Based on the typeface Lunda originally made by Karl Erik Forsberg , (1914–1998) in 1941. The name Lunda was a tribute to Berlingska Stilgjuteriet in Lund, a Swedish type foundry (1837–1980) which supported him from the start. The design is close to the original but some significant details have been changed. Several signs are designed from scratch. An additional bold weight has been added.

The pattern for this delightful little font was originally released as Bernhard Heavy Antique Cursive by the Bauersche Geißerei of Frankfurt am Main and designed, of course, by Lucien Bernhard. Dippy, trippy, under the radar and over the top. The Postscript and Truetype versions contain a complete Latin language character set (Unicode 1252); in addition, the Opentype version supports Unicode 1250 (Central European) languages as well.

Inspired by fonts used in financial and law arenas. Bold style reminiscent of 1920s deco era. Great font for play cash or Monopoly-themed party invitations. Vibes of Wall Street movers and shakers. Includes letters from Latin, Greek, Hebrew, and Cyrillic Alphabets - with some common diacritics. Also includes small caps and English feature words like "the", "of", "with", "and", etc. for marquee style accents.

Eurostile Display Caps The Eurostile font family was designed (by Novarese and Butti in 1952) to complement the titling font, Microgramma, by offering a lowercase alphabet. Issued by the Nebiolo foundry, the rather square sans serif Eurostile became popular for display and advertising use. The linear nature of Eurostile suggests modern architecture, and its attraction is technical and functional. Eurostile is commonly misspelled Eurostyle.

Driven Unicase Extended is sleek and modern, yet hearkens back to the first advertising to catch my eye as a kid in the glorious 1970s – automobile ads that captured the thrill of speed, for sports cars I dreamed of experiencing. Driven is available in 6 individual weights or as a family of 6 fonts, plus ornaments. Includes accented characters supporting for many European languages.

SVOLTA is a font family designed by Stefano Giliberti — each character handwritten on paper to form something truly unreplicable, a reinterpretation and celebration of blackletter Germanic typefaces. But its uniqueness goes beyond form: SVOLTA integrates in its styles PARTITA 1990, a pixel typeface aiming in the opposite direction of time, the present and future, resulting in a duo that adds personality and depth to your designs.

Wittenbach is based on lettering by Rudolf Koch which really embodies the essence of classic gothic-style poster lettering of the 1920s. It brings together the traditional style of gothic lettering and a strong, more modern sensibility characteristic of Koch's work and his era. It is very vertical and stylized, but also extraordinarily attractive without the harshness of many of the designs of that period.

British poster artist Cecil Wade provided the lowercase for this typeface, and his compatriot T. G. Birtles provided the uppercase. The result is a rollicking, frolicking, bouncy romp through the alphabet, not unlike a ride in the compartment for which it is named. Both versions of this font include the complete Latin 1252 and CE 1250 character sets, with localization for Romanian and Moldovan.

Released by the Compugraphic Corporation in 1979, the Garth Graphic font family is based on a design by John Matt from the 1960's, reworked by Renee LeWinter and Constance Blanchard. Garth Graphic was named after Bill Garth, a founder of Compugraphic. A fairly strong old style face suitable for text setting; the heavier weights and condensed forms are most used for display work.

Codex was designed by Georg Trump and introduced by the font foundry C.E. Weber in 1954. Based on the German Gothic script of the 13th century, this font has the character of handwriting. Its capital letters are extremely big in comparison with the lower case, hence good for contrast in short text, however, this characteristic makes the font better suited to languages which use fewer capital letters.

Ironwood is an Adobe Originals typeface designed by Joy Redick in 1990. Ironwood font is a homage to the old woodtypes made popular by the wanted posters in Western films. Adrian Frutiger designed his typeface Westside with the same idea in mind. Ironwood font is reminiscent of the Wild West and its shoot-out heroes, and its robust figures are particularly good for headlines.

Two typefaces from the 1923 Barnhart Brothers & Spindler specimen book have been combined to produce this gem. Swagger Capitals, designed by Carl S. Junge, for the uppercase and Gothic Novelty Title for the lowercase. Named for a lively dance from the nineteenth century. Both versions of this font contain the Unicode 1252 Latin and Unicode 1250 Central European character sets, with localization for Romanian and Moldovan.

