succeeded in giving the typefaces a particularly noble and sympathetic expression. In addition to the Sans family, there is a Serif family and a Clarendon family, each of which, including the separately drawn italics, is equipped with 12 font weights that are finely tuned to one another. Each of the 3 font styles develops its own character, but thanks to a concept that brings the different font styles closer together, they also work well together and complement each other perfectly. Sans and Clarendon have a vertical axis and similar endings in contrast to the Serif, which has a traditional diagonal axis and horizontal endings. The straight stems and the proportions are used as an element to stress the closeness of the typeface-trilogy. They thus share a comon feature. All fonts contain tabular and proportional figures as well as old style figures. Small caps and small cap figures are also available in all fonts. In addition, some fonts have alternative characters available via style set, such as «g», which can be used to further vary the typeface. Vernacular offers all the options for well-kept typesetting for print and web - for small and large orders.

Gentlemen’s Script is a dynamic hand-written script in which the sharpness and speed of writing harmoniously coexist with elegance and a serious attitude. The script allows you to simulate fast inscriptions made by hand while keeping them elegant and classy. Working on the project, we wanted to develop a script that would harmoniously complement serifs or traditional sans-serifs and perfectly match them. Gentlemen’s Script is like an accessory in a gentleman’s wardrobe. It dilutes font traditions and adds brightness and dynamics to them. Despite the fact that the script was designed to be used as a complementary font, it has all the prerequisites to become the main character of your design story. It does not matter how you use it—Gentlemen’s Script easily adapts to reality and always works at the maximum level of efficiency. To make the script more harmonious and natural, we have drawn more than 60 ligatures. In order for the ligatures to be substituted automatically, we recommend always keeping the standard ligatures OpenType feature turned on! In addition, there are several alternative characters in the font that are programmed on the OpenType feature contextual alternates and which are used when the letter meets the service characters. To use the script to its maximum power, we recommend that you always keep the standard ligatures and contextual alternates OpenType features turned on. If you do not have access to applications that support OpenType features, it does not matter—even without these features you can use and enjoy our font!

The Vernacular trilogy was designed by Swiss designer Hans-Jürg Hunziker, who had worked for Adrian Frutiger in Paris for many years. Based on the concept of a transitional Linear Antiqua, he has developed a colorful bouquet of typefaces that contain the entire spectrum of typefaces for book design and corporate identity. Thanks to his "Swiss school" and his outstanding skills, he has succeeded in giving the typefaces a particularly noble and sympathetic expression. In addition to the Sans family, there is a Serif family and a Clarendon family, each of which, including the separately drawn italics, is equipped with 12 font weights that are finely tuned to one another. Each of the 3 font styles develops its own character, but thanks to a concept that brings the different font styles closer together, they also work well together and complement each other perfectly. Sans and Clarendon have a vertical axis and similar endings in contrast to the Serif, which has a traditional diagonal axis and horizontal endings. The straight stems and the proportions are used as an element to stress the closeness of the typeface-trilogy. They thus share a comon feature. All fonts contain tabular and proportional figures as well as old style figures. Small caps and small cap figures are also available in all fonts. In addition, some fonts have alternative characters available via style set, such as «g», which can be used to further vary the typeface. Vernacular offers all the options for well-kept typesetting for print and web - for small and large orders.

The Vernacular trilogy was designed by Swiss designer Hans-Jürg Hunziker, who had worked for Adrian Frutiger in Paris for many years. Based on the concept of a transitional Linear Antiqua, he has developed a colorful bouquet of typefaces that contain the entire spectrum of typefaces for book design and corporate identity. Thanks to his "Swiss school" and his outstanding skills, he has succeeded in giving the typefaces a particularly noble and sympathetic expression. In addition to the Sans family, there is a Serif family and a Clarendon family, each of which, including the separately drawn italics, is equipped with 12 font weights that are finely tuned to one another. Each of the 3 font styles develops its own character, but thanks to a concept that brings the different font styles closer together, they also work well together and complement each other perfectly. Sans and Clarendon have a vertical axis and similar endings in contrast to the Serif, which has a traditional diagonal axis and horizontal endings. The straight stems and the proportions are used as an element to stress the closeness of the typeface-trilogy. They thus share a comon feature. All fonts contain tabular and proportional figures as well as old style figures. Small caps and small cap figures are also available in all fonts. In addition, some fonts have alternative characters available via style set, such as «g», which can be used to further vary the typeface. Vernacular offers all the options for well-kept typesetting for print and web - for small and large orders.

