Compton is a clean modern slab serif face that emphasises simplicity of line and legibility. It's offered in three weights: regular, bold and light. Compton brings the spirit of the 60s and 70s to the present day. It is ideal for clear, simple graphic design that makes an immediate impact.

The book Modern Alphabets, published in 1930, called this diamond in the rough from Continental Typefounders Nova Bold. Well, it’s neither new nor modern anymore, but it’s a warm, friendly face that’s sure to please. Both versions of this font contain complete Latin 1252 and Central European 1250 character sets.

Class, with a punch. It's rare to find fonts that are refined without being too delicate, stylish while still being bold and impactful. Guildhall is a heavy rectangular flared serif in face widths with matching italics. Suitable for film posters, rock concerts and band logos, beer labels, packaging and magazine headlines.

Merry Snowmen is a piece of winter fun-is a set of hand-drawn snowwmen figures, ideal for Christmas or any other time when cold and snow are about. It complements our Merry Fleurons and Christmas Fleurons faces, and is ideal for all your cards, gift labels, invitations, posters and banners.

This unusual face features letterforms inspired by an Austrian travel poster designed by Johann Süssenbek in the 1930s, and rendered in a bold chiaroscuro manner. In case you're wondering, Escondido is Spanish for hidden. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Sole Serif is a newspaper face with features relating to book typography. Inspiration from Francesco Griffo’s romans was adapted to resist the rough usage typical of newspaper printing without any loss of quality. Sole Serif is available in an extensive range of cuts including extra bold and ultra thin. With its big x-height, short ascenders and a roundish and wide italic for text and titles, it has all the attributes of a newspaper face. Nonetheless, details like the inclined axis, calligraphic terminations, Renaissance proportions and a refined but slightly mannered design, all evoke the book rather than the daily paper.

Stannard speaks to us of the happy days of the inter-war period, of enamel advertising 'street-jewelry' as seen on the railways and in all the best shops, of youngsters' train set boxes and toy catalogues, of traditional magazine mastheads, of a simpler, happier and just maybe better era, when summers lasted for ever and all was well with the world. It's a great family of faces for use in nostalic poster design, for nostalgic packaging design or signage or book covers, or even just for making a bold statement anywhere. Four decorative faces are offered.

Anavio is named in honor of the ancient Roman name of an English Derbyshire town. Anavio is a classically inspired family of Roman faces, emphasizing simplicity of form and elegance. Regular and Bold weights are offered, along with condensed forms. Anavio is offered in both upper and lower case and small capitals faces. Its simple lines are immediately legible, lending it to both text and display uses. A range of ligatures, both standard and discretionary, are included as are stylistic alternates and two styles of numerals. Use Anavio to lend that indefinable air of elegance to your next project.

Vectis, named in honor of the Roman settlement of Britain's south coast on the Isle of Wight, brings a fresh approach to the classic simple elegance of ancient Roman faces. Vectis is offered as a small caps face designed to add a fresh hint of character to this style of classical design. Vectis can lend a note of formal dignity to any design project or poster and is ideal for clear headings and titles with a traditional feel. Two basic weights are offered, regular and bold, as well as a range of alternate letterforms and ligatures. This popular family has now been expanded with the incised 'Monumental' display face, and well as 'miniscule' lower case forms and condensed widths. Vectis and our Anavio families compliment each other perfectly, and can also be purchased together in a value pack.

Koch Antiqua is based on forms of old Roman writings, chiseled in marble thousands of years ago. This contemporary version is more playful and reminiscent of the Roaring 20s.

Mingray Mono is a stylish Monospaced family in three weights. It contains old-style figures, small caps, fractions, ligatures, pictograms and arrows. Mingray Mono supports 85 Latin-based languages.

BigStripesMono is another typeface family from IngrimayneType that explores the possibilities of alternating letters sets. The family is monospaced with four fonts: a base or solid style, an outlined style, and two styles in which each character is cut diagonally and the halves are separated to form two characters. These split styles are not designed to be used alone but layered with the base style, outlined style, or both to form colorful lettering with an unusual striped appearance. The stripe is not apparent in single letters but only in words or lines of text. For best results use an application that supports the OpenType feature Contextual Alternatives (calt) to alternate the letters of the split styles. The four styles can be combined in several ways to create unusual lettering appropriate for titles, headlines, and similar uses. And if one wants a bold, monospaced, sans-serif face, BigStripesMono has that too.

