The 1765 Stamp Act ignited in American colonists a simmering distrust of the distant British Parliament, whose oppressive trade duties they deemed unfair assaults on their rights as English subjects. Before long, of course, this little dustup spawned The Boston Tea Party, the American Revolution, and the birth of the U. S. of A. But before the Battles of Lexington and Concord, a group of Philadelphia merchants made one last-ditch call for commercial cooperation across the Atlantic. This futile appeal survives to this day on a three-page broadside, finely engrossed by a penman of the period and passed down through the generations of a family named Remsen. Remsen Script is an interpretation of that penman’s neat, formal cursive—from its broad antique flourishes to its subtle unevenness and gently ragged strokes. Perfect for event announcements, fine product packaging, recreations of historical documents, or anywhere you wish to offer a whiff of a bygone era.

The inspiration source for Memoriam Initials is the 1934 Book of American Types by American Type Founders. In that specimen book, they had created a sophisticated two color initial design they called “University Initials” which was only available in metal type at 24, 36, and 48 points. This wonderfully detailed initial style is now digitally recreated and revived for modern use. Memoriam Initials is only capable of initial or single letter monograms due to its unique design. The two color aspect of the original design has been preserved and made accessible within all programs. The Capital character slots contain the background color glyphs, and the lowercase slots hold the outline art for the letters. You can choose a color, type a capital letter, then switch to black and type a lowercase letter for the two color effect, or just type a lowercase letter on its own. It’s that easy! Download and view the Memoriam Initials Guidebook if you would like to learn a little more.

Espinosa Nova is a revival based on the types used by Antonio de Espinosa, the most important Mexican printer of the sixteenth century and very probably the first punchcutter anywhere in the American continent (1551). In 2010, its main fonts were awarded two certificates of excellence: one by TDC2 (Type Directors Club Typeface Design Competition), one by Tipos Latinos (Biennial of Latin American Typography). According to Robert Bringhurst, it is “an unusually intelligent family of type, reaching back to one of the most exciting moments in typographic history and reaching forward to the typographic future”. All of the fonts intended for setting text include small caps, five sets of figures (oldstyle and lining, both proportional and tabular, plus tabular small caps), many f and long s ligatures, and capital sharp S (U+1E9E). In addition, the Capitular fonts allow to create interesting effects by overlapping layers. This family feels very comfortable in books, but it can be used everywhere a touch of classic & elegance is required.

Hoodie was born out of a love for retro Americana and vintage signs but designed with a contemporary fresh twist that makes the font a true attention seeker. The font is made up of 7 weights, plus 3 fun specials (dots, lines and shade) that create a multitude of uses and options. From logos to packaging and everything in between, Hoodie will be an attention grabber in all types of layouts and placements. Hoodie has features such as extensive language support, case sensitive characters, ligatures and number options (Denominator, Numerator, Superior and Inferiors), making it a truly versatile font.

UT Triumph Script by Uniontype is a modern type family inspired by classic Americana scripts. The family consists of regular, vintage, and press styles. Also it contains shadow layers with which you can quickly & easily add depth of UT Triumph Script by duplicating the text layer and switching it to Shadow. Choose сolor and offset according to your taste. UT Triumph Script provides advanced typographical support with contextual alternates, ligatures and swashes. UT Triumph Script is good for menu, signs, packaging, posters, letterings and logos. Use the vintage and press styles to feel the true spirit of new retro!

