Walbaum Antiqua Pro is an RMU redesign of a German font classic, with three different number forms and small caps throughout all font styles.

Here is a faithful rendering of Pracht Antiqua Schmallfett , designed by Carl Pracht for Nordd. Schriftgießerei in 1942. Its graceful curves and tight fit make it a natural for commanding yet cuddly headlines. Both versions of the font contain the complete Unicode Latin 1252 and Central European 1250 character sets.

Uncial Antiqua Pro is a hybrid type combining the styles of Uncial & Half Uncial letterforms in a formal text form. Signature letterforms to the styles are not sacrificed, yet readability is surprisingly maintained. The SmallCaps and extensive figure sets expand the range of usability & appeal. Opentype features include: - SmallCaps. - Full set of Inferiors/Superiors for limitless fractions. - Tabular, Proportional, and Oldstyle figures. - Stylistic Alts for Caps to SmallCaps conversion.

These Typoart fonts were redesigned and revived for modern use. The italic style got an entire set of swash caps, and both styles contain superior and inferior numerals as well as the historical long s.

Inspired by the former hot-metal fonts of Imprimatur, Gmuender Antiqua Pro is a fresh designed versatile and multilingual serif font family. All five styles contain three different forms of numbers and small caps.

An enchanting design by Otto Hupp for Gebr. Klingspor in 1909 provided the pattern for this timeless classic, which gracefully and seamlessly combines medieval inspiration with Art Nouveau flair. All versions of this font contain the complete Unicode Latin A character complement, with support for the Afrikaans, Albanian, Basque, Bosnian, Breton, Catalan, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Finnish, Flemish, French, Frisian, German, Greenlandic, Hawaiian, Hungarian, Icelandic, Indonesian, Irish, Italian, Latin, Latvian, Lithuanian, Malay, Maltese, Maori, Moldavan, Norwegian, Polish, Portuguese, Provençal, Rhaeto-Romanic, Romanian, Romany, Sámi, Samoan, Scottish Gaelic, Serbian, Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish and Welsh languages, as well as discretionary ligatures and extended fractions.

Hermann Zehnpfundt’s Enge Journal Antiqua, released by the Emil Gursch Foundry, Berlin, in 1910, revived and redesigned. This font contains also a long s, which can be reached by typing option + b, or turning the round s into the long one by using the OT feature historical forms. It is recommended to also use the OT feature discretionary ligatures to get access to all ligatures in this font.

In 1910, Friedrich Wilhelm Kleukens designed the namesake for this typeface, which combines medieval letterforms with Art Nouveau sensibilites, for Bauersche Gießerei. Strikingly handsome and unique, its large x-height makes it suitable for both commanding headlines and friendly, readable text. Both versions of this font contain the complete Unicode Latin A character complement, with support for the Afrikaans, Albanian, Basque, Bosnian, Breton, Catalan, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Finnish, Flemish, French, Frisian, German, Greenlandic, Hawaiian, Hungarian, Icelandic, Indonesian, Irish, Italian, Latin, Latvian, Lithuanian, Malay, Maltese, Maori, Moldavan, Norwegian, Polish, Portuguese, Provençal, Rhaeto-Romanic, Romanian, Romany, Sámi, Samoan, Scottish Gaelic, Serbian, Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish and Welsh languages, as well as discretionary ligatures and extended fractions.

The Zapf Renaissance Antiqua type family was designed by Hermann Zapf for the German Scangraphic Dr. Böger GmbH in Hamburg, from 1984–1986. The typefaces were engineered for use in digital CRT phototypesetting. This version was based on Scangraphic SH version (For Display use) and not on the SB version (for text use).

Based on the 1922 Klingspor model by German designer Rudolf Koch, this hand-drawn quill roman has an informal and curiously delicate appearance. The typeface was known in Germany as Koch Antiqua and in the rest of Europe as Locarno. Eve, as it was called in the United States, continues to enjoy great popularity in advertising and book publishing circles. This deluxe version includes display light, display heavy, and display black as well as the hard-to-find display light and heavy (Koch Kursiv) italics. Eva-Paramount, which is based on Morris Benton's 1928 ATF Paramount, has also been included. It contains a set of alternates characters that are in keeping with the light and heavy display letter styles. Eva-Antiqua is also available in the OpenType Std format. Alternates are now merged together into each style as stylistic alternates or as swashes. These advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress 7. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

A font classic as a RMU redesign - a small yet mighty family with a West and Central European character set plus Cyrillic. All three styles include small caps and oldstyle figures.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

A page from an 1880s type specimen book presented a unique "Barnum"-like design with top horizontal lines much thinner than the bottom ones. Titled "Ten Line Antique Compressed No. 7", the design transcends the years; for it's not only an antique wood type font, but is also reminiscent of the 1960s hippie counterculture movement. Antique Unique JNL is available in both regular and oblique versions.

