The Brass Family has a lineage that extends into English history. About five hundred years ago a devout, but anonymous Englishman gave glory to the God he worshipped by designing the capital letters and decorations of these two fonts. Originally recorded in The History Of Mediaeval Alphabets And Devices by Henry Shaw (London 1853), they are described by Alexander Nesbitt in his Decorative Alphabets And Initials (Mineola, NY 1959) as “Initials and stop ornaments from brasses in Westminster Abbey.” I wish I could say I remember seeing them when I was there, but that was forty-two years ago and all I remember was seeing the tomb of Edward the Confessor. One definition of “stop” as a noun is a point of punctuation. I have heard people from the British Isles speak of a “full stop” when referring to a period. Some may remember a 19th century form of communication called a telegram being read aloud in an old movie, with the use of the word “stop” to indicate the end of a sentence or fragment. A full dozen of these stop ornaments are provided. They occupy positions 060, 062, 094, 123, 125, 126, 135, 137, 167, 172, 177 & 190. The Brass Family consists of two fonts: Brass and Brass Too. Both fonts have an identical upper case and ornaments, but paired with different lower cases. Although the typefaces from which the lower cases were drawn are both of modern design, both are interpretations of the textura style of blackletter in use in England when the upper case and ornaments were fashioned for the Abbey. Brass is paired with Morris Gothic, which matches the color of the upper case quite well. Brass Too is paired with Wedding Regular, which is distinctly lighter than the upper case. I find it very interesting how each connects differently. The resulting fonts are unusual and most useful for evoking an historic atmosphere.

Sydonia Atramentiqua is a strange creation. The inspiration was the first releases of "Malleus Maleficarum" (actually the typography used there). I decided I wanted something strange, so Sydonia came into being. Like a blood of all witches who were being hunted down by Malleus Maleficarum's "fans" for their skills and beliefs. Why Sydonia? Sydonia von Borck was a witch from my area. It was probably the last woman executed for witchcraft. The genesis of the name. Sydonia was THE WITCH, and by the name I added "Atramentiqua". It is a combination of the words "Ink" (polish "ATRAMENT") + "Antiqua". The idea of ​​spilling a font is historical. The former Zecer composition was not perfectly sharp. As it was a "wet job", there were always light exits behind the lines. Who supported me? The GENEALOGIA project has been carried out for several years in cooperation with the Academy of Art in Szczecin and the National Museum in Szczecin. The project's supervisors are prof. Waldemar Wojciechowski and MA Patrycja Makarewicz, who runs the Visual Communication Studio. Some information: Sydonia was like that! This is not an everyday font. It is a stylized font, used to imitate old prints made by Zecer. The first version of Sydonia Atramentiqua was created in 2018 for the purposes of the exhibition at the National Museum in Szczecin. Base inspiration: Malleus Maleficarum & Caslon.

Ciseaux Matisse was inspired by the exhibition Drawing With Scissors, which I visited at the Kunsthalle Schirn in my hometown of Frankfurt am Main in 2003 and the book Jazz published in 1947 by Henri Matisse. Admittedly, before that time I wasn’t a fan of Matisse’s work, neither his late nor the early work. That definitely changed after the exhibition. While his motifs have been overused on postcards and mouspads, in front of the originals you forget those tiny pictures. Some of the works were massive—larger than 24ft. By cutting directly into the color Matisse created shapes with strong dynamics. Years later, in 2007, I used that inspiration to cut an exclusive font for a newspaper that I designed at that time (see Gallery Pictures). Later I developed that font into the four styles featured here. The cut-out style is a paper cutout; boxed is the paper background. Both linear and boxed linear have no curved outlines, so they are more aggressive. As drawing with scissors implies, all characters are cut by hand. With only uppercase letters, this font is designed for editorial use: headlines, slogans in ads, or musical usage in posters and flyers that need the little touch of the jazz scissors. In special cases the lowercase letters contain alternate shapes to the uppercase forms.

The engraver Jean Jannon ranks among the significant representatives of French typography of the first half of the 17th century. From 1610 he worked in the printing office of the Calvinist Academy in Sedan, where he was awarded the title "Imprimeur de son Excellence et de l'Academie Sédanoise". He began working on his own alphabet in 1615, so that he would not have to order type for his printing office from Paris, Holland and Germany, which at that time was rather difficult. The other reason was that not only the existing type faces, but also the respective punches were rapidly wearing out. Their restoration was extremely painstaking, not to mention the fact that the result would have been just a poor shadow of the original elegance. Thus a new type face came into existence, standing on a traditional basis, but with a life-giving sparkle from its creator. In 1621 Jannon published a Roman type face and italics, derived from the shapes of Garamond's type faces. As late as the start of the 20th century Jannon's type face was mistakenly called Garamond, because it looked like that type face at first sight. Jannon's Early Baroque Roman type face, however, differs from Garamond in contrast and in having grander forms. Jannon's italics rank among the most successful italics of all time – they are brilliantly cut and elegant.

