Washington Heights JNL is a sans serif type design based on a vintage hand-made directional sign for the New York subway system.

This font family is based on the letterforms of a fin-de-siècle sans serifs, and comes in two versions - Roman and Shadow.

The Vtg Stencil series of fonts from astype are based on real world stencils. Have a look at the Vtg Stencil Ornaments A .

Blackwood is a sans serif headline face with a woodgrain effect. Based loosely on Grotesk, it has strong, solid forms with distinctive style.

Developed for ParaType (ParaGraph) in 1995 by Alexander Tarbeev, based on letterforms of various screen fonts. For use in advertising and display typography.

Woodlawn JNL is based on an open face wood type. A bold outline sans, this design is excellent for headline and titling applications.

It is the athenian version of the ancient Greek script. Ancient Greek numerals are included. It's not Unicode, it's a Latin based font.

AntsyPantsy, BuggyFont, and MousyFont are based on the same design; only the building blocks—ants, bugs, and a stylized mouse—have been changed.

Manaslu is based on handwriting with a marker. This font is suitable for cartoons, advertising or anything with need of a personal tone.

Designed as the main header text for the online, interactive, horror novel, DEAD ENDS. Based on historical documents of colonial-era New England.

Groundage is a Gothic Blackletter font that offers three styles: Outline, Regular, and Shadow. With its bold and clean calligraphic strokes, this typeface boasts a modern-vintage look that exudes elegance and masculinity. Its Y2K-inspired design makes it perfect for stylish posters, marketing materials, logotypes, and headlines. Additionally, it is great for art and craft projects, y2k-streetwear designs, and much more. What sets Groundage apart from other Gothic Blackletter fonts is its unique combination of traditional and modern design elements. Its clean lines and bold strokes give it a contemporary feel while its Blackletter roots pay homage to its historical origins. Groundage also includes both Latin and Cyrillic character sets, making it a versatile option for a range of projects. This font pairs well with other modern-vintage fonts and looks great alongside sans-serif fonts for contrast. Its three styles allow for versatility in design and can be used for a variety of creative projects. Groundage was designed with the intention of creating a stylish, masculine font that could be used in a variety of contexts. Its Y2K-inspired design concept was chosen to evoke nostalgia while still feeling fresh and modern. The combination of traditional Blackletter elements with a contemporary twist creates a unique aesthetic that stands out from other fonts in its category. Groundage is not based on any historical design, but its Blackletter roots pay homage to centuries of typographical tradition. Its modern twist on the classic Gothic style creates a unique and versatile font that can be used in a range of creative projects.

Good, faithful Achates… Named after the trusty Trojan that followed Aeneas throughout his adventures, Achates is a humanist sans workhorse well suitable for broad range of design projects. Its soft, delicate and almost cursive shapes define warm and friendly typeface that is legible and easy on the reader's eye. Following into the footsteps of its namesake, it is humble, informal yet stable and trustworthy. Ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, poster and billboards, small text and signage as well as web and screen design. Achates provides a broad range of advanced typographical features such as language localization, alternates, stylistic alternates, extended ligatures, fractions and case-sensitive forms. It comes with a complete figure range set of old-style, lining and tabular figures. The family has extensive multilingual support, covering more than 70 Latin-based languages and specially designed Cyrillic with Bulgarian and Russian localization. As Achates was a humble hero, a devoted friend and faithful companion to Aeneas on his journey to greatness, so this font can be your trusty sidekick on your creative path. The marvelous Agate is also named after the Trojan hero. It is considered as the stone to call on for support when you need stability and grounding in your life. Along with its supportive energy, the Agate stone has been long admired for its incredible beauty. So… a Trojan hero or a thing of beauty – it is up for you to decide… or just maybe both!