Number Five is pure Americana, suitable for titling, display, logo, signage, and editorial work. Its bold and casual down-to-earth lettering evokes the spirit of the 1940s and 1950s in America. Number Five has 433 alternates, including a set of unconnected letters (the default set is all a connected script), and 10 ornaments. See what’s included! Rough • Smooth *NOTE* Basic versions DO NOT include swashes, alternates or ornaments These fonts have been specially coded for access of all the swashes, alternates and ornaments without the need for professional design software! Info and instructions here: http://lauraworthingtontype.com/faqs/

A rounded slab in 4 styles In our age, since the arrival of microcomputing, the majority of professional letters have been composed in quality typefaces. Typewriters & the typestyles they used have become antiques. A letter set in Times or Helvetica & printed with a laser printer at 600 dpi or more are of such quality that one can no longer distinguish it with a document produced by offset printing. But letters composed in this way appear overly institutional when a bit of informality is needed. Le Monde Courrier, designed by Jean François Porchez, attempts to re-establish a style halfway between writing and printing. Informal neo-tech style This rounded slab serif returns the informal character of “typewritten” fonts to letters and suit well all bad conditions, from inkjet printed memos to webfonts use. With a unique typographic colour, it integrate itself with the rest of the Le Monde family with effective contrast. The verticals metrics and proportions of Le Monde Courrier are calibrated to match perfectly others Typofonderie families. Bukva:raz 2001 Type Directors Club .44 1998 European Design Awards 1998

Odisseia: Monospaced Typeface Made on Earth by Plau. Plau presents Odisseia, a monospace type family in 8 styles designed with simplicity of shapes and a humanist touch. We’ve ventured into monospace territory, where all letters must occupy the same amount of space. This style is usually associated with typewriters and computer terminal fonts. Like all monospaced fonts, every letter align vertically in a multi-line setting. The rhythm created is peculiar, since large letters such as m and w occupy the same space as narrow ones like i. Because we have 4 different weights: light, regular, bold and black the design of some characters have to be adapted to fit the same width and achieve a constant light/dark value throughout. These features make Odisseia suitable for a specific yet considerable range of uses, from computer coding to systemized communication such as brand identities. This style has been used from high-end brand identity to cutting edge digital applications. Odisseia sets a little shorter in comparison with other monospaced fonts, and bears a large x-height.

McKnight Kauffer is a casual sans derived from poster and book cover lettering by the American designer, Edward McKnight Kauffer, who mainly worked in England through the 1920s and 1930s. The style owes much to Louis Oppenheim's Fanfare of 1927, but without the Germanic blackletter inflection. The two display fonts, regular and outline, have a playful art deco feel, and share spacing and kerning so can be overlapped for bicolor effects.

Here's a retooling of the Art Deco classic Novel Gothic, designed by Morris Fuller Benton and Charles H. Becker for American Type Founders in 1929. We've added a little sparkle to this classic with a reflected-highlight treatment, to help create attractive and commanding headlines. Both versions include the complete Latin 1252, Central European 1250 and Turkish 1254 character sets, as well as localization for Moldovan and Romanian.

Craw Modern was designed by Freeman Craw in 1958 and first released by The American Typefounders Company, (ATF). In typography, 'Modern' is a style of typeface (classification) developed in the late 18th century that continued through much of the 19th century. Characterized by high contrast between thick and thin strokes and flat serifs. Bodoni is among the most popular of the Moderns. Moderns are also known as Didone and New Antiqua.

Sheet music for the song “The Little Thing You Used to Do” (from the 1935 motion picture “Go into your Dance” starring Al Jolson and Ruby Keeler) had its title set in what closely resembled Bank Gothic Condensed. [Bank Gothic was originally designed by Morris Fuller Benton for American Type Founders circa 1930.] This reinterpreted version is now known as Stenographer JNL, and is available in both regular and oblique versions.

One of the original Clarendon types, an English design, here derived from a specimen taken from an American foundry, no identifying marks. With a tall x-height, wide version, unlike more traditional Clarendons, not a square serif but bracketed. Unique to this Clarendon are the rounded openings at the points where the horizontal and vertical stems meet in the capital B, D, P and R, not common in other Clarendons.

