Gravure was designed by Morris F. Benton in 1927 for American Type Founders and was also released in 1929 by the London foundry of C. W. Shortt. This luminous face has a slightly naïve charm seldom found in incised typefaces. Ornamental and engaging, it’s a perfect choice for headlines with warmth and grace. Both versions of the font include 1252 Latin and 1250 CE (with localization for Romanian and Moldovan) character sets.

Stickley Decorations contains 26 classic images from the pages of "The Craftsman," the foremost journal of the American Arts & Crafts Movement of the early 20th Century. These are graphic elements that can be used in many ways and for all occasions, whether creating a custom greeting card or designing and producing unique personal stationery. They can be used exactly as intended, as "decorations" on a printed page, or they can be combined into unusual borders.

Floopy Chart | Font Duo ? is a pair of script and sans font, this font is truly inspired by retro and groove music vibes also from American sport scene like baseball and basketball culture. Floopy Chart comes with uppercase, lowercase, numerals, punctuations and so many variations on each character include OpenType alternates and common ligatures to let you customize your designs. Perfect to use for Logotype, Letterhead, Poster, Apparel Design, Label and etc. Thanks, Wacaksara

The 1912 American Specimen Book of Type Styles from ATF featured a quaint little offering called "Tabard", whose antique charm was enhanced by several rather quirky alternate characters. This version tosses out the standard characters and keeps the quirks in the works: the result is warm, engaging, slightly mischievous and a whole lot of fun. The Opentype version of this font supports Unicode 1250 (Central European) languages, as well as Unicode 1252 (Latin) languages.

One line, two lines, three lines. Inspired by the 1968 Mexican Olympics, Azote is a multiline typeface family that adds lines for weight.

Frozen Memory is a heavy-boned cartoon display font. Even though it was completely made by hand (using a roller ball pen and some quality paper), it has a clean look, crisp lines and generous curves. Frozen Memory comes in three distinct styles, helping you to create versatile designs. Frozen Memory urges you to eat more ice-cream, but just beware of that brain freeze!

Popty Ping is Welsh slang for microwave oven. It literally means ‘oven that goes ping’. Popty Ping was sort of based on an older font of mine called Jambo. It is a very happy cartoon font, ideal for children’s book covers, ice cream packaging and microwave popcorn (preferably the non GM kind). Comes in two great styles and more diacritics than you can pop in an oven!

Meet Dark Shade, the font that dares you to venture into the shadows where creepy and fascination intertwine. This font an aura of spine-tingling dread, perfect for instilling suspense but playful too in your designs. Whether you're channeling classic horror or crafting a display masterpiece, Nights Side versatility is your creative companion. Features : Uppercase & lowercase Numbers and punctuation Alternates & Ligatures Multilingual PUA encoded

Running Hipster is a tall, thin and all caps font with a funny name. The upper and lower case letters differ and can be mixed. You don’t necessarily have to use it to market your free range sheep woolen jumpers or organic button squash and soy based sour cream soup, feel free to use it for just about anything. Comes with a vintage amount of diacritics.

The inspiration source for Viper Monogram is the 1934 Book of American Types by American Type Founders. Found in that specimen book, was a sophisticated two-color monogram design called Hollywood Combination Initials, which was available in limited size metal castings. This wonderful monogram style is now digitally recreated, revived, and updated for modern use! Viper Monogram supports one and two letter monograms, but due to its super condensed style works best for three letter monograms. The default typing style for Viper Monogram is an all horizontal all caps setup which can be used for headlines and titling. Type in Capitals for an outline effect, lowercase for a solid effect. By enabling OpenType Contextual Alternates, you can type diagonal top-aligned monograms up to three letters. By typing in all lowercase, and layer a copy of the lowercase with Stylistic Alternates enabled, you can create a two-color effect. Viper Monogram is available in Pro format Opentype fonts only due its unique setup. Download and view the MFC Viper Monogram Guidebook if you would like to learn a little more.

If there was an American Typeface Hall of Fame, Bank Gothic, designed by the great Morris Fuller Benton would hold a place of special distinction considering this design has survived so many trends in typographic fashion since being introduced in 1930. It's just as desirable today as it was over eighty years ago; arguably more. Today, Bank Gothic is a very popular choice as a titling face for science fiction books, posters and countless television and movie titles. It is also a popular typeface for use in computer games and digital graphics. GroupType’s 2010 revival of this American classic is true to the design, the period, and Benton’s aesthetic. GroupType worked with some of the most talented and experienced type designers that were historically grounded and sensitive to this design project. Fortunately, Mr. Benton has left us a large selection of other great typefaces for insight and guidance. GroupType’s new revival includes the original three weights in regular and condensed style but also a new small cap and lowercase in each font necessary for 21st century typography.