Annonce is a digitization and expansion of a 1912 Johannes Wagner Foundry classic called Aurora Grotesk, which also circulated later on in metal under the name Annonce. Bold, extended and clear as a bell, Annonce stood out as the definite big sign font long before the Helveticas of the world. With angled cuts on some of the letters, it also shows humanistic traits that make it more appealing than any other face in its genre. The Annonce set comes in two fonts, a regular and an italic, and includes a very large character set that accommodates almost all Latin-based languages, including Turkish, Baltic, Celtic, Maltese, Esperanto, and the languages of Central and Eastern Europe.

London's Reed and Fox 1874 specimen book featured two faces, Viennese and Corinthian, combined here in one elegant decorative face. Both versions support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

A display face with rounded terminals stylized like drops of a liquid. For use in large sizes in advertising matter and decorative headings. The face designed by Natalya Vasilyeva and licensed by ParaType in 2007.

Emoji Emotions Font is a hand drawn dingbats font inspired in human emotions and feelings. Includes the complete emojis and the individual faces. Create beautiful quotes, social media posts, posters, cards, ads, packaging or any design with character! Includes 9 original emojis that you will love :) Includes: Emoji Emotions: includes the complete emojis Emoji Emotions Faces: includes just the faces so you can make color emojis

Qubo, a new forcefully drawn monoline face. Its clear graphics create its appeal and give it distinctive characteristics. The slightly squared round elements make for an open and elegant look; subtle details refer to humanistic models. Qubo is a neutral, cool and very versatile typeface. It works superbly both in print and on the web. Qubo is well-equipped for ambitious typography. The Qubo family consists of 14 styles, comes in OpenType format with extended language support for more than 40 languages. All weights contain ligatures, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals.

Capita, a serif-dominated face in a new style. Strong in appearance, with controlled motion of the contour, vivid and warm, with gentle flow – it avoids any harshness of many slab serifs. Well-balanced proportions make it qualified as reading type, yet with its puissant qualities ideal for headlines and subheads. Capita is well equipped for ambitious typography. The Capita family consists of 12 styles, comes in OpenType format with extended language support for more than 40 languages. All weights contain small caps, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fractions and scientific numerals.

A Bold Display Family in Three Personalities: ego, id, and alter. Dez Boulder works like a character actor, presenting the author’s lines but not with the deadpan delivery of a news reporter. Boulder develops the role, adding meaning through facial expression, gesture, and body language. The Dez Boulder family of display faces acts in a supporting role to give meaning to message and context to content. It is a very bold face, not understated. Each of its three personalities (and their sub-personalities) have a different timbre to speak the nuance of your message in a bold voice. Dez Boulder averages more than 800 glyphs per style with uppercase, lowercase, small caps, proportional lining figures, small cap figures, superiors, inferiors, fractions, stylistic sets, alternates, ordinals, case specific punctuation, and more. It has a full range of diacritics and covers all European languages using the Latin script.

MB NOIR is a 4 weight with italics font family that visually has different layers of style, at first glance its a modern clean geometry based face with some nice retro touches, it also has hints of the vintage about it, with a nod to the art deco style, with alternates and ligatures it gives a lot of scope for its uses and works very well at large and small sizes.

Frederic Goudy designed this blackletter face based on Gutenberg's 42-line Bible. The Lombardic Caps were designed as an accompaniment to Goudy Text and are offered paired with the lower case as an alternate option. The Goudy Text Shaded is an inline variant that was added later by Lanston Monotype. Both varieties of capitals, as well as an expanded Central European character set, are offered in the Opentype set versions.

This rough-and-ready display face is based on El Greco Antique, released by the Fundición Richard Gans of Madrid in the 1930s. Distressed but not distressing, rough yet charming, ragged around the edges but curiously refined. Named after a village in Greece which is the ancestral home of the forebears of the Curtii. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

This unusual display face is another in a series of works based on the work of lettering artist Samuel Welo. The sinewy curves and radiant inline decoration give this typeface a cozy, warm and inviting charm. Named after the informal radio addresses popularized by Franklin Delano Roosevelt in the 1930s. Both versions of this font include the complete Latin 1252 and CE 1250 character sets, with localization for Romanian and Moldovan.