Iconic Conjuring memories of chunky typefaces from the late-60s and early-70s, and named after the world’s greatest footballer of that and probably any other era, FS Pele is one of a set of Fontsmith fonts designed specifically for headlines and other prominent applications. “We wanted to create fonts that could be integral to the design of posters, album covers and magazines,” says Jason Smith. Welcome to FS Pele, iconic, like its namesake (though, perhaps, a little less nimble). Big Pele, little Pele There was only one Pele. But there are two sizes of FS Pele. FS Pele One, with the finer counters and details, adds considerable weight and style at large sizes, especially in big block headlines on posters. FS Pele Two’s thicker “slots” make it a better choice for smaller-sized text. A load of blocks FS Pele began as an exercise by Phil Garnham in turning squares into legible letters, via the least means necessary. The idea extended his ideas about logo-making, and the search for a stamp-like brand mark that lends authority, stability and instant identification. “The thought that the type was a 2D/3D jigsaw of slotted, architectural pieces was almost an after-thought. I wanted to create a strong, stacking, block aesthetic for the most contemporary poster design. “At the time there were a lot of designers creating their own versions of the same thing but I wanted to take the blocker forms to the next step, and infer a more legible text without sacrificing the idea.”

Iconic Conjuring memories of chunky typefaces from the late-60s and early-70s, and named after the world’s greatest footballer of that and probably any other era, FS Pele is one of a set of Fontsmith fonts designed specifically for headlines and other prominent applications. “We wanted to create fonts that could be integral to the design of posters, album covers and magazines,” says Jason Smith. Welcome to FS Pele, iconic, like its namesake (though, perhaps, a little less nimble). Big Pele, little Pele There was only one Pele. But there are two sizes of FS Pele. FS Pele One, with the finer counters and details, adds considerable weight and style at large sizes, especially in big block headlines on posters. FS Pele Two’s thicker “slots” make it a better choice for smaller-sized text. A load of blocks FS Pele began as an exercise by Phil Garnham in turning squares into legible letters, via the least means necessary. The idea extended his ideas about logo-making, and the search for a stamp-like brand mark that lends authority, stability and instant identification. “The thought that the type was a 2D/3D jigsaw of slotted, architectural pieces was almost an after-thought. I wanted to create a strong, stacking, block aesthetic for the most contemporary poster design. “At the time there were a lot of designers creating their own versions of the same thing but I wanted to take the blocker forms to the next step, and infer a more legible text without sacrificing the idea.”

Tomato is the digitization and quite elaborate expansion of an early 1970s Franklin Photolettering film type called Viola Flare. This typeface is an obvious child of funk, the audio-visual revolution that swept America and put an end to the art nouveau period we now associate with the hippy era. Funk is of course little more than jazz with a chorus and an emphatic beat. Nevertheless, it became the definition of cool in the 1970s, thanks to blaxploitation movies with excellent soundtracks like Shaft and Superfly. Funk began as a commercial audio experience, then later expanded its signature to cover everything, from design to fashion to the later birth of disco, which is really a further simplification of funk. Funk had very strong and unique typographical elements, particularly a kind of titling with an essentially western, wooden core that suddenly changed and flared in unexpected areas until a very individual brand was achieved. Everything that can be tacked on to the alphabet was used towards that individuality. Things like curls, swirls, swashes, ligatures were always plentiful in funk, sometimes giving the titling a specific gender, sometimes bulging, sometimes speeding, sometimes fading in the distance, sometimes doing nothing but crazily aligning with other design elements, but the result was always a fascinating creature that seemed to invariably want to dance and have fun. Tomato was built in exactly that spirit. The original film type certainly had enough swashes and curls to be an unmistakable funk font in itself, but our further expansion of it cements it and makes it the definite font for the genre. With as many as 12 different possibilities for some letters, the designer's choices for a titling set in Tomato are virtually limitless. The Postscript and True Type versions of Tomato come in five fonts, including two fonts for alternates, one font for ligatures, and one font for swashes. These are split into two affordable packages. The entire family package is also available at an even more affordable price, and includes complimentary Cyrillic, Greek, Turkish, and Central European versions of Tomato. A Tomato Pro OpenType version is also available. It is a single font that includes over 650 characters, glued together with extensive programming for convenience of use in OpenType-friendly applications, where you can watch the letters morph and dance as you push the buttons and change the options of your OT palette. Now you know which font will come to mind when someone says the word "funky".