FF Signa Rounded is a natural complement to the rest of the FF Signa super family – and can stand on its own in a variety of print and on-screen applications. The design is Ole Søndergaard’s rounded branch in his FF Signa family three. In it, he took the distinctive shapes and proportions of FF Signa Sans and created a warm, inviting design for text and display copy. Like its parent design, FF Signa Round is not a humanistic sans, nor is it based on 19th-century grotesques. Its characters are minimalist interpretations of letterforms – distinctive, yet easy to read. Thanks to FF Signa Round’s large x-height, open counters and simple character shapes, the design does not overpower the message – and draws the reader in. At substantial sizes, especially in the bolder weights, the design communicates with amiable conviction. At text sizes, FF Signa Round remains inviting and legible. It can be used as a companion to the rest of the FF Signa family, providing depth of style and breadth of reach. The collection of designs can also be used on their own for brand, brochure, publication, and way-finding design in digital and hard copy environments. Like the rest of the FF Signa family, OpenType® Pro fonts of FF Signa Round provide for the automatic insertion of ligatures and alternate characters, and also offer an extended character set supporting over 100 languages, including most Central European and many Eastern European – in addition to Cyrillic and Greek.

A light weight slab serif font, useful for posters and large ads, based as it is on wooden fonts designed in the 19th century.

Exablock is a display typeface based on a 6x6 grid, highly modular and geometric. Diacritics appear as negative space cut into the glyph form.

Roncesvalles is based on samples of medieval calligraphy. It features a traditional lower case character set with unique decorative capital letters featuring unusual flourishes.

JH Mars is a modern style typeface; it is designed based on old Koufi, Maghribi & Diwani scripts, typical for corporate identity, headlines, branding & signage...

Ashby is a Spencerian based handwritten script, with elegant capital letters. Written with a flexible nib, which results in some beautiful line width variation.

Eroded, skeletal and gaunt, Obsessed was one of Zang-O-Fonts first typefaces, and is loosely based on a couple of Art Deco faces.

Based on the original design by Robert Hunter Middleton. Digitally engineered by Steve Jackaman and Ashley Muir from the Ludlow drawings, circa 1931–1942.

Developed for ParaType (ParaGraph) in 1997 by Alexander Tarbeev, based on PT Pragmatica, 1989, by Vladimir Yefimov. For use in advertising and display typography.

An inline gothic display font based in mid-twentieth century showcard and signpainting styles. All caps with some alternates in lower case keyboard positions.

Pukupuku is a cute round font. This font is designed based on the shape of clouds and beans, which looks somewhat like handwritten letters.

Designed at ParaType in 1995 by Tagir Safayev. Based on informal handwriting. Formerly known as PT Tagir. For use in advertising and display typography.

The design for the font “sketchimpact” is based upon the typeface Impact. The font family consists of three different versions: solid, outline and lines.

Sheet Music JNL was based on lettering found on an old piece of 1930s-era sheet music being sold at a local rummage sale.

Subytro! Use this font for sweet bold titles. It adds personality and an handmade feeling. Old Style font based on posters of the fifties.

The Vtg Stencil series of fonts from astype are based on real world stencils. All styles offering an extended Latin character set. » pdf specimen «

The Limine family was designed to give a 3D effect; to look like engraved letters. Those letters are based on the roman capital design.

Corradine Handwriting is based in the handwriting of Manuel Corradine. Its numerous ligatures and stylistic alternatives give to the text a realistic handwriting appearance.

JH Dima is a modern style font; it is designed based on Koufi style & latin geometric fonts classification, typical for corporate identity, branding & signage...

Based on a rounded square, ER9 is a very versatile futuristic feeling typeface. Its monoline design allows for easy customization for headlines and logos.

This font is based on 17th - 19th century woodcuts. It has many varied alternate characters and over 25 ornaments that make this font unique.

Komentator is a monoline vintage script typeface which is created based on manual hand lettering with many features such as, stylistic set alternate, swashes.