Suitable for headlines, subheads and short copy blocks, this decidedly Deco number is based on Willard T. Sniffin’s Hollywood, designed for American Type Founders in 1932. A few of the fussier details have been modified from the original to render a clean, streamlined and sophisticated face. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

This sans-serif type family of two weights plus matching italics. Influenced by the geometric-style sans serif faces that were popular during the 1920s and 30s, the fonts are based on geometric forms that have been optically corrected for better legibility. Vitage has a functional look with a warm touch. It is manually hinted and optimized for screens, so it will be a good choice for Websites, eBooks or Apps.

Benton Modern was first prepared as a text face by Font Bureau for the Boston Globe and the Detroit Free Press. Design and proportions were taken from Morris Fuller Benton’s turn-of-the-century Century Expanded, drawn for ATF, faithfully reviving this epoch-making magazine and news text roman. The italic was based on Century Schoolbook. These display cuttings were prepared by Dyana Weissman and Richard Lipton; FB 2008

Based on a old standard, Tudor Black, this version offers a dramatic inline treatment that adds sparkle and grace. The typeface takes its name from Ford Motor Company's old designation for a sedan. Both versions of the font include 1252 Latin and 1250 CE (with localization for Romanian and Moldovan) character sets.

Matthew Carter has been refining his design for Alisal for so long, he says, that when he was asked to complete the design for the Monotype Library, it was almost as if he were doing a historical revival of his own typeface. The illusion even extended to changes in his work process: although he now does all his preliminary and final drawing on screen, the first trial renderings of Alisal were done as pencil renderings. Alisal is best classified as an Italian old style design. Originally created between the late 15th and mid-16th centuries in northern Italy, the true Italian old styles were some of the first roman types. They tend to be the most calligraphic of serifed faces, with the axis of their curved strokes inclined to the left, as if drawn with a flat-tipped pen or brush. These designs offer sturdy, free-flowing and heavily bracketed serifs, short descenders, and a modest contrast in stroke weight. Alisal has nearly all the classic Italian old style character traits, plus a few quirks of its own. It is calligraphic in nature, with more of a pen-drawn quality than faces like Palatino or Goudy Old Style. It is more rough-hewn than either Goudy's Kennerley or Benton's Cloister, and is generally heavier in weight than most of the other Italian old style designs. One place where Alisal makes a clean break with traditional old style designs is in the serifs. While sturdy and clearly reflecting pen-drawn strokes, Alisal's serifs have no bracketing and appear to be straight strokes crossing the main vertical. Like Caslon or Trajanus, Alisal is a handsome design when viewed as a block of copy. Ascenders are tall and elegant, and serve as a counterpoint to the robust strength of the rest of the design. Alisal is available as a small family of roman and bold with a complementary italic for the basic roman weight, providing all that is needed for the majority of text typography. Alisal is not as well-known as some of Carter's other typefaces, but this lovely and long-incubated design was certainly worth the wait.

A little bit of thick-and-thin Art Deco hand lettering is offered up in Wonderful JNL, based on some promotional text found on an old piece of sheet music.

Opinion varies regarding the role of Claude Garamond (ca. 1480–1561) in the development of the Old Face font Garamond. What is accepted is the influence this font had on other typeface developments from the time of its creation to the present. Garamond, or Garamont, is related to the alphabet of Claude Garamond (1480-1561) as well as to the work of Jean Jannon (1580–1635 or 1658), much of which was attributed to Garamond. In comparison to the earlier Italian font forms, Garamond has finer serifs and a generally more elegant image. The Garamond of Jean Jannon was introduced at the Paris World’s Fair in 1900 as Original Garamond, whereafter many font foundries began to cast similar types. Morris F. Benton’s Garamond appeared in 1936 and is based on the forms of Jean Jannon, which already displayed characteristics of the Transitional style.