Paneuropa 1931™ is a faithful recreation of XX-century Polish classic, made by Idzikowski foundry in Warsaw, 1931. Original Paneuropa was a renowned and highly popular typeface in XX-century Poland, and was widely used in all kinds of design, editorial use and printed materials for decades. Paneuropa is a geometric, clean and versatile font family inspired by Paul Renner's famous Futura - it is a bit narrower, with different proportions and details in drawing, completely different figures and punctuation shapes than Futura. It is an interesting and refreshing alternative to Futura with its own distinct personality and a subtle authentic vintage flavour. Paneuropa 1931 contains separate styles for display and large sizes as well as styles for small text sizes - differing in spacing and the softness of letterforms. The family features an original Paneuropa Double font - a beautiful inline style for headlines and display use. The whole family is completed with added missing inbetween styles as well as italics. The original subfamily set is available for purchase and it contains solely the original Paneuropa styles (Thin, Regular, Bold, Text Regular, Text Italic, Double). Paneuropa 1931 characteristics: letter shapes and proportions are very faithful to the original, keeping its idiosycrasies and inconsistencies spacing and kerning are carefully adjusted in order to achieve the colour of the original fonts, keeping maximum possible consistency - a compromise between authentic vintage feel and legible consistent text colour (for hardcore users: just turn off the kerning) weights precisely matching the original (Thin, Regular, Bold, Text Regular, Text Italic, Double), inbetween weights were added (Light, Demi Bold, as well as missing italic styles) italic angle faithful to the original (8 degrees) softened corners help achieving the character of old imprecise printed display styles for big sizes are sharper and have tight spacing, text styles have softer shapes (recreating small print imperfect print) and broader spacing for use in paragraph text (spacing in both display and text styles matches the original as well) original style names in Polish for devices with Polish set as their primary language The family is very versatile. The Inline style as well as bold and thin weights are perfect for headlines and display use, other styles works wonderfully as paragraph text. Paneuropa 1931 consists of 18 fonts - 5 display weights with corresponding italics + 3 text weights with corresponding italics + 2 inline styles (for big and small print sizes). It has extended support for latin languages, as well as broad number of OpenType features, such as case sensitive forms, fractions, superscript and subscript, ordinals, currencies and symbols.

Early in the 19th century, foundries began releasing a variety of decorated ornamental letters based on the Tuscan letterform. Fancy Tuscan letters quickly became so popular, they eventually came to represent the cluttered extremes of Victorian design. Foundries competed with each other to produce most extravagantly decorated letterforms. As often happens, success turned to excess. What is often overlooked is the long history of the Tuscan style. Early examples have been traced back to ancient Rome. Indeed, the characteristic bifurcation may have represented a fishtail to the early Christians, thus sharing in the roll of symbolic identification played by the simple drawing of a fish as a whole. Later. trifurcation was developed as an alternate termination, followed by loops, full fishtails, curls, hooks and other fancy variations. Nicolete Gray provides an extensive history in her Appendix One of NINETEENTH CENTURY ORNAMENTED TYPEFACES. According to Gray, the first metal typeface based on the Tuscan form was the Ornamented of 1817 by Vincent Figgins of London. Thorowgood followed suit in 1821, Fry in 1824 and Caslon in 1830. Each was to re-visit the form many times during the Victorian era. Here we present our interpretation of what Figgins might have produced in a basic, plain Tuscan form - free of the decorative additions. We are pretty safe here because Figgins was very creative. He explored many of the terminal variations listed above and combined them with different decorative devices to produce a constant stream of new faces to meet the demands of the marketplace. Figgins Tuscan 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. There are also a few glyphs for Anglo-Saxon, Gaelic and Old Gaelic. Total of 355 glyphs. 2. Added OpenType GSUB layout features: aalt, ornm and liga ˜ with total 34 lookups. 3. Added 351 kerning pairs. 4. Redesigned several glyphs: the comma, quotes, brackets, braces, acute accent, and grave accent. 5. Revised vertical metrics for improved cross-platform line spacing. Please note that some older applications may only be able to access the Western Europe character set (approximately 221 glyphs). The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