Introducing LEATHER NECKS, a font born from the heart of traditional sign painting and American typography LEATHER NECKS offers clean and aged versions, along with captivating features like alternates, ligatures, and swashes. Plus, it embraces the global stage with its multilingual support Features: Leather Necks Main File Has 2 Families: Script and Sans Has 2 Styles: Regular and Aged Instructions (Access special characters, even in Cricut Design) Enjoy Designing! Dharmas Studio

Blambot’s first font featuring Contextual Alternates: COLLECT EM ALL BB! As you type, you'll discover six versions of every letter, three versions of every number, three versions of the exclamation point and question mark, auto-correction of serif-I per standard American comic book tradition, and if you type from three to six of any letter, you'll get a bouncy baseline! All this, plus a hefty set of European characters.

In 1903, the typeface family Alternate Gothic was developed for ATF (American Type Foundry) by Morris Fuller Benton. It was Benton’s intent to solve many diverse layout problems with the development of a narrow Sans with different width values. The Alternate Gothic enjoys great popularity to this day. Therefore, Elsner+Flake re-worked the typeface family, added all European fixed accents and complemented it with an Antique version.

Victory Type is proud to present the release of another classic American typeface. Originally a wood-type, Barnum evokes circus wagons and wanted posters from the wild west. Rugged, rustic, old-fashioned and full of character, Barnum is a charming blast from the past and great for headlines and signage. This chunky slab-serif alphabet was digitized and expanded to include full punctuation and European characters by Noah Rothschild.

Suitable for headlines, subheads and short copy blocks, this decidedly Deco number is based on Willard T. Sniffin’s Hollywood, designed for American Type Founders in 1932. A few of the fussier details have been modified from the original to render a clean, streamlined and sophisticated face. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

Enjoy Font Kitchen’s all-natural Pastrami! This rounded geometric sans is served with a tall glass of ligatures, a heaping portion of all kinds of fractions, and your choice of stylistic alternates. Inspired by warm, whimsical typefaces of 70s American diners, Pastrami is perfect for adding a stylized charm to your next piece. Available in seven weights, Pastrami is sure to add a dash of flavor to your next project.

Ephemera Shoemakers is a bold font with spurred serif & medium contrasted, vintage inspiration with letters in all caps. Traditionally this type of decorative font that emerged in Italy, France & England in the nineteenth century were used in large headlines and posters that were closely related to circus shows, carnival or environments of the Far West American. Perfect for signs, posters, handbills and other large format advertising. Ephemera Shoemakers Pdf Specimens

Originally designed for American Type Founders, Goudy drew inspiration from the classical old style faces for Goudy Old Style. Round characters have a strong diagonal stress, ascenders are fairly long but descenders are very short. Goudy bold was introduced in 1920; this was designed by Morris Fuller Benton. This typeface has been particularly popular in America where it is extensively used in advertising, book jackets, for labels and packaging.

Like our first "1871 Dreamer Script" this script font was inspired from a lot of manuscripts, notes and drafts, written by the famous american poet Walt Whitman. However, it is a very different font, with a higher x-line, numerous different ligatures, alternates and twin letters, including fractions, and, as a real "Pro" font, usable not only for Western European, but also for Eastern and Central European, Baltic and Turkish.

Fitzronald is a body text typeface with a strong personality combined with a good legibility in small sizes. It is an excellent book typeface, but it can be used in e.g. advertising and packaging as well. Due to its good legibility at low resolution, it is a superb website and e-book typeface. Fitzronald is based on Ronaldson, an American typeface originally cut by MacKellar, Smiths & Jordan in 1884.

Papyrus is a roman calligraphic typeface with distinctive human touches like rough edges, irregular curves, and high horizontal strokes in the caps. It imparts a warm and friendly ambience to everything from restaurant menus to book covers. American Chris Costello created the popular font Papyrus in 1983 and counts it as one of his proudest accomplishments. In addition to designing type, Costello is a prolific graphic designer, illustrator, and web designer.

Candy Bits was originally designed at Bitstream as a custom project for a large printer manufacturer. Released in 1997, Candy Bits was designed by Jim Lyles. The typographic characters were fashioned after a well known American candy. The balance of the characters in the font are designed to enhance the 3D illusion by appearing to recede into the page. Soon after its completion, Mr. Lyles joined a local health club.