If there was an American Typeface Hall of Fame, Bank Gothic, designed by the great Morris Fuller Benton would hold a place of special distinction considering this design has survived so many trends in typographic fashion since being introduced in 1930. Its just as desirable today as it was over eighty years ago; arguably more. Today, Bank Gothic is a very popular choice as a titling face for science fiction books, posters and countless television and movie titles. It is also a popular typeface for use in computer games and digital graphics. GroupType’s 2010 revival of this American classic is true to the design, the period, and Benton’s aesthetic. GroupType worked with some of the most talented and experienced type designers that were historically grounded and sensitive to this design project. Fortunately, Mr. Benton has left us a large selection of other great typefaces for insight and guidance. GroupType’s new revival includes the original three weights in regular and condensed style plus two new distressed fonts. All have a new small cap and lowercase in each font necessary for 21st century typography.

Poem Script is a mixed collection of interpretations conjuring a late nineteenth century American pen script style. Though not an actual Italian letterform, this style was called “Italian Alphabet” stemming from an old penman’s term for an alphabet where the stress or shades are opposite their normal placement. The American variant followed from the late eighteenth century British hand also confusingly called “Italian Hand,” which itself evolved from some seventeenth century French batarde scripts. It showcases the phenomenal control and mastery of hand skills required to create such ornamental and lively letters centuries ago. Producing the shaded strokes in reversed positions such as this required holding the pen in a position horizontal to the baseline, or the letterforms would have to be written backwards or by rotating the paper at peculiar and extreme angles to achieve the effect. Exotic, elaborate and very attractive, Poem Script contains plenty of variations on each letter and comes with hundreds of calligraphic ornaments. Poem Script received a Certificate of Excellence at the Type Directors Club NY and was selected at the Bienal Tipos Latinos 2012.

Not to be confused with the prolific, 1980s British super-star graphic and type designer Neville Brody, this brush script typeface was designed in 1953 by the American type designer Harold Broderson. Broderson worked for ATF (the American Type Founders), who were the original publishers of this design. Body is a brush script face that mimics the show card style of lettering, which was very popular throughout the United States during the first half of the 20th Century. The letters appear as if they were drawn quickly and spontaneously with a wide, flat lettering brush. The lowercase letters connect to each other, cursive script style. Brody is the perfect display face to provoke a nostalgic feeling for the 1950s. Anything having to do with apple pie, home cooking, or last minute sales would look great in this face. You could outfit a whole supermarket signage system in a snap with Brody. If you need the original version with more lettered characters then Brophy Script is a good alternate,

The design of the Newspoint typeface is based on the tradition of the American sans serif faces of the last century. This form expression was greatly influenced by the News Gothic type which was created by Morris Fuller Benton in 1908, and has, once again, become very popular. When the development of sans serif types such as Futura and Kabel by Renner and Koch began in 1925, the design of American sans serif types receded somewhat into the background. In the 1950’s, however, they experienced a renaissance which continues to this day. Thanks to its clean design and the relatively large x-height, the Newspoint is well suited for informative texts in newspapers, magazines, and brochures. In packaging design, as well, the Newspoint can display its strength in small print. Newspoint was developed as a customer-specific variation of the News Gothic. In contrast to the News Gothic, however, the face appears to be softer and more appealing thanks to the changed interpunctions. If so desired, the alternative characters give the typeface expanded individuality and a richness of design options.

Rodeo Rebels is a display typeface with a retro, cowboy, and western theme. It's perfect for designs that require a bold and masculine touch, such as branding, packaging, posters, and headlines. The font was inspired by vintage rodeo posters and the American Old West, where bold, slab-serif typography was a common sight. To make the most out of Rodeo Rebels, consider using it in designs that require a rugged and tough aesthetic, such as clothing and apparel, whiskey and beer packaging, and Western-themed events. Pairing it with other vintage-inspired elements, such as distressed textures and illustrations, can also help create a cohesive look and feel. With its bold and rugged aesthetic, Rodeo Rebels is a font that demands attention. It's perfect for projects that require a vintage and masculine vibe, and its features make it a versatile choice for a wide range of designs. Give your projects a touch of the American Old West with Rodeo Rebels, and let its bold and rugged style do the talking.

Super heavy font inspired by the wide trunk of African trees known as baobabs, available in two versatile styles, with sharp, and rounded corners.

