Here's a charming little face from the 1896 American Type Founders specimen book. Its naïvete will add warmth to any project it graces. Both versions support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

King George is a chaotic, bouncy, flyer display font that harkens back to Chank's roots as a grunge alphabetician. It also has a ransom note feel that reflects the stresses and randomness of this American life. Pure rebellion!

A collection of traditional American patchwork quilt motifs in a decorative font package. Over 80 designs, to be used as free-standing illustrations, in borders, or as an overall pattern. Several designs will work together into a pattern.

Brotherland is a handdrawn serif typeface wit a rough and vintage character inspired from American Vintage typography. Brotherland comes with 4 styles: Regular, Italic, Aged, Italic Aged. Perfect for logos, badges and any project needing a vintage touch.

Designed at ParaType in 1997 by Tagir Safayev. Based on OCR-A typeface (1968) of American Type Founders. A simple sans serif typeface designed to meet the requirements of the US Bureau of Standards for optical character recognition.

Digitization of some of classic William H Bradley's characters, from America vintage heritage

Mandelia was created by Alex Kaczun, an American type designer, in 2010. The typeface was named in honor of Nelson Mandela, former president of South Africa, for his “shining example of the incredible strength of the human spirit to persevere in the face of adversity for the pursuit of freedom”. Mandelia is a strong, bold and wide-bodied serif typeface design, reminiscent of the great African landscape with its diverse animal life. It’s easy to see the influence of the 'Rhino' sharp serifs and ‘Elephant’ size stems and proportions. The font commands attention and respect. Great for headlines that pack a punch, logos, posters, and signage. And because it was well designed, it can even be used in body copy at various point sizes. Mandelia is available in Opentype format for both Mac and PC, and comes complete with true drawn small caps, old style figures and Unicode Latin 1252 and Central European 1250 character sets. It has everything you need to get the job done.

The face exudes Edwardian elegance, based on a 1905 release from American Type Founders called Meriontype. It's evocative of simpler times. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Robert Wiebking based the Engravure face on the Engravers faces developed by American Type Founders around 1903. Engravure can be used as a titling font for magazines, brochures, and book covers. It is also suitable for packaging and stationery.

Vitrina is a script based on letterforms painted on a window for a restaurant called "Latin American Cafeteria". Its quirky script forms are meant to evoke a sense of hand painted signage. Vitrina means "store front window" in Spanish.

I named the font "Sangoma" after the traditional healers of the Southern African tribes. Sangomas often work by "throwing bones". The shapes of the bones have suggested the shapes of the characters in the Sangoma font. The font is useful for creating designs or producing text that has an African look. Typified by an African angularity the characters reflect the ethos of Africa. The Sangoma font contains the full range of upper and lower case characters, all punctuation and special characters as well as the accented characters used in the major European languages.

Introducing Radens Vintage Bold Script, Inspired by Modern Vintage & Retro style and combination with old american traditional style. that will fulfill your design needs for quotes,sporty theme, logotype, wordmark, etc. This has many opentype features and support multi language.

Kaufmann is a joining script designed for American Type Founders by Max R Kaufmann, a letterer, typographer and art director of McCalls magazine. Monotone in weight and with short descenders, the Kaufmann font family is useful for advertising and display work.

Howdy pardner! Giddy-up and lasso yerself these renegade typefaces. Created by renowned illustrator David Lyttleton , this set presents an Englishman's unique vision of the American West. Perfect for your next hoe-down, barn raising or Western-themed cricket match.

Hobo font was designed in 1910 by Morris Fuller Benton for American Type Founders. This unusual Art Nouveau-inspired design contains no straight lines and no descenders. It imparts a friendliness to display work such as invitations, menus, signage, and packaging.

Linotype Monticello was designed by C.H. Griffith in 1946. Its design is based on James Ronaldsons Roman No.1 and Oxford Typefaces from American Type Founders and was revised by Matthew Carter while he was working at Linotype between 1965 -1981.

Millerstown is full of that solid, 19th Century, transatlantic spirit of enterprise. It is an all capitals face, decorative but clear and legible, ideal for signage, posters and banners. Bring a touch of American inspired flair to your next design project!

The extra bold sans serif stencil lettering on movie posters and lobby cards for “Reform School Girl” (a 1957 film by American International Pictures) was the basis of Reform School JNL, which is available in both regular and oblique versions.

The American Typefounders 1893 specimen book included the pattern for this face, originally called Pontiac. Its subtle idiosyncrasies make it warm and inviting. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Empresario Stephen F. Austin (1793-1836) is considered by many the “Father of Texas” for leading the first Anglo-American colony into the then-Mexican territory back in the 1820s. A few years later, while on a diplomatic mission to Mexico City, Austin was arrested on suspicion of plotting Texas independence and imprisoned for virtually all of 1834. During this time he kept a secret diary of his thoughts and musings—much of it written in Spanish. Austin Pen is my interpretation of Austin’s scribblings in this miniature prison journal (now in the collection of the wonderful Dolph Briscoe Center for American History, in the Texas city that bears his name). The little leather-bound book is filled with notes in ink and pencil—some of the faded penciled pages traced in ink years later by Austin’s nephew Moses Bryan. A genuine replication of 19th century cursive, Austin Pen has two styles: a fine regular weight, along with a bold style that replicates passages written with an over-inked pen. Each is legible and evocative of commonplace American penmanship of two centuries ago.

