Based on ‘Players,’ a typeface from English designer Adrian Williams, circa 1976.

This new brushy script screams Summer! Make any layout look refreshing with Contigo Vintage. Designed with pointed brush and indian ink, this script has a lot of contrast thanks to 'pressure and release' technique. Perfect for food and restauration industry, packaging, illustration, greeting cards...

Based on an Adrian Williams design, circa 1976 and Brook Type in 1903 designed by Lucien Pissaro.

Norwich Aldine Reverse is a font of "streamer type" (reversed out type used for banners or streamers) originally designed around 1872. Norwich Aldine is slightly lighter and more open than Aldine. It features medium stroke contrast, heavy serifs, and large rounded bracketing (where the stems meet the serifs). Our version is based on wood type of unknown origin. We created dozens of special ligatures to reduce problematic kerning encountered with a monospaced reversed type.

Bitstream's version of Adsans originally released by Linotype & Machinery.

Matthew Carter designed the Shelley family 1972 for Mergenthaler Linotype to be used as a new script face for the photo typesetting machines. The basic idea was to create one script face that would offer dfferent elegant letterforms. Matthew designed Shelley in three different versions, Allegro which is in the style of Kuenstler Schreibschrift, Andante where the caps are less flowrish and wide and Volante where the letters have its most expressive and wide forms and the lowercase z in this font is in the french anglian double stacked form. All three versions can be easily mixed to give the text a more individual calligraphic look Besides Shelley Linotype Zapfino from Hermann Zapf shows similar basics, but in a totally different letterform. In Linotype Zapfino the individual lowercase letters from the four different versions have different letterforms which gives the text an even more individual touch.

Rephran is a font completely designed by hand, with brush and black indian ink,all the lines were softly made by hand. Every letter is like a piece of art, including the numbers and signs. Check the PDF in the gallery section to see the details. It includes Capitals, lower case letters, Signs and Numbers.

Jalebi font is quite like its namesake, the Indian deep-fried sweet. It is fat(tening), uneven, crunchy and addictive. Jalebi is an all caps font, but upper and lower case glyphs differ slightly and can be mixed. An ideal font for fat headlines, product packaging, signs and posters. Comes loaded with calories and diacritics!

Stampede was created from a small sample of letters found on an old document dating back to 1902 from the Chicago, Indiana & Eastern Railway Co.

Claridge was designed by Adrian Williams and released in 1979. The lowercase g of the Claridge font has a distinctive central join to the loop.

Two offerings from the Page specimen book, Aldine and Aldine Extended, provided the patterns for this family of Western-style standards, named for the smallest county in Texas, at least area-wise. Both flavors of this font feature the 1252 Latin, 1250 Central European, 1254 Turkish and 1257 Baltic character sets.

A revival of one of the popular wooden type fonts of the 19th century, suitable for text or display, narrow, short descenders, diamond shaped ornamental points at median.

Adrian Frutiger’s distinguished and successful 1966 design for the European Computer Manufacturers’ Association improving readability of letters for both machines and humans. OCR-B is replacing OCR-A.

The 1907 novelty song "Since Arrah Wanna Married Barney Carney" (about an Irishman taking an Indian maiden as his bride) had its title hand-lettered in a sans serif style that reflected both the Art Nouveau flavor of the time and a hint of what was to come during the Art Deco movement. This is now Song Stylist JNL and it's oblique counterpart.

Inspired by the Froben capitals believed to have been cut by Peter Schoeffer the Younger, son of Gutenberg’s apprentice, this design is neither strictly a Venetian nor an Aldine. The archaic approach and lack of the Aldine model lead us to place the face in the Venetian group. The design owes more to Goudy than to Schoeffer.

Phoebus is one of Adrian Frutigers first typefaces which he made for the Deberny & Peignot foundry in Paris. The intention was to create a shadowed type with extra ordinary impression.

Siwa is a Multilingue typeface that created for the screens and the daily uses, with a simple timeless geometric design to merge the modern requirements with the traditional rules of calligraphy, comes with 9 weights, and support an OpenType feature for more than 90 languages, includes all the languages that based on Latin and Arabic letters, also support the Indian, Latin, Persian and Urdu numbers.

Designed as a typewriter face for IBM, Courier New was re drawn by Adrian Frutiger for IBM Selectric series. A typical fixed pitch design, monotone in weight and slab serif in concept.

