In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times?, Times? Europa, and Times New Roman? are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times? is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times? Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times? Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times?, Times? Europa, and Times New Roman? are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times? is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times? Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times? Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer."

You are on the page of the old display version of the TT Squares typeface. In 2020, we released an entirely new, completely redesigned, and significantly expanded version of the typeface called TT Octosquares. In addition to 73 styles, TT Octosquares has 3-axis variable version, stylistic alternates, ligatures, old-style figures and many other useful OpenType features. Before you buy the old display version of the font, we suggest that you pay attention to the new superfamily TT Octosquares and study it in more detail. - Squares created for infographics and statistics. This font has both futuristic and techno attributes. Most popular typefaces formula: Thin, Light, Regular, Bold, Black and Italics. Squares are ideal for short inscriptions and long text blocks. Optimized for the websites, mobile applications, and printing materials.

William Caslon (1692-1766) laid the foundation for English typefounding, when he cut his first roman face in London in 1722. He modeled his designs on late seventeenth-century Dutch types; thus his typefaces are classified as Old Styles. The original Caslon punches have been preserved, enabling a perfect recutting of his faces. Notice the hollow in the apex of A and the two full serifs or beaks in the C. The italic capitals are irregular in their inclination. The Caslon font family is distinctive for use in subheadings or continuous text.

The design of Eurotech Pro was inspired by Thannhaeuser’s Technotyp font family which was cut by Typoart, Dresden, in 1949. Eurotech is not a mere revival of the old Typoart version but many letterforms have been updated and modernized. The Cyrillic letters are designed entirely by myself. Eurotech Pro is well suited for technical purposes, like catalogs, manuals or articles which are multilingual.

Here's a new take on an old dry-transfer standard from the 70s named Barrio. This unicase version features several handy ligatures not found in the original typeface, which will substitute in OpenType-savvy applications when the lowercase combos are typed. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

Gracious Azaleas, the flourished ornaments typeface, was designed entirely by hand, without use of auto-tracing, by Iza W. Its well elaborated and unusual design was inspired by old cross-stitch and craft books. Good to use in arts and crafts works, books of arts, stationery, publishing stuff and many other applications. Another recherché masterpiece by Iza W from Intellecta Design.

This friendly rounded display typeface is perfect for headlines and logos, its gentle curves and comfortable corners are reminiscent of forms found in nature. Inspired by the shapes found in leaves - soft curves forming gentle corners as they meet. Cockle pairs well with Arial for a body font. Includes over 500 characters; with Ligatures, small caps, old style figures, and mathematical symbols.

Matita Informal is part of a larger type family developed from 2005-2019 with handwriting in mind. A humanistic informal sans serif in five weights containing swashes, alternative characters, old style, lining, tabular & proportional figures. The family share proportions and weights to ensure all fonts (family members) work together well. Matita Informal is a very friendly typeface suitable for many purposes.

A light hearted comic and clumsy typestyle inspired by an old pulp novel called "The Astronaut". Several fun ornament characters can be accessed by turning on Discretionary alternates and typing "jones" for the Astronaut Head in an O, "atom" for a spirograph atom symbol, "little dipper" and "big dipper" for the constellations, as well as alternate "the", "and", and stacked "and the" characters.

I first wanted to call this family Crowbone, after Olaf Tryggvason, the legendary Viking king from Norway. Somehow I changed my mind and went for Crowfeather, because this is not a Viking font and the name ‘felt’ better. Crowfeather is a family of two distinct fonts: a classic Serif and an old school script font. They work really well together!

The latest addition to the Astoria Range, Astoria Classic Sans has the same basic Characteristics as Astoria but with vertical stress. A sans-serif companion to Astoria Sans. Unlike Astoria, but like Astoria Classic, the Italics in form are old style yet with a modern look. Designed specificaly as a text face it still works very well as a headline font.

The inspiration for this typeface was discovered on a 1906 travel poster, promoting the Hotel Braunwald, located in the Swiss Alps. Its odd blend of Art-Nouveau-meets-the-Old-West makes for fetching heads and subheads. Both versions include the complete Unicode Latin 1252, Central European 1250 and Turkish 1254 character sets, as well as localization for Lithuanian, Moldovan and Romanian.

CIAO MAMMA is a vintage-style font, inspired by old almanacs and classic comics. It is ideal for auteur comics as well as commercial products. It is made with a marker, has contrast-free letters and regular spacing helping its legibility and clarity. The font is elegant and graceful and is reminiscent of the history of comics, evoking great, timeless comic strips.