Kalimba (name of an African percussion musical instrument) is inspired from common simple shapes present in many visual elements of African and Afro-American cultures. With more than 500 glyphs, Kalimba can be used in European languages (central/east). The font includes some OpenType features as ligatures, fractions and ordinals among others. Recommended for logos, illustrations, games and more graphic design pieces that requires an African taste and essence.

In 1903, the typeface family Alternate Gothic was developed for ATF (American Type Foundry) by Morris Fuller Benton. It was Benton’s intent to solve many diverse layout problems with the development of a narrow Sans with different width values. The Alternate Gothic enjoys great popularity to this day. Therefore, Elsner+Flake re-worked the typeface family, added all European fixed accents and complemented it with an Antique version.

Eden Light, originally designed by the American type designer Robert H. Middleton in 1934, was commissioned by Publish magazine for a redesign in 1990. When I found a specimen of Eden Bold a couple years later, I decided to digitize it also. Subsequently, I created a Medium weight. Very squared and compact with thin slab serifs, Eden includes support of all European languages that use the Latin alphabet.

Finura was inspired by American lettering from the 60s, specially the Stunt Roman for ruling pen and compass presented in the Speedball Textbook for Pen & Brush Lettering by Ross F. George, but also by looking carefully to University Roman characteristics. Finura is an experience on very thin poster typefaces and the possibilities to design extreme delicate typefaces, with plenty details, that sheer simplicity and readability to the classic forms.

Kaufmann font was designed in 1936 for the American Type Founders by Max R. Kaufmann, a letterer, typographer, and one-time art director for McCalls magazine. Kaufmann is a connecting script typeface with a smooth, slightly whimsical look. Its monoweight is unusual in a script type but allows for a nice texture on the page when it is combined with sans serif text type. The bold Kaufmann is fine display type.

QUIPO is a typeface based on my recent survey (Freeflow) on hand drawn logotypes used by American and English pop groups in the 60-70s. We thought it an interesting project and a free flow exercise to design this particular font just in capitals and well... yes it’s rather ‘bulky’. Needless to say it comes with numbers and the normal punctuations ! Concept/Art Direction/Design: André Toet © 2017

The original characters, and now-rarely-seen alternate characters, for Memphis, designed by Emil Rudolf Weiss for American Type Founders in 1930, provided the pattern for this wispy, ultralight typeface. Although intended primarily for headlines, this typeface can also be used for brief blocks of text, if set 18 pt. or larger. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Atonement is a splattery, scratchy font. I made it with a steel nibbed pen, a brush and some Chinese ink. I based it on my fonts Ravenheart, Qilin and American Grunge - mostly because I really like them. Of course, all of these fonts are influenced by the work of the great Ralph Steadman - someone I greatly admire. Atonement comes with ligatures for double letter combinations and a stash of diacritics.

The American Sign Museum in Cincinnati houses an amazing collection of vintage signage from all kinds of sources and covering many eras of retail advertising. Someone visiting the museum posted online an image of one particular piece of glass with hand lettering saying “gold leaf” in a bold Art Deco stencil style. Etched Stencil JNL was inspired by that image and is available in both regular and oblique versions.

This swoopy, loopy script was inspired by an “American roundhand” presented by John M. Bergling in his Art Alphabets and Lettering, first published in 1914. Bergling’s unique talent crafted uppercase letters which manage, at the same time, to be both elegant and ostentatious. 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.

Based on the lettering and graphic design of the Beat Generation era, Daddy-O was produced in conjunction with the Whitney Museum of American Art to coincide with the exhibition Beat Culture and the New America: 1950-1965. These way gone fonts and extras both capture and affectionately satirize the graphic design of the era. Package now features poet Rod McKuen in an updated version of the Beatsville album cover from 1959.