Opinion varies regarding the role of Claude Garamond (ca. 1480–1561) in the development of the Old Face font Garamond. What is accepted is the influence this font had on other typeface developments from the time of its creation to the present. Garamond, or Garamont, is related to the alphabet of Claude Garamond (1480–1561) as well as to the work of Jean Jannon (1580–1635 or 1658), much of which was attributed to Garamond. In comparison to the earlier Italian font forms, Garamond has finer serifs and a generally more elegant image. The Garamond of Jean Jannon was introduced at the Paris World’s Fair in 1900 as Original Garamond, whereafter many font foundries began to cast similar types. Garamond Classico is based on the forms of Jean Jannon, which already displayed characteristics of the Transitional style.

Albion’s Engraved Black is a tribute to the Banknote Engraver’s art - it is a heavily constructed black letter face assembled of diagonal shading. Another splendid Black letter display face, ideal for formal or less formal use.

Slightly condensed with a taller lowercase, Gallivant carries itself very well. Similar to classic thick-and-thin san-serif faces with stems slightly facing inward. Note: OpenType variants may only be accessible via OpenType-aware applications.

The Monotype Typewriter" series contains three typefaces. These were made to enable type to be set that could emulate output from real typewriters. Use where a typewritten look is required for reports, tabular work, where the fixed pitch nature of these faces is an advantage, technical documentation and correspondence. Typewriter Regular is the base style of the family. Typewriter Elite is lighter than Typewriter Regular, and is monotone in weight, being designed to retain readability even when multiple carbon copies are produced. Typewriter Gothic is a medium weight sans serif typewriter face designed to give good readability from a fixed pitch typeface. Originally made for daisy wheel printers, the Typewriter Gothic font is useful for tabular work, technical documents, correspondence and reports."

Martin Crantz (or sometimes Krantz) of the three, including Ulrich Gering and Michael Friburger, that set up a press at the Sorbonne in 1470 was likely the fellow who had the technical know how how to cast the type itself, hence the name of this new face that is based on his work. This font has been expanded to meet the demands of modern day use but it also contains a number of specialized glyphs that allow for the recreation of text in the manner of his day with such characters as the -rum abbreviation and other handy Renaissance oddities. Since this face was designed prior to 1501 there is no italic variant in keeping with the spirit of historical accuracy.

This series of faces was designed initially by Morris Fuller Benton, circa 1900. The design is a refinement of Taylor Gothic from 1897. It features a sans serif thick and thin design with angular stems. Pre-dating art deco, this design feels quaint, yet it still has a touch of modernism. Frederic Goudy designed a bold version of Globe Gothic in 1905 for ATF. The Bold and Bold Italic digital versions have been added to the LTC library in early 2007.

Almost every type designer feels the need, from time to time, to interrupt his or her serious work on complex text type systems for something more playful. In Luc(as)'s case this has often meant designing more typefaces. In the early 1990s, while working on Thesis, Luc(as) drew several display faces which were based on the shapes of TheSans but were either de(con)structive versions or experimental variations. Jesus Loves You All is a heretic thorny typeface vaguely based on the outlines of TheSans. Jesus Loves You was given a remarkable three-dimensional treatment in Abbott Miller's Dimensional Type project.

The Qewek Font Face Family created according to the 20th Century's famous fonts structure adopted and recreated to use for today's platforms. The Font Family Supporting European Languages such as Spanish, French, German, Swedish, and Turkish. The Qewek family could be using postmodern, modern, surreal, and many design styles. Also, Qewek has a so unique and sweet look with a functional shape that is completely awesome for use in print base media and also digital base magazines and newspapers. Just imagine you reading a magazine with a font that is at the same time completely new and also has a classic shape.

A 1926 trade ad for the silent comedy “The Nut-Cracker” starring Edward Everett Horton has the film’s title hand lettered in a decorative bold sans serif design complete with highlight lines and accent dots. This festive type face is now available digitally as Movie Matinee JNL in both regular and oblique versions.

In Issue Number 84 of Push Pin Graphic, Seymour Chwast offered up this rather odd variant of his own extrablack, superbold in-your-(type)face, Blimp. Not recommended for body copy, but makes interesting and unusual headlines. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).