Woodtype wizard Rob Roy Kelly identified the inspiration for this typeface in his 100 Wood Type Alphabets simply as "No. 154". Funky, chunky, round and robust, it’s clearly a barrel of fun. Named after a small town in Central Texas, which just happens to be the home of Dell Computer. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

A roman face designed in the early 1980s by Ed Benguiat for ITC, ITC Benguiat shows a strong Art Nouveau influence. As with ITC Korinna, the stress of the ITC Benguiat font family occurs in the upper half of each capital. This distinctive typeface is particularly useful for display and advertising work. ITC Benguiat® font field guide including best practices, font pairings and alternatives.

Gibswing born based on the reference of old fancy lettering, vintage illustration, and victorian calligraphy. The Gibswing decorative style make it as an instant time machine to the era from 1800-1900 victorian visual style of the products, printed advertising, and signs back in the day. It will be a perfect companion of your classic visual direction for decorative sign, labels, branding, logotype, you name it.

This delightful dervish is based on handlettering from a 1928 poster for a steamship line by renowned British artist Austin Cooper. It’s essentially a monocase font, with the exception of the letter A, which twirls in one direction in uppercase, and the opposite direction in lowercase. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

Put the kettle on and break out the biscuits. This no-nonsense stencil face is a faithful recreation of Tea Chest, released by the Stephenson Blake Type Foundry in 1939. Its bold strokes and slender profile retain their freshness, even seventy-plus years on. Both versions include the complete Latin 1252, Central European 1250 and Turkish 1254 character sets, as well as localization for Moldovan and Romanian.

Here’s yet another interpretation of the classic “thick and thin” sans serif lettering most popular during the Art Deco era. This particular design comes to you through the courtesy of a hand lettered 1930s travel poster from the Pennsylvania Railroad. Some capitals are much wider than others, while the lower case ‘i’ is somewhat truncated. Rail Travel JNL is available in both regular and oblique versions.

The combination of some Bodoni extra-wide wood type letters and an image redrawn from a 1940s package label from the long-defunct Railway Express Agency form the characters in Letter Delivery JNL. These initials are perfect for personalizing notes, gift labels, personal stationery and other creative projects. For retail commercial products, please consult the information within the Font License Agreement and contact the font's author directly.

Oyez! Oyez! Oyez! All citizens having business before the Honorable, the Supreme Court of the Comicraft Authority, are admonished to draw near and give their attention, for Wuxtry! Wuxtry! is now kerning. Tempered and tested to tackle typography in troubled times, this companion to Extra! Extra! affords each and every proclamation, declaration and attestation with the air and veracity of New England Newsies in the 1900s!

Some vintage 1960s-era packaging for dive gear (masks, swim fins, etc.) manufactured by the Voit division of AMF had various merchandise boxes hand-lettered [with some variation of design] in an interesting sans stencil. These packages formed the inspiration of Dive Gear Stencil JNL. Thanks once again to Gene Gable, whom on many occasions has provided Jeff Levine material for type design inspiration.

Here’s a fresh take on a classic, Caslon Black Swash by Ed Benguiat. Big, bold and beautiful, it’s a natural choice for distinctive and attractive headlines. Several alternate lowercase characters are included in the font, in place of some math operators. The PC Postscript, Truetype and Opentype versions contain the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

The Bitstream version of Englische Schreibschrift by H. Berthold, 1970–72. An unconnected copperplate script of the English nineteenth-century fashion, so-called Spencerian. Based on pressure pointed quill calligraphy. Unlike other copperplate scripts, the letters in this face do not link up. For use in advertising and display typography in relatively small sizes. Cyrillic version was developed at ParaType in 2000 by Vladimir Yefimov.

SPECX Stencil This is my #11/12 Font a slabserif typeface. In fact it’s a very, very basic and extreme strong typeface! We gave this new Font a special touch by adding an extra family-member: a stencil-version of the SPECX. My inspiration for the SPECX is based on the cover of a 1955 French School-Notebook. Concept/Art Direction/Design: André Toet © 2017

Ornata D is the fourth of a series of old ornaments that I am trying to save from oblivion. I am completely redesigning the ornaments from scratch, trying in this one to keep the rough "letterpress" character. These ornaments have been first designed by Auriol around 1910. This set is perfect to design a great number of frames. Your digitizing type-designing savior, Gert Wiescher

Shortly after the preparation of the original Century, the two Bentons (father Linn Boyd and son Morris Fuller) prepared a wider version for De Vinne’s press and called it Century Broadface. In 1900 ATF released the design for general use as Century Expanded, one of the most popular and effective of typefaces, to this day the text face of the New York Daily News.