Helvetica’s 50-year anniversary celebrations in 2007 were overwhelming and contagious. We saw the movie. Twice. We bought the shirts and the buttons. We dug out the homage books and re-read the hate articles. We mourned the fading non-color of an old black shirt proudly exclaiming that “HELVETICA IS NOT AN ADOBE FONT”. We took part in long conversations discussing the merits of the Swiss classic, that most sacred of typographic dreamboats, outlasting its builder and tenants to go on alone and saturate the world with the fundamental truth of its perfect logarithm. We swooned again over its subtleties (“Ah, that mermaid of an R!”). We rehashed decades-old debates about “Hakzidenz,” “improvement in mind” and “less is more.” We dutifully cursed every single one of Helvetica’s knockoffs. We breathed deeply and closed our eyes on perfect Shakti Gawain-style visualizations of David Carson hack'n'slashing Arial — using a Swiss Army knife, no less — with all the infernal post-brutality of his creative disturbance and disturbed creativity. We then sailed without hesitation into the absurdities of analyzing Helvetica’s role in globalization and upcoming world blandness (China beware! Helvetica will invade you as silently and transparently as a sheet of rice paper!). And at the end of a perfect celebratory day, we positively affirmed à la Shakti, and solemnly whispered the energy of our affirmation unto the universal mind: “We appreciate Helvetica for getting us this far. We are now ready for release and await the arrival of the next head snatcher.” The great hype of Swisspalooza '07 prompted a look at Max Miedinger, the designer of Neue Haas Grotesk (later renamed to Helvetica). Surprisingly, what little biographical information available about Miedinger indicates that he was a typography consultant and type sales rep for the Haas foundry until 1956, after which time he was a freelance graphic designer — rather than the full-time type designer most Helvetica enthusiasts presume him to have been. It was under that freelance capacity that he was commissioned to design the regular and bold weights of Neue Haas Grotesk typeface. His role in designing Helvetica was never really trumpeted until long after the typeface attained global popularity. And, again surprisingly, Miedinger designed two more typefaces that seem to have been lost to the dust of film type history. One is called Pro Arte (1954), a very condensed Playbill-like slab serif that is similar to many of its genre. The other, made in 1964, is much more interesting. Its original name was Horizontal. Here it is, lest it becomes a Haas-been, presented to you in digital form by Canada Type under the name of its original designer, Miedinger, the Helvetica King. The original film face was a simple set of bold, panoramically wide caps and figures that give off a first impression of being an ultra wide Gothic incarnation of Microgramma. Upon a second look, they are clearly more than that. This face is a quirky, very non-Akzidental take on the vernacular, mostly an exercise in geometric modularity, but also includes some unconventional solutions to typical problems (like thinning the midline strokes across the board to minimize clogging in three-storey forms). This digital version introduces four new weights, ranging from Thin to Medium, alongside the bold original. The Miedinger package comes in all popular font formats, and supports Western, Central and Eastern European languages, as well as Esperanto, Maltese, Turkish and Celtic/Welsh. A few counter-less alternates are included in the fonts.

Obrigado means 'Thank You' in Portuguese. It is my way of saying thanks to the unknown designer of a Portuguese port-wine poster from the thirties. Obrigado font is based on that poster. As I had to work with a handful of glyphs, I designed the missing ones myself. Obrigado is a quite elegant and refined art deco font, which would be ideal for posters and logos. Obrigado speaks most Roman based languages.

The name Old Style No. 7 comes from a time when foundries released a variety of typefaces under one name. Linotype produced Old Style No. 7, which was based on an early 1870s typeface from the Bruce Typefoundry, which had based its design on a type from the Scottish foundry Miller and Richards. Old Style No. 7 is a reliable text type that is serviceable for both books and shorter copy demands, such as magazines.

The Saxo family is based on the typefaces of the twenties and thirties, where through the Art Deco and Futurism were built the foundations of the modern movement. Designed from basic geometric shapes (triangle, circle and square). This font transmits his solid character and modern spirit, through 470 glyphs, including Opentype features like ligatures, stylistic alternates and borders based on the geometry of the typeface. All Saxo fonts come with CE languages support.