The Penman fonts are partially based on the 19th century penmanship of one of the designer’s ancestors, and originally created for a personal mailing with an “old-times tradition” flavor. The fonts are lightly pair-kerned, in order to control punctuation and numeral spacing. Auto-kerning should be turned on, and tracking should be checked to make sure all characters join well.

MMM is a sturdy Typeface, the design is based on a old Soap-Powder advertisement. MMM is very useful for headings and/or logotypes. André Toet his 17th Font Caps, Lowercase. With Numbers, Glyphs and the normal Punctuation. Use this Font well, it’s made with the greatest care. Concept/Art Direction: André Toet © 2017 - Design: André Toet / Jasper Terra

Cabrion is a sans serif typeface designed with OpenType features to support advanced typography needs such as ligature, fraction, superscript, subscript, old-style figure, tabular figure and many more. The family contains 7 weights from thin to black with multilingual support and is ideally suited for branding, logo, advertising and packaging needs, editorial and publishing as well as web design and screen design.

Inspired by hand-painted liquor store signage in Minneapolis, as well as constructivist propaganda posters and old magazine logos, Chank created Liquorstore as a simple yet elegant exercise in font creation based on basic geometric forms with subtle, humanist sensibilities. Works great for display usage for headlines, labels and prohibitive signage. A simple and versatile, must-have display poster font!

The Penman fonts are partially based on the 19th century penmanship of one of the designer’s ancestors, and originally created for a personal mailing with an “old-times tradition” flavor. The fonts are lightly pair-kerned, in order to control punctuation and numeral spacing. Auto-kerning should be turned on, and tracking should be checked to make sure all characters join well.

Introducing "Dumper" - Your Original Hand-Drawn 60's Retro Bold Font Step into the bold and vibrant world of "Dumper," a font that seamlessly blends original hand-drawn craftsmanship with the iconic style of the 60's retro era. Ideal for posters, headlines, and vintage-themed branding projects, this font exudes a dynamic energy that adds a bold statement to your designs. Key Features: Original Hand-Drawn Craftsmanship: Each character in "Dumper" is crafted by hand, bringing a unique and authentic touch to your creations. 60's Retro Bold Vibes: Immerse your designs in the bold and lively spirit of the 60's, making "Dumper" a perfect choice for projects seeking a retro aesthetic. Why Choose "Dumper": Craft posters and headlines that command attention with bold and dynamic lettering. Design branding materials that transport your audience back to the vibrant 60's era. Establish a brand presence with a font that effortlessly captures the essence of retro boldness. Download "Dumper" Now and Let Your Designs Boldly Embrace the 60's Retro Vibe!

Introducing Mullingar, our latest submission to the display typeface’s world library. Heavily inspired by the letters that are used in old/classic advertisements and signpainting culture, with a little magic touch of modern twist to keep this family relevant. Mullingar letterforms were built from bold and blocky base, unique serif combinations, clean plus smooth curves, and sharp edges. Available in six styles (Regular, Bold, Light, plus Slanted in each version), that guaranteed to give you joy in designing. Mullingar family is a reminiscent of retro sign painting, featuring a rustic architecture that makes it quite at home in a wide variety of design themes. Its blocky characters are best used in bold signage, headlines, advertising, logo designs, product packaging, merchandise, apparel, posters, album artwork, book covers, titling, etc. This typeface also provides additional versatility through OpenType feature, offering discretionary ligatures, standard ligatures, and stylistic alternates. It extends multilingual support to Basic Latin, Western European, Euro, and Pan African Latin languages for design projects intended for an international audience.

Georgia was originally designed in 1996 by Matthew Carter and hand-tuned for the screen by Tom Rickner. The Georgia family received a major update in 2011 by Monotype Imaging, The Font Bureau and Matthew Carter. Georgia is the serif companion to the sans serif screen font, Verdana. It was designed specifically to address the challenges of on-screen display with elegant yet sturdy and open forms. If you must have one serif face for reading on a computer, then you've found the best one right here. The original Georgia family included four fonts: regular, italic, bold and bold italic. The new and expanded Georgia Pro family contains 20 fonts in total. The Georgia Pro and Georgia Pro Condensed families each contain 10 fonts: Light, Regular, Semibold, Bold and Black (each with matching italic styles). Georgia Pro includes a variety of advanced typographic features including true small capitals, ligatures, fractions, old style figures, lining tabular figures and lining proportional figures. An OpenType-savvy application is required to access these typographic features.