Caxton font is the work of Canadian designer Leslie Usherwood. Caxton is a serif font graced with subtle details and calligraphic influence resulting in elegant simplicity suitable for both text and display.

This slab serif font of Adrian Frutiger is extremely legible and robust, making it suitable for most any use. Based on the forms of Univers, Serifa makes a harmonious and timeless impression.

Shelley Script was designed by Matthew Carter and appeared with Mergenthaler Linotype in 1972. It is based on intricate English scripts of the 18th and 19th centuries. The musical terms Andante, Allegro and Volante were chosen by Carter to describe the mood of the three different cuts of his font. Andante is the most reserved, Allegro has a few more flourishes, and Volante’s capital letters are surrounded with swirling strokes. Perfect for invitations or other cards, Shelley Script, like other fonts of its kind, seems to appeal particularly to America.

Nami, the Japanese word for wave," is the latest collaboration between Adrian Frutiger and Linotype's Type Director, Akira Kobayashi. This typeface family is the most humanistic sans serif design ever to come from Adrian Frutiger, and it has an interesting twist: lapidar alternates that may be surfed through with the help of OpenType-savy applications. Adrian Frutiger began the design that would blossom into Nami during the 1980s. Although it would not be produced during the 20th century, it was quite forward thinking. The typeface included several seemingly avant garde alternates; these were "lapidary" versions of common letterforms. Revisiting the project in 2006, Akira Kobayashi reworked the concept into a working family of three typefaces. Each font contains 483 glyphs, including 11 alternates-two extra forms of the lowercase g, as well as new forms for a, e, h, l, m, n, r, t, and u."

In creating Vectora, Adrian Frutiger was influenced by American Gothic styles, especially those of Morris F. Benton’s Franklin Gothic and News Gothic. Vectora is light and balanced, giving text legibility and a harmonious appearance.

Sardis is based on a family of wood type called "Lydian," designed for American Type Founders Company by Warren Chappell in 1938. The strokes have angled ends, referencing the use of a calligraphy nib.

Linotype Indus is part of the Take Type Library, which features winners of Linotype’s International Digital Type Design Contest from 1994 to 1997. Designed by P.H. Hashin from India, Indus finds its historical roots in inscriptions found on ancient Indian graves. Thus Indus has a unique look and is versatile in point sizes from middle to headline. The font combines well with sans serif and slab serif typefaces.

Say hello to Suerte. This new typeface with inverted contrast and bifurcated serifs was inspired by Caslon’s Italian type and by Aldo Novarese’s Estro, published by the turinese foundry Nebiolo. Our aim was to develop a wood type typeface adding a new personality incorporating Tuscan serifs. The complete alphabet was designed with a flat long brush and Indian ink and then vectorized. Suerte contains a big set of icons and dingbats.

fragile is an elegant chique font. fragile is a serif font, This font is perfect for Bandin, logo design, wedding, quotes, magazing anything do you want. You will get classy, elegant, and certainly unique logos with this font.

ITC Simran was created by the London designer Satwinder Sehmi in 1998. The Indian influence is recognizable at first glance and lends the font an exotic feel - at least to the western eye. Sehmi borrowed forms and feelings from northern Indian writing systems for this typeface. Both the upper and lowercase letters make use of the same lowercase forms, but the upperacse letters have the addition of a horizontal bar running over them at the ascender height. This feature is directly reminiscent of writing systems in northern India, and is ITC Simran's most distinguishing characteristic. But there were other influences as well: Sehmi was also inspired by uncial forms when designing this typeface. ITC Simran exhibits the typical look of writing with a broad-tipped pen, with its strong strokes, as well as characteristic letter forms, for example, the a or h. ITC Simran is a fascinating and harmonious symbiosis of a variety of influences from different cultures. This font is best used for headlines and short texts in point sizes of 12 and larger.

No. 508 is a chunky, friendly, modulated gothic font. Strokes have a gentle inward curve at the median, with the tops and bottoms of the letters slightly wider. The face was introduced by William H. Page & Company in 1890.

Following the death of Carl Dair, David Anderson redrew Dair’s design, Cartier, for Typsettra, where it was renamed Raleigh. Adrian Williams at Fonts added three weights as a display series for Conways, while Robert Norton drew the text series.

No. 510 is a friendly, slim gothic face. Strokes have a gentle inward curve at the median with the tops and bottoms of the letters slightly wider and thicker. The design was first introduced by William H. Page & Company around 1887.