Sobriquet means 'nickname'. The font is a narrow, handmade typeface, in an art-deco-ish style. It comes with a bunch of ligatures, distinct upper and lower case letters and extensive language support.

Spun with webs in mind for the letters pages of the SPIDER-MAN books, INCYWINCYSPIDER is probably one of the World's CREEPIEST Comic Book Fonts! Handle with care - some letters may stick together!

Hypocrite is a wide and black display serif face with a hint of decay and black humor. Handle with care. Shelf-life unlimited. Designed by Alexander Lubovenko and released by Paratype in 2017.

Lebbad Script is a bold decorative script font. It's ideal to give your headlines a sporty, retro feel. This original font design contains an alternate set of connecting lower case characters and ligatures.

Funny Notes is based on a recipe for a vanilla cake. And how is that? The reason is that Funny Notes is full of calories, vanilla and a spoonful of comic soft crumb!

Gritstomper is a gritty, charcoaly, pencilly font. Quickly written, handcrafted and with sharpened edges. Comes with a full load of diacritics, double letter ligatures for the lower case and a boss-like attitude.

Stallman Round is a Display font family containing 98 Fonts (Regular, Oblique). It's a perfect font for titles There are also 6 OpenType features (Numerator; Denominator; Fraction; Case Sensitive; Ordinals; Access All Alternates)

Sleigh bells ring... are you listenin'? In the lane, snow is glistenin'. It's a beautiful sight, we're happy tonight... Features: One font with upper and lower case characters plus Western European international characters.

A display style font, upper case only, very typical of wooden type of the 19th century, ideal for circus posters or posters of any kind which might feature antique material and so on

Blackletter is the classic “German” printing type. Starting in the 16th century and lasting well into the 20th century, most works in Germany were printed using blackletter types. Today, blackletter fonts are mainly used decoratively. If you want to communicate a feeling of old-world quality or nostalgia, blackletter fonts are the preferred choice – use them on signs, in brochures or on invitation cards. Barock 1720 is a classic blackletter font of its epoch which inspires you to create vintage-looking designs with ease.

Based on the late 1970s artwork by outstanding Armenian type designer Henrik Mnatsakanyan (1923-2001). That was the only design created by Mnatsakanyan for Latin and Cyrillic. Digital version with adding the missing characters was designed for ParaType in 2003 by Manvel Shmavonyan. The font name Henman proposed by Mnatsakanyan is formed of the first three letters from the each designer's name: HENrik and MANvel. Some fractured elements make the face informal and a little bit funny. For use in text, advertising and display matter.

Linotype Facsimile is part of the Take Type Library, which features the winners of Linotype’s International Digital Type Design Contest. Designed by J. Luigs and S. Wicker, the forms were constructed for electronic readers, just as the OCR fonts were. The increasing use of computers accompanied the growing number of fonts suitable for electronic reading. The standard has long been set, but designers are always creating new interpretations and new symbols. Typefaces like Facsimile are here to stay and personify the Zeitgeist of the late 20th century.

Blackletter is the classic “German” printing type. Starting in the 16th century and lasting well into the 20th century, most works in Germany were printed using blackletter types. Today, blackletter fonts are mainly used decoratively. If you want to communicate a feeling of old-world quality or nostalgia, blackletter fonts are the preferred choice – use them on signs, in brochures or on invitation cards. Albrecht Duerer Fraktur Pro is a classic blackletter font of its epoch which inspires you to create vintage-looking designs with ease.

Blackletter is the classic “German” printing type. Starting in the 16th century and lasting well into the 20th century, most works in Germany were printed using blackletter types. Today, blackletter fonts are mainly used decoratively. If you want to communicate a feeling of old-world quality or nostalgia, blackletter fonts are the preferred choice – use them on signs, in brochures or on invitation cards. “Innsbruck Initials” is a classic blackletter font of its epoch which inspires you to create vintage-looking designs with ease.

Blackletter is the classic “German” printing type. Starting in the 16th century and lasting well into the 20th century, most works in Germany were printed using blackletter types. Today, blackletter fonts are mainly used decoratively. If you want to communicate a feeling of old-world quality or nostalgia, blackletter fonts are the preferred choice – use them on signs, in brochures or on invitation cards. “Wilde Fraktur Pro” is a classic blackletter font of its epoch which inspires you to create vintage-looking designs with ease.