CONCEPT/ CHARACTERISTICS »Kon­strukta Humana Sten­cil« aka »Hot Cold« is a modern desi­gned sans serif type­face with huma­nist influ­en­ces and Sten­cil cha­rac­ter. The par­ti­ally strong line thick­ness dif­fe­rence (line con­trast) gives the font a touch of ele­gance and crea­tes ten­sion as fats. The font comes in 3 font styles. From ele­gant warm ten­der­ness »Thin« to the solid, bold, and robust­ness cold »Regular«. APPLICATION AREA The »Thin« font weight would pro­bably dig on fes­tive invi­ta­ti­ons and »Regu­lar« as con­cise pos­ter font. From head­lines in maga­zi­nes or web­sites about pos­ter design and fly­ers to t-shirt design. Just type it. TECHNICAL SPECIFICATIONS Head­line Font | Dis­play Font | Sans Serif Sten­cil Font »Kon­structa Humana Sten­cil« Open­Type Font (Mac + Win) with 375 gly­phs & 3 styles (regu­lar, light, thin). With alter­na­tive let­ters, liga­tures, accents & €.

Kugelhopf is a calligraphic style font with an old-world Blackletter feel to it. Full of charm and flair, this friendly script font will lend a sense of childlike magic to any design. Perfect for themes relating to holidays, fairy tales, storybooks and even Renaissance designs, Kugelhopf was inspired by a hand-lettered sample in an old book about sign painting. It can also be used for cards, invitations and scrapbooking as well! ‘Kugelhopf’ is a German & Austrian holiday yeast cake from which our modern western Bundt cake was derived. It has a particular shape that is said to be inspired by Turkish turbans. Jukebox fonts are available in OpenType format and downloadable packages contain both .otf and .ttf versions of the font. They are compatible on both Mac and Windows. All fonts contain basic OpenType features as well as support for Latin-based and most Eastern European languages.

Bordonaro Script - Bordonaro Spur’s partner - is an interpretation of the “English Roundhand” style with a strong influence by the logos of American basketball and baseball teams. It is designed from simple shapes ideal to be used in long titles and fits perfectly into the branding design. Psss...Check out the NEW Bordonaro Script with Rounded corners , same version but soft! Bordonaro has a complete set of special and original characters: Stylistic Ligatures, Discretionary Ligatures, Swashes, Contextual Alternates, Titling, ss01,ss02, ss03 & apostrophes' ligatures that work as complements to enrich the text composition. Bordonaro Script and Bordonaro Spur are two typographic styles that were designed under the same characteristic features with the idea of combining them to obtain better results, for that reason, we recommend merging them in a creative way and you will realize everything you can design with them. The banners designs are based on old brands of beer labels, coffee packaging, sports logos and in some cases we use Copperplate Gothic but only as a complementary font in order to harmonize the layout of the elements in each banner.

Trovoada Mono is a monospaced font for use in print (but also looks great on display). Hand-drawing glyph by glyph, my intention was to get that old manual typewriter look, with uneven inks, but with a totally up-to-date, emotional and admittedly humorous attitude. Trovoada Mono borrows from classics like Courier and Letter Gothic, reinventing serifs here and there. The result is a font that is both familiar and unusual. As I love Greek typography, I made sure to include a full polytonic alphabet, in the same vintage spirit: the text looks very legible and matches the Latin characters. The font has no kerning, obviously, and no ligatures (this is a typewriter, my friend!), but it has important OpenType features: fractions, subscripts/superscripts, slashed zero and stylistic alternatives for some characters. The italics are 11 degrees, which brings a strong personality. Some characters have true italics, giving the text an overall texture different from the upright type. All that is missing is that nervous typewriter noise. Enjoy!

Ansage does not claim to be neutral; it escapes from the rationalist sans of closed strokes and regular forms. Meaning Announcement in German, Ansage is versatile and communicates effectively across a broad range of media and formats such as branding, posters, websites, apps, titles and compositions with little spacing). Ansage is a sans serif font with a strong personality that emerges from an interest in and the study of a wide variety of typographic specimens of Gothic fonts from the nineteenth century. The design process behind Ansage brought about constant transformations in form; the result is a compact and robust font, with a large x-height, small ascenders and descenders, and open terminals that grow in expressiveness as it increases in weight. It is available in 10 weights, ranging from Hairline to Black, and 3 widths – Condensed, Regular and Expanded – plus italics, which make a total of 60 perfect variables to combine and contrast with each other. In addition, it also includes multiple open-type functions such as alternative styles, Old Style Figures, Tabular Forms, fractions, case sensitive, ligatures and more.

Mezalia Sans is a logical continuation of the Mezalia family. Its shapes are based on medieval calligraphic style: the Bastarda. This time the evolution is taken a step further, as these classic shapes are merged with the straightforwardness of a modern sans-serif. This results in an original, strong yet very much usable typeface, that can hold its own in a wide range of applications. Mezalia Sans has two distinct