Designed at Polygraphmash circa 1940 (project manager Anatoly Shchukin). Based on the text typefaces of the late 19th and early 20th centuries of Obyknovennaya (Common) group. The digital version developed at ParaType in 1996 by Vladimir Yefimov. Initially designed for a collection of works by Lenin, this typeface was widely used in Soviet Union for technical and scientific books, both for text and display.

Among many of Alf Becker’s contributions to Signs of the Times magazine was 1 1935 offering named Chicago Modern Thick and Thin, which provided the inspiration for this face. It’s a perfect choice for friendly headlines with an Art Deco vibe. Both versions include the complete Unicode Latin 1252, Central European 1250 and Turkish 1254 character sets, as well as localization for Lithuanian, Moldovan and Romanian.

Mark van Bronkhorst’s MVB Sacre Bleu was inspired by an example of French handwriting from the 1930s. With a goal to keep the script as authentic as possible, the font includes a number of ligatures to avoid letterform repetition. The year it released, MVB Sacre Bleu was selected as one of Typographica’s Favorite Typefaces, where reviewer Joshua Lurie-Terrell deemed it “stylish, memorable, and decidedly unkitschy.”

The ATF syndicate released the inspiration for this quaint charmer in its 1884-1885 series of specimen books under its current name. Its warmth and unassuming naivete make it perfect for headlines seeking to evoke simpler times. Both versions of this font include the complete Latin 1252, Central European 1250 and Turkish 1254 character sets, along with localization for Lithuanian, Moldovan, Romanian and Turkish.

Schreibmeister is my interpretation of Arno Drescher’s design for Ludwig Wagner, Leipzig, completed in 1958. The letters X and x were improved as well as some ligatures. The letter E has an alternative, and the small d comes with two alternatives, of which one form can be reached by typing the partial different key. Generally it is recommended to activate both Standard and Discretionary ligatures.

Dutch type designer Erik van Blokland created this script FontFont in 1990. The font is ideally suited for advertising and packaging, festive occasions, editorial and publishing as well as poster and billboards. FF Erikrighthand provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with proportional oldstyle and tabular oldstyle figures.

One of the classic designs of the wood type era is Hamilton Gothic Bold [from the Hamilton Wood Type Foundry circa 1889]. Clean and timeless, it even had found a resurgence during the rock and roll posters of the 1960s, where vintage wood types and Art Nouveau influences merged with the “Hippie Counterculture”. Wood Gothic JNL is available in both regular and oblique versions.

Another entry in the trusty old "Schriftatlas" named Phoenix—original source and designer unknown—provided the inspiration for this bouncy bit of alphabetical tomfoolery. Its animated typeforms, definitely retro chic, will put some bounce in the step of any headline it graces. Both versions of the font include complete Latin 1252, Central European 1250 and Turkish 1524 character sets, with localization for Moldovan, Romanian and Turkish

A Japanese design firm called Maniackers put together a typeface design in 2001, which they called Snail. This typeface is based on that design, with a few tasty modifications and some industrial-strength kerning, so that the letters literally slither across the page. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

Bugleboy started as a digitized version of "Wood Grotesk," a 1970s film typeface by LetterGraphics. It started with a bare bones character set which we added swash alternates for Capitals, Stylistic Alternates for a Unicase look, and crafted a Sans version without serifs. The Sans style lacks swashes but keeps Stylistic Alternate Unicase forms. See the last graphic for a comprehensive character map preview.

This lettering style is unusual in that combines aspects of several lettering styles. It is essentially a Germanic Blackletter but with many romanized capital letters and also features an italic slant along with some italic lower case traits. It is evocative of “old world” craftsmanship and early 20th century romanticism. The font was developed based on the logo of the Lakin Company of Buffalo, NY circa 1900.

Morris Fuller Benton’s Eagle, designed for ATF in 1934, which did yeoman-like duty on many WPA posters of the time. This version, unicase as was the original, has been designed to set tight, so that it creates dense and commanding headlines. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

One in the series of fonts called Whiz-Bang Wood Type, intended to be set large and tight. Brazos is an ultrabold, ultrawide sans-serif face that takes up a lot of horizontal territory, but fits in little vertical space. Named after the famous river in Texas. Both versions of the font include the 1252 Latin and 1250 CE character sets (with localization for Romanian and Moldovan).

This rough, raw typeface is based on the lettering in Ben Shahn's iconic poster protesting the execution of Bartolomeo Vanzetti and Nicolo Sacco in 1927. All possible uppercase and lowercase forms have been kerned, and activating Contextual Alternates in OpenType-aware applications will alternate those forms for a more random appearance. Both versions contain the complete Latin 1252, Central European 1250 and Turkish 1254 character sets.