The 1930s, 40s and 50s contribute many elegant and clean font families to the design canon. Plebia—the plain font—is Greater Albion's homage to that elegant design canon. The basic design is offered in a range of decorative forms chosen to preserve this basic simplicity: shadowed, outline and a subtle semi-serif. Use this font in signposts, labels and posters, anything that needs to get its message across with impact regardless of visual distance. Bring back the spirit of the middle years of the last decade.

Introducing Seven Moon: A Retro-Inspired Font with Bold and Cheerful Charm. Seven Moon's cheerful charm shines through every character, evoking a sense of nostalgia and excitement. Its bold strokes and unique shape give it a strong presence, while its playful nature adds a touch of warmth and approachability. This font is designed to command attention and leave a lasting impression. Its distinct style ensures that your message will be conveyed with impact, making it an excellent choice for branding, advertising, social media graphics, and more.

Introducing Azorath, a groundbreaking typeface that marries the bold, unyielding lines of brutalist architecture with graceful fluidity and gentle curves. Azorath's unique design defies convention, capturing attention with its juxtaposition of strength and elegance. Each glyph, meticulously crafted, tells a story of innovation and versatility, making it perfect for both powerful headlines and delicate text. Azorath is your canvas for creating captivating narratives that leave a lasting impression. Elevate your projects with Azorath, where raw power meets graceful finesse in the world of typography.

Blackletter is the classic “German” printing type. Starting in the 16th century and lasting well into the 20th century, most works in Germany were printed using blackletter types. Today, blackletter fonts are mainly used decoratively. If you want to communicate a feeling of old-world quality or nostalgia, blackletter fonts are the preferred choice – use them on signs, in brochures or on invitation cards. ‘‘Renaissance Fraktur Pro’’ is a classic blackletter font of its epoch which inspires you to create vintage-looking designs with ease.

Cowboy Western is based on an old woodtype font from the late 1800’s Saddle up boys and girls the new Cowboy Western is here, the perfect font for when you need to put a little giddy up in your chickabiddy. This 2013 updated version adds alternate letters, additional language support for eastern, central and western European countries. The glyph set includes Latin extended A, B and Latin extended additional for Vietnamese plus Pinyin support for Chinese transliteration, finally we've finished the set with some discretionary ligatures.

Early Texas patriots had fascinating penmanship. In researching Texas Hero years ago, I had occasion to pore over copies of letters by the likes of Stephen F. Austin, William B. Travis, Thomas J. Rusk, and others. Austin's hand was pretty messy. Young, brave Travis wrote his last during the Alamo siege. Rusk's suited my original task. But a couple other styles caught my eye -- among them the bold yet graceful strokes of Sam Houston, the prototypical Texas Hero. Houston Pen has a complete character set.

Gritty heat-forge stamped metally goodness. Can withstand up to 255 pounds of pressure psi, it even says so right on the graphic. This is a fun display font inspired by the stamped text on barbells, sewer drains, and of course boiler-plates, not that we see many of those anymore, but I digress... This font contains all the standard sub-255 unicode characters, plus a few extras for flavor. Apply this font with liberal amounts of axle grease and she should last ya a lifetime.

Blackletter is the classic “German” printing type. Starting in the 16th century and lasting well into the 20th century, most works in Germany were printed using blackletter types. Today, blackletter fonts are mainly used decoratively. If you want to communicate a feeling of old-world quality or nostalgia, blackletter fonts are the preferred choice – use them on signs, in brochures or on invitation cards. “Walbaum Fraktur No2 Pro” is a classic blackletter font of its epoch which inspires you to create vintage-looking designs with ease.

Blackletter is the classic “German” printing type. Starting in the 16th century and lasting well into the 20th century, most works in Germany were printed using blackletter types. Today, blackletter fonts are mainly used decoratively. If you want to communicate a feeling of old-world quality or nostalgia, blackletter fonts are the preferred choice – use them on signs, in brochures or on invitation cards. “Offenbacher Kanzlei Pro” is a classic blackletter font of its epoch which inspires you to create vintage-looking designs with ease.

Trend , Trend Hand Made & Trend Rough is a font made of layers, taking as a basis a sans and a slab font. It is the result of observation, search and study of the last global trends. Trend tries to capture the aesthetics of fashion or even fashion itself, integrating elements of a very popular and current trend. It is a typeface designed to be used without need to add anything external to it, because it has all components required for this. Trend is trending.