A font family inspired by the twists and turns of North Americas first planned community.

Colmena (means Beehive in Spanish) features soft viscous shapes and high contrast that resemble bees and honey. The font was entered into TypeArt Contest in 2005 under the name "FD_Harvey". Suitable for display purposes especially in books for children.

The 1895 specimen book from American Type Founders included the pattern for this face, originally called Outing—Art Nouveau with a laid-back vibe. Both versions of this font support the Latin 1262, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

ABTS Gunsmoke is a typeface inspired by the wild west of American History. It is a narrow typeface with a nice rhythm and balance, allowing for easy typesetting. Gunsmoke includes 447 characters, including all of the symbols seen in the gallery images.

Designed at American Type Founders in 1930-33 by Morris F. Benton. An all-capital sans serif featuring squared-off letters with rounded corners. For use in advertising and display typography. Cyrillic version was created at ParaType by Tagir Safayev in 1997.

George Bruce's New York foundry had a remarkable number of decorative types, most of which were lost or destroyed when the firm was taken over by the American Type Founders Co. and closed down in 1906. Bruce catalogs are prized among collectors.

Iris font was designed in the late 1930s for American Typefounders. It is an all capital sans serif typeface whose slender geometric letter forms suggest the Art Deco period without limiting its application potential. Iris font creates a look of refined elegance.

Lambada font is the work of British designer David Quay, a font with a Latin American look. It should be used with closer letter and word spacing. Lambada will create eye-catching headlines and is perfect for wherever a festive appearance is desired.

Superstar was designed by Colin Brignall, who was inspired by American sportswear graphics during the process. The font is an inline sans serif that incorporates wedge-like cutouts instead of curves. Superstar is an excellent choice for design work related to sports activities.

Monospasz means mono-fun in English. It's spelled with 'sz' instead of 'ß' for all you english speaking folks out there who always mistake it with a 'B'. Monospaced fonts keep on drawing attention to them because their proportions stand out from the canon of common fonts. "Yuck. Look at the condensed little m. Isn't that ludicrous?" But Monospasz isn't copycatting traditional typewriters, the most popular of monospaced fonts. It's completely manually ink-written and hand crafted. Monospasz has been designed and first used for the third incarnation of our annual Weimar based typography symposium dubbed "TypograVieh lebt" in the summer 2006.

Throw away the carbon paper, ribbons and Tippex ... now you can get that typewritten look with RM True to Type. Legible at all sizes, it is available in regular and bold. That faithful old typewriter has given many years of valiant service, but now the keys are worn and blocked with ink. The Old styles replicate the wear and tear of years of use. Includes: Western European, Central European, Baltic & Turkish sets Due to the modular nature of this design there may be a slight lack of smoothness to the curves at very large point sizes (around 100 pt and above).

Deposit Pro is a wide slab-serif family with low x-height. In both headlines and paragraph text it creates a serious yet friendly texture between a typewriter and a contemporary slab-serif, making it particularly suitable for corporate communication design. Deposit Pro consists of 16 styles (8 weights and their corresponding italics) and features broad language support including all European Latin and Cyrillic languages. It also sports plenty of OpenType features including 6 sets of digits, fractions, small caps, ordinals, all-cap punctuation, and contextual forms for ‘f’, eliminating the need for too many ligatures.

Typewalk Mono 1915, the vintage typewriter grotesque that is branded by history. It is a tribute to the European sign painter and lettering tradition of the early 20th century. Typewalk Mono 1915 also speaks in the proto-rational and graphical language of the Werkbund Objectivity which was used around 1915. It works great for cultural, editorial and branding purposes. It is versatile in small printing sizes and works great on the web. Speaking with its unique voice. Typewalk Mono 1915 is the debut release by Sven Fuchs and was designed between 2012 and 2016. It has 8 distinctive weights from thin to bold.

Created in 1983 by British artist Alan Birch, this dramatic design conveys all the immediacy, impact, and effect of a stencil or rubber-stamp on paper. With a corroded, rough-around-the-edges feeling, Rubber Stamp gives an impression similar to the old, beat-up looking typewriter fonts that were popular among designers during the 1990s. Rubber Stamp is an all caps font, and is primarily suited for many headline and display applications that use larger point sizes. Try out Rubber Stamp in magazines, newsletters, and any other work that would be enhanced by a stencil, branding, or rubber stamp effect.

Iki Mono is a multifaceted monospaced typeface designed for publishing and coding. Its sans serif structure displays some letterforms (as well as a degree of contrast) that are reminiscent of 19th-century grotesques, while in the non-oblique versions the letters have been very slightly slanted leftwards. Like typewriter typefaces Iki Mono has to cope with the limitations of a width system that forces shapes into a specific space. This extensive type family of forty weights and styles – from Compressed Thin to ExtraExpanded Bold, including their slanted versions – takes its name ‘Iki’ from the Japanese word for breath.

BetterKamp was originally constructed in 1995-6. It was not constructed to meet any specific purpose but out of curiosity, to see what the result would be if two quite different faces were blended. KampIngriana is the offspring of BetterTypeRight, which has characteristics of a typewriter face without the monospacing, and KampFriendship, which mimics a serifed face drawn by hand. The original blending had many oddities that I did not clean up until 2020 when I also added the semi-bold weights. BetterKamp lacks polish and elegance, but it is very readable at small point sizes.