Introducing Mixolydian, the scientific sans-serif typeface that’s anything but pretty. But don’t let its lack of aesthetics fool you; it packs a punch with its industrial and analytical tone. Unlike those fancy, European technical fonts, Mixolydian was made with an American flair in mind. Some of its graphic elements were even derived from the Federal Highway Administration Standard alphabet and architectural drafting templates. And let’s talk about those letters. Mixolydian’s intentionally off-kilter rhythm gives it a utilitarian, scientific vibe that’s perfect for any data-driven project. No need for frills or fuss here; Mixolydian is all about getting the job done. But that’s not all—the Mixolydian family comes in six weights and six highly inclined obliques, making it versatile enough for any design project you can dream up. So if you’re looking for a typeface that’s deliberately unattractive but highly effective, Mixolydian is your answer. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

This is the definitive standard African font. It combines wonderful readability with tremendous panache. The fact that it has a full character set (UPPER and lower case), all punctuation and all special characters, means that it can be used in just about any African design context. If you had only one African font in your arsenal, it would have to be Aarde Black. The name "Aarde" means "earth" and refers to the gutsy, earthy character of the letterforms. It includes a full character set: characters for English, French, Italian, German, and Portuguese. The numerals are mono-spaced, and are very readable so that they will line up correctly in columns of figures. The letters of the alphabet are correctly kerned so that they appear correctly in text.

Contains the 20 Days of the Mexican Calendar Stone in outline and silhouette mode NOTE: this font comes with an interpretation guide in pdf format.

Nova Quinta is a breathtaking, enchanting formal script font that weaves an air of magic and sophistication into your designs. With its delightful swirls and exquisite swashes, this font radiates a lovely charm, perfect for adorning wine labels, farm produce packaging, and luxury branding. Imagine your design coming to life with the genuine elegance of Nova Quinta, transforming your work into an enchanting piece of art. The font's irresistible beauty and decorative allure make it a dreamy choice for projects that require a touch of refinement and grace. The Nova Quinta font family includes four mesmerizing styles to suit various design needs: Regular: A gracefully balanced, enchanting style Bold: A more assertive and captivating presence Italic: A whimsical dance of flourishes and movement Bold Italic: The perfect blend of boldness and flair Unleash your creativity with the advanced OpenType functionality of Nova Quinta. This font family ensures top-notch quality and provides you with full control and customizability. It includes stylistic and contextual alternates, ligatures, and other features to make your designs a vibrant, one-of-a-kind masterpiece. Nova Quinta embraces an extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all the characters and symbols you'll ever need, including all punctuation and numbers.

The original Franklin Gothic was designed in 1903 by Morris Fuller Benton. Franklin Gothic is named after Benjamin Franklin, America’s greatest printer. Our Franklin Gothic Black Condensed is unique because it is designed to set properly in all display applications. It contains all the high-end features expected in a quality OpenType Pro font.

Based on wood type designed by William H. Page & Company in 1872, Aldine Extended is one of many variations within the Aldine family. The characters are extremely wide relative to their height, and have heavy, thick serifs. Aldine was extremely popular in broadside printing during the late 19th century and conveys America’s enthusiastic westward expansion.

The San Jose type family provides an array of variants representing a simplified, bay area slant on traditional Chicano American street scripts. The styles in this set can be used in all caps for the most authentic appearance or in a more typographically traditional small caps format. This set also includes latin supplement support and a robust character set in six styles. 3 Stroke variants: Regular, Rough & Bold each have a leaned back, traditional slant variant.

This typeface was inspired by the font Pabst Heavy, designed by Chauncey Hawley Griffith in 1928 for Linotype. Because of its formal characteristics, recalls the popular Cooper Black and probably was the reaction of Linotype to counter the popularity of this font distributed by the "American Type Founders" was acquired. It's a heavy typeface, ideal for headlines or for use in creating logos, rounded shapes and gestures evoke dynamism and make it perfect to highlight specific words or phrases.

American type designer Alan Dague-Greene created this serif FontFont in 2001. The family has 8 weights, ranging from Book to Black (including italics) and is ideally suited for book text and editorial and publishing. FF Atma Serif provides advanced typographical support with features such as ligatures, small capitals, petite capitals, alternate characters, case-sensitive forms, and fractions. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths.

Steve Jackaman has refined and optimized Jolly Roger for digital release. The original design was created in 1970 by the legendary American type designer Phil Martin, founder and creator of the Alphabet Innovations and TypeSpectra type collections. Although quirky, playful and highly unusual, Phil describes Jolly Roger as his personal favorite out of his entire library of over 400 typefaces. We are proud and humbled to reintroduce the design in honor of our good friend and colleague.

»Penta« is a new Sans typeface, designed in the American tradition with contrast between the up- and downstrokes. The contrast is hardly visible on the »thin« cut, but the heavier the weights get, the more contrast becomes visible. That makes this font very useful, almost linear in the lighter weights and very distinct rhythm in the heavier ones. »Penta« is extremly versatile, it can be used for bodycopy in the lighter weights and for heavy headlines.