A revival of one of the popular wooden type fonts of the 19th century, condensed, bold, curved serifs, a very useful design for display.

Antique Ornaments JNL collects twenty-six vintage printers' ornaments from the 1800s into one convenient digital font file.

The inspiration for this elegant, willowy typeface was found in the 1903 type specimen catalog of Barnhard Brothers & Spindler. The original version was named "Racine"; this version takes its name from another town in Wisconsin. 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.

fj Alabaster Antique™ is a hybrid typefamily with a 10 styles inspired of the develop and exploration of “serif” since the first half in XIX century, envolves a special influence of the slab humanist typefaces, —with a calligraphy flavor in his Italic— with the goal to generate a contrast in to texts sheets. Has a three display versions based in the universe of “woodtypes” to deliver a “unity” in all typeset, like his versions fj Alabaster Antique™ Display, Engraved & Shaded. Include Small Caps, Swashes, Modern and OldStyles figures to decimal notation that envolve to fj Alabaster Antique™ in a ideal typeface for first and second lecture in the most of the visual communication pieces. • To exclusive licenses and to follow the develop of this project please visit frncojonas.com Learn about upcoming releases, work in progress and get to know us better! WB: frncojonas.com BE: beh.net/frncojonas TW: @frncojonas ING: @frnco.jonas

Antique Decorations JNL collects more images of vintage letterpress embellishments [primarily from wood type sources]; redrawn in digital format and made available in one convenient font file.

Antique Embellishments JNL collects more vintage wood type ornaments and embellishments from the late 1800s and is a perfect companion to Antique Ornaments JNL.

The box cover of “Drawing Stencils No. 3 for Use on Slate or Paper” [a children’s drawing set produced by Montgomery, Ward & Company of Chicago circa the 1890s] had its title in an elegant spurred Roman type face. Working from the few letters available, a complete character set was created that resulted in Antique Packaging JNL, which is available in both regular and oblique versions. To note, this is the 1500th font release from Jeff Levine Fonts since its inception in January of 2006.

A revival of one of the popular wooden type fonts of the 19th century, extra bold, slab Antique.

The ornamented and magnificent type design used with the color plates of Owen Jones' “The Grammar of Ornament” has served as a model for this nineteenth century typeface. Astoria Antique possesses an intricate and spidery-like quality. Its v-shaped wedge endings make it look like something straight out of an old curiosity shop. In addition, lowercase letters have been added for design convenience. Astoria Antique will make a great choice whenever a period or Victorian look is desired. Astoria Antique is also available in the OpenType Std format. Some new characters have been added to this OpenType version. Advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress 7. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Nice for an authentic old fashioned flavor without being over-bearing.

This quaint charmer is based on the original, 1913 antique version of Georg Belwe's eponymous classic. Equally suitable for headlines and text, this face is welcome in any setting. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

A set of authentic 18th century Belgian printers ornaments provided the reference for this creepy group of glyphs.

Original design by Phil Martin

“Victoria Underwood” was found within the pages of the 1923 American Type Founders specimen book. It was one of many printing fonts faithfully replicating those used on various makes and models of actual typewriters. The purpose of such type was to allow mass production of letters or notices that could appear personalized rather than shop printed. Antique Typewriter JNL is the digital version of this design, and is available in both regular and oblique versions.

A revival of one of the popular wooden type fonts of the 19th century, suitable for text, expanded, unusual Antique, with unique features in lower case design, g, k, y, a.

Extended display typeface.

French Antique was first shown in the specimen books of William H. Page & Company in 1869. The font is extremely tall and thin, with serifs taller than many character's widths. Lines are straight and clean with no fuss. French Antique can fit a lot of headline into a small space.

Bring your scrapbook page to life with unique journaling and titles made possible with this cool italic font. It'll add instant flavor to posters, signs, bulletin boards, and word art that call for an old-fashioned, antiqued flair.

Caslon Antique Pro is one of the fonts of the SoftMaker font library.

Antique Slabserif JNL is a reinterpretation of Monotype's Modern Antique 26, released in 1909. The name of the typeface is an oxymoron because Modern conflicts with Antique. Despite many critics of the "mechanical" look of the font's design, it has developed a bit of charm with age and the passing of time. Available in both regular and oblique versions, Antique Slabserif JNL can be used as both a text and headline font.

A butterfly, plants, animals, borders, embellishments, a center piece and corner pieces make up this assortment of charming stencil designs re-drawn from vintage sources for Antique Stencils JNL.