Variations on a theme by Nicholas J. Werner for St. Louis' Inland Type Foundry provided the pattern for this happy family, released in 1895 and 1899. Both flavors of this font feature the 1252 Latin, 1250 Central European, 1254 Turkish and 1257 Baltic character sets.

Art Nouveau typeface ‘Secessionist’ draws inspiration from Wiener Secessionist Joseph Maria Olbrich's handwriting, as seen on his architectural drawings from the 1920’s. You can use these fonts to create posters, greeting cards, scrapbooks, CD labels, T-shirts, coffee mugs, digital videos websites and banners.

Basilio Calafati (1800–1878) worked as a magician under the name of Salamucci in the Wiener Prater. Later he obtained the license for a roundabout and other amusement facilities in the Wiener Prater. Calafati typeface family is characterised by little contrast and strong emphasis on the horizontals. It is a robust font that has many applications. Its character shapes are simple and relatively unembellished. With regard to metrics and proportions it combines perfectly with the Wien Pro and the Liebelei Pro. Calafati is available in weights light, regular, medium, bold and black. In 2022, Calafati received a major update. The recent family, Calafati Soft, is an 100% offspring of sharp-edged Original Calafati.

Vienna is the work of Dutch graphic designer Anthony De Meester, a light, elegant sans serif. Simplicity is the hallmark of Vienna and it can be used most effectively where a look of regal elegance is desired.

The Vienna Workshop (Wiener Werkstätte) produced a tremendous variety of art from the turn of the century until the beginning of World War II. This set, which includes three typefaces and a collection of graphic extras, draws on both the Art Nouveau and Expressionist traditions of the Workshop.

Unique and funny are the hallmarks of a kenta font, this font is made with a wider width to make it look unique, and is combined with lazy hand strokes to make it look funny. suitable for use in casual themed graphic designs.

Canadian designer Anthony De Meester created the font in 1989. Vienna Extended is a light, elegant sans serif. Simplicity is the hallmark of Vienna and it can be used most effectively where a look of regal elegance is desired. Vienna is a trademark of International Typeface Corporation.

“Feverish” was a font borne out of perceived need in the marketplace. Hallmark retired font designer and master letter designer Myron McVay first approached Bill LaFever to collaborate on a project to design a semiformal calligraphic script that could be set as text copy with a large variety of swash and alternative characters and small caps. Bill penned the initial forms and Myron did the digital conversions and initial technical work. After Myron passed away, Terry Lee, a protégé of Myron’s at Hallmark, also retired, took over and the project was completed. “Feverish” is a semi-formal italic which can be used in a wide variety of commercial and advertising applications. The font family is large which can accommodate a variety of unique applications.

This variable font is a Fabrizio Schiavi typographic interpretation and development of the legendary coop logotype designed by Albe Steiner and later improved by Bob Noorda in 1985

In 1956, Schriftgeißerei Genzsch & Heyse released the pattern for this typeface, designed by Werner Rebhuhn, under the name "Hobby". Despite its Eisenhower-era origins, the face retains its casual charm, spontaneity and freshness even after half a century. Both versions of the font contain the complete Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

A former lettering artist at Hallmark Cards, Rob Leuschke now has his own thriving design businesses, Alphabytes and the new TypeSETit. Growing up in St Charles, Missouri, where he still lives, Rob showed great artistic promise at an early age. He earned a BFA in graphic design at the University of Missouri at Columbia. After graduation, his stint at Hallmark Cards gave him the opportunity to learn from and work with some of the best lettering artists in the industry. Rob struck out on his own in 1987 and now boasts a long list of clients from all over the world. Rob has created over 250 custom typefaces, and his work has been exhibited in New York. Ambiance BT is Rob’s first typeface published by Bitstream, with more to follow.

Poria is a modern font with seven weight options, beautiful alternatives and dozens of unique monogram ligatures. The hallmark of Poria is the letter O which is wide compared to the other characters, so it becomes modern and attractive. Poria is suitable as a logo or title for fashion brands, cosmetics, magazines, and many more.

FuturaClassic is a recut of Paul Renners original Futura. This version was what Mr. Renner wanted the Futura to look like. He had to change his very stringent design because the market wanted a more pleasing typeface. I think the original design is worth saving because it is much more typical and has a personal and distinguished touch. I have also designed Geometra Rounded with rounded endings that looks more interesting than your usual DIN type Yours trying to save the typographical past Gert Wiescher

Effete is a metropolitan titling typeface, similar in weight and proportion to fonts like Imre Reiner's Corvinus, but both more expressive and less goofy. Effete conveys a sense of quality and authenticity.

Josef Albers drew a stencil sanserif form at the Bauhaus in 1923 (published in 1926); Paul Renner and the Bauer design office made a similar design into a typeface in 1929, and rather confusingly included it in the Futura series. Many websites erroneously attribute the stencil design to Josef Albers, but there is no evidence that the two met or collaborated on Futura Black. In 1929 Josef Albers and Jan Tschichold corresponded on the “Transito” typeface (another very similar stencil typeface, while Paul Renner was working with Jan Tschichold.

Geometa Deco is based on Paul Renners Futura Classic. The design is timeless, but I always missed some decorative characters. So I sat down and did some. The type-designer for surprising solutions, Gert Wiescher

Twentieth Century was Lanston Monotypes answer to Futura. In fact Saul Hess's redrawing of Futura is so close that this new digital revival includes alternates of the long lost original letterforms originally designed by Paul Renner for Futura, but were left out of the released version that has become so popular. 20th Century is a modern sans serif with apparent geometry yet still a certain warmth in its design. The OpenType version of LTC Twentieth Century incorporates the alternate Renner glyphs with two sets of alternate lowercase characters. The font also includes oldstyle numerals and a full Western and Central European character set.