Blackletter is the classic “German” printing type. Starting in the 16th century and lasting well into the 20th century, most works in Germany were printed using blackletter types. Today, blackletter fonts are mainly used decoratively. If you want to communicate a feeling of old-world quality or nostalgia, blackletter fonts are the preferred choice – use them on signs, in brochures or on invitation cards. Diamant Gotisch Pro is a classic blackletter font of its epoch which inspires you to create vintage-looking designs with ease.

I drew this font staying true to the original design. The letter table in the relevant book was taken as reference. Enochian (/ɪˈnoʊkiən/ ə-NOH-kee-ən) is an occult constructed language[3] — said by its originators to have been received from angels — recorded in the private journals of John Dee and his colleague Edward Kelley in late 16th-century England.[4] Kelley was a scryer who worked with Dee in his magical investigations. The language is integral to the practice of Enochian magic.

Blackletter is the classic “German” printing type. Starting in the 16th century and lasting well into the 20th century, most works in Germany were printed using blackletter types. Today, blackletter fonts are mainly used decoratively. If you want to communicate a feeling of old-world quality or nostalgia, blackletter fonts are the preferred choice – use them on signs, in brochures or on invitation cards. Coburg No1 is a classic blackletter font of its epoch which inspires you to create vintage-looking designs with ease.

Blackletter is the classic “German” printing type. Starting in the 16th century and lasting well into the 20th century, most works in Germany were printed using blackletter types. Today, blackletter fonts are mainly used decoratively. If you want to communicate a feeling of old-world quality or nostalgia, blackletter fonts are the preferred choice – use them on signs, in brochures or on invitation cards. Fraktur No3 Pro is a classic blackletter font of its epoch which inspires you to create vintage-looking designs with ease.

Zona Black Slab is a geometric slab–serif display black typeface. It is the brother font of Zona Black which was inspired by posters from the late 1920’s. Despite being black it has a tall x–height, making it quite legible even at smaller sizes. Its strong features are clean lines, neat square slabs and distinctive glyphs which tend to look even more beautiful at large sizes. Zona Black Slab supports Latin and Greek characters, ligatures and special characters. The Zona Black Slab awaits you!

These four typefaces, Berlinette NB, Lyonette NB, Marseillette NB and Parisette NB, were designed from the same basic shape, a fanciful geometric form that avoids strict horizontals and uses more offbeat triangular shapes. Berlinette is the medieval Gutenbergian version of the four. It’s like a weird black letter font from the 1930s. It would work well advertising an obscure brand of German beer on the side of a Zeppelin as it circles the soccer stadium during the last match. In a William Burroughs novel.

Kanona JNL is modeled from one of the numerous alphabets created by the late Alf R. Becker for Signs of the Times magazine from the 1930s through the 1950s. Thanks to a wealth of source material provided by Tod Swormstedt of ST Media (and who is also the curator of the American Sign Museum in Cincinnati, Ohio), Jeff Levine has been redrawing many of these alphabets and presenting them in digital form. The original variations in letter widths from Becker’s hand-painted alphabet have been left intact.

Blackletter is the classic “German” printing type. Starting in the 16th century and lasting well into the 20th century, most works in Germany were printed using blackletter types. Today, blackletter fonts are mainly used decoratively. If you want to communicate a feeling of old-world quality or nostalgia, blackletter fonts are the preferred choice – use them on signs, in brochures or on invitation cards. Fleischmann Gotisch Pro is a classic blackletter font of its epoch which inspires you to create vintage-looking designs with ease.

Trend , Trend Hand Made & Trend Rough is a font made of layers, taking as a basis a sans and a slab font. It is the result of observation, search and study of the last global trends. Trend tries to capture the aesthetics of fashion or even fashion itself, integrating elements of a very popular and current trend. It is a typeface designed to be used without need to add anything external to it, because it has all components required for this. Trend is trending.

Formerly named Atlas, Fortis is a 21st century contemporary Latin. Also categorized as a Glyphic, the design was first introduced in the last half of the nineteenth century and is characterized by large, sharp, triangular serifs. Latins were very popular for posters and as a newspaper headline font. Fortis is a Latin with attitude. It is bouncy and much more animated than its predecessors. As a display font, it brings motion and playful personality to a design. Great for party invitations, packaging, headlines, and children's books!

Matt Desmond (MADType, Pufficlaude BT) would like you to meet Mesotone BT. This computer typeface design is monoweight and somewhat monowidth. The squarish unicase glyph forms feature eased corners and rounded terminal ends, which takes some of the edge off its techi look. Yet Mesotone still inspires one to explore the outer limits of the design universe. So, don’t tone it down; Mess with the fringes. Get Mesotone. Available in PostScript OpenType format, Mesotone’s extended glyph set covers the Western and Central European, Baltic and Turkish languages.