No mystery here: this monocase neon face is based on the old logotype lettering for The Electric Company TV show. This version adds a little jolt with happy outlet characters in the dagger and double dagger positions, a plug at the section mark, and a rather novel treatment of the mu character. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

Doire is a monowidth font based on the face used on the old Royal Gaelic manual typewriter. Doire Royal is a “rough” version of that font. Doire was first digitized in 1993 by Michael Everson and originally used the MacGaelic character set on the Macintosh platform, and ISO/IEC 8859-14 on the PC. In 2008 Doire version 3 was released in OpenType format, completely compliant with Unicode encoding and with an extended character set.

The Keepsake™ family has five members that can be combined to provide a range of creative options. Rich with OpenType features including discretionary and contextual alternate characters and ligatures, and other stylistic alternates. Each face includes three options for every capital letter and multiple lowercase options. All five fonts support Latin, Eastern European and Baltic languages. Other features include four decorative elements, and optional old-style figures accessible by supporting application’s OpenType menu.

The latest addition to the Astoria Range, Astoria Classic has the same basic characteristics as Astoria but with vertical stress. The characteristic subtle top left serif which makes it not quite a Roman and not quite a sans has been retained. Unlike Astoria, the Italics in form are old style yet have a modern look. This is designed specifically as a text face, however it still works very well as a headline font.

One of the more elegant script fonts available, this design is based on calligraphic handwriting called "Copperplate" because of the copper plates that it was etched into for reproduction. This face is not related to Copperplate [Gothic] by the American type designer, F.W. Goudy. The name Copperplate comes from the fact that writing masters used to hand-write their books and then send them to an engraver who recreated all the subtle details onto copper plates, which where then used to print the handwriting books.

Alpha Midnight, reconstructed from an unnamed source by Dick Pape for Solotype, provided the pattern for this big, bold, unconventional stencil face, sure to grab your readers' attention. Both versions include the complete Latin 1252, Central European 1250 and Turkish 1254 character sets, as well as localization for Moldovan and Romanian.

Letrinth is a bold, informal sans-serif face. Its lower case is unusual in design; some of the characters are scaled versions of the upper-case letters. It was developed from a special alphabet I used to construct a maze and its name (LETters for a labyRINTH) reflects that origin.

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.

Messenger is a redux of two mid-1970s Markus Low designs: Markus Roman, an upright calligraphic face, and Ingrid, a popular typositor-era script. Through the original film faces were a couple of years apart and carried different names, they essentially had the same kind of Roman/Italic relationship two members of the same typeface family would have. The forms of both faces were reworked and updated to fit in the Ingrid mold, which is the truer-to-calligraphy one. The Messenger package is comprised of two interchangeable fonts that support Western, Eastern and Central European languages, as well as Baltic, Celtic/Welsh and Esperanto. Messenger Pro is a single OpenType font that contains the characters of both Messenger and Messenger Alt, linked by programmed features for stylistic alternates, automatic f-ligatures and class-based kerning.

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.

BECHAMEL ROMAN was born interpreting unicase letterings of the movie "Willy Wonka and the chocolate factory". Later these ideas matured with flexible tip nib and paper mixing their naive proportions with some classic ingredients of Baskerville, Bodoni, Didot, Round Hand Script, Graffiti and labels found in Venezuela and Colombia. BECHAMEL ROMAN designed to be combined with Bechamel. BECHAMEL Script, Vein, Words & Ornaments were hand drawn to design words and phrases in logos, packaging, posters, envelopes and greeting cards. BECHAMEL ROMAN 1,2,3 & 4 is an experimental font family designed by #carlosfabiancg. It includes an irregular look to communicate craftsmanship. Its multiple upper cases with condensed width and naive lines are notable for their expressive drawing with a high amount of contrast between thick and thin strokes.

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.

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

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.

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.

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.

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.

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.

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).

This elegant stencil face is based on lettering used by Charles-Edouard Jeanneret, popularly known as Le Corbusier, on his architectural drawings. Big, bold and beautiful, it's the perfect choice for commanding headlines or subheads. Both versions of this font include the complete Latin 1252, Central European 1250 and Turkish 1254 character sets.

Introducing Distingue, an elegant ligature serif font. This font is made to bring strong statement, design with bold geometric face and have swash on alternate characters to keep it look stylish and sharp. An easy & perfect choice to make your design projects; logo, branding, invitation, social media ads & website have classy looks.

Kurtzberg was created after the bold type on the splash pages of many of the classic comics of the 'fifties and 'sixties. Thick and chunky and filled with all those symbols basic comic book fonts rarely come with. Kurtzberg is always ready to swing into action when injustice rears its ugly face.