Galdana font family is a Roman serifs typeface, whose most relevant characteristic is the slanted angle of its true italic, at seventeen degrees. Its design was inspired by one of the most prominent American calligraphers of the last century, the book designer Oscar Ogg. Galdana contains 18 styles: starting from thin to ending in a fat typeface. This family is completed with multilingual support and a set of OpenType features such as stylistic alternates, swashes, and ligatures.

American designer Stanley Davis created the font Amelia™ in 1965. What sets Linotype Amelia apart from all the rest are its unusual inner spaces. Their teardrop forms lead the readers eye through the line of text. These teardrop shapes can also be seen in the contours of the characters themselves, making the letters look rounded and flexible. Amelia speaks the language of the digital age. The flowing strokes and round forms give it an uncomplicated and lively look.

ITC Korigan is a work of French designer Thierry Puyfoulhoux, an uncial typeface which he wanted to offer as an alternative to Victor Hammer's American Uncial, which remains for him the uncial character of reference." The roundness of an uncial gives it the look of pearls on a string, as Hammer said, and ITC Korigan is true to its heritage in this respect. Despite the roundness, however, the forms remain familiar and legible to the modern eye."

ITC Stylus is the work of American designer Dennis Pasternak, who based its forms on those of freehand architectural lettering from historical and contemporary sources. Pasternak points out that while the typeface emulates hand lettering, no pencil drawings or scanned art were used in its creation. The letters bounce slightly across the baseline, giving the typeface the look of true handwriting. ITC Stylus emanates warmth when used for extended text and a fresh quality in display sizes.

Without serifs and without exaggeration. A project that seeks simplicity, with focus on reading and coverage in many languages. Arche has 5 weights and its italics. 10 fonts ranging from Light to Black. It also has a set of styles, old and modern numbers, arrows and ornaments. Excellent alternative to standards such as Akzidenz Grotesk or Helvetica, with a contemporary look, focus on legibility and with Latin American freshness. For more information visit our website Contrafonts.cl

Rivets is a result of my fascination with the beauty I find in utilitarian industrial objects like the decorative ironwork in Grand Central terminal and the eloquent construction details of the urban infrastructure of the 19th and early 20th century. It began as die-raised typography for a magazine cover, developed further for a book about mid-20th century American manufacturing and evolved into a complete font plus four individual components suitable for producing multiple color variations.

Isabella was designed by Hermann Ihlenburg in 1892 for MacKellar, Smiths and Jordan, one of many type houses that were later amalgamated into American Type Founders. As testimony to its long-lived appeal, Isabella was one of the first PostScript® language typeface releases (in 1988) of Agfa Compugraphic. With its unmistakable 19th-century characteristics - swirls, loops, and surprising letter shapes - Isabella is a natural for display situations that demand high drama or, dare we say, melodrama.

Manufactory JNL and its oblique counterpart were re-drawn from examples of a now-antique typeface used within many advertisements found throughout the pages of The American Stationer magazine, circa 1879. The term ‘manufactory’ was popular during this era; the word being a more archaic form of ‘factory’. There is a bit of Western flavor to this type design, as the spurred serifs and the top and bottom strokes are heavier than the vertical and mid-point stroke weights.

In ye olden days, nothing said “personalized business correspondence” like a typewritten letter, and several type foundries cast simulated typewriter fonts so authentic-looking “personal” letters could be mass-produced. This typeface is based on one such font from a href="/foundry/atf/">American Type Founders, which was patterned after the letters of the Smith Premier No. 3. Both versions of the font include 1252 Latin and 1250 CE (with localization for Romanian and Moldovan) character sets.

This is a digital reinterpretation of Walter Huxley's 1935 evergreen "Huxley Vertical", which was originally cast for American Type Founders. A timeless classic which has been in use since the Art Deco era, this version is known as Hotel Suite JNL. As in the original metal type, alternates for A,K,M,R,W and Y are available and can be found on their respective lower case keys. Hotel Suite JNL is available in both regular and oblique versions.

The Classic Charles Rennie Mackintosh Font. Created in 1993, the timeless beauty of Charles Rennie Mackintosh’s letterforms is now available at MyFonts for the first time. Often imitated, but never bettered, this font has been used in various projects all over the globe, enjoying the limelight of Hollywood when it was requested for use in Sam Raimi’s second “Spider Man” adventure. A form of this font has subsequently been used for the TV series “An American Horror Story”.

Misses Twiggs is a contemporary modern serif created by the American type designer Alex Kaczun. It compliments its partner Mister Twiggs and is a perfect marriage of two fonts. Mister Twiggs brings his tall good looks and Misses Twiggs bring her cute little serifs to the relationship. There are absolutely no curves in these elegant typefaces. Both fonts have sharp corners with extra tall capitals and narrow waistlines. Misses Twiggs also comes in 3 flavors: regular, thin and heavy.