The characteristic ‘French face’ was originally made in 1899 under the supervision of Joseph Pinel. Thus, what was originally French 10 pt. Nº 2, got its present name. The Frenchman Joseph Pinel called himself a "typographical engineer", but was at the time employed as a type draughtsman at the Linotype Works in Altrincham. It appears that this and some other faces that he supervised, were, except for use on the Linotype, also meant for manufacturing matrices for the Dyotype. This composing machine was an invention of Pinel. The Dyotype was a rather complicated machine and consisted, like the Monotype, of two separate contraptions, a keyboard which produced a perforated paper ribbon and a casting machine which produced justified lines of movable type. Unlike the Monotype which has a square matrix carrier, the Dyotype had the matrices on a drum (in fact two drums, hence the name of the machine). A Pinel Diotype company was founded in Paris and a machine was built with the help of the printing press manufacturer Jules Derriey. As is often the case, a lack of sufficient capital prevented the commercializing of this ingenious composing machine. Coen Hofmann digitized the font from a batch of very incomplete, damaged and musty drawings, which he dug up in Altrincham. He redrew all characters, bringing up the hairstrokes somewhat in the process. The result is a roman and italic, while the roman font also includes Small Caps

Hasan Aya is an Arabic display typeface. It is useful for titles and graphic projects The font is based on the simple lines of Kufi calligraphy. This font was created based on the Latin font "Bedrock" which was designed by Corel Corporation in 1992. It supports Arabic, Persian and Urdu.

This hand-lettered italic casual is another versatile font produced by Jeff Marshall, aptly named “Flick” due to its off the brush casual feel. This style was a work horse back in the day where it was used on cafe menu boards through to regulation lettering on trucks and aircraft.

In 1957, Helmut Matheis designed Charme for the Ludwig and Mayer type foundry, located in Frankfurt am Main, Germany. This informal script is of medium weight and has some variation of color. The caps are flowing and the lower case letters are close fitting. Their is a bold companion, called Slogan.

ITC Ozwald was designed by David Farey and is a revival of a little-known typeface of American type designer Oswald Cooper called Cooper Fullface. The original was intended to be a modernized version of Bodoni and Farey captured all the charm, wit and creativity of the original in ITC Ozwald.

Welcome Home JNL gets its inspiration from metal letters and numbers affixed to homes, posts and mailboxes in the 1920s and 1930s. The block style of lettering that was silk screened onto enameled rectangles of steel was especially popular during that time period. This font has a limited character set.

While viewing a video posted to YouTube of a 1952 drive through Los Angeles, a building was passed for King Bros. Productions, Inc. The lettering on the signage was designed in a stylized Art Deco sans serif, and thus inspired Production Company JNL – available in both regular and oblique versions.

Hearts, and wings are both powerful symbols.The heart represents the seat of the emotions, and Wings represent movement upward, even spiritually, in the case of angel wings. These images have been drawn with a brush, some of them on rough paper, and are available as a black or white version.

Designed at Polygraphmash Type Design Bureau in 1988 by Svetlana Yermolaeva. Based on Kirillitsa (1982), inspired by typographic poluustav of the Printing Office of the Russian Empire Academy of Science (late 19th century). Shadow style was added by Alexander Tarbeev in 1994. Latin alphabet was added by Oleg Karpinsky in 2009.

Lonestar Western is a revival of the old classic slab serif font named Hellenic which was very popular in the middle to late 1800s. While watching an old western movie the opening credits caught my attention, it was the Hellenic font with spurs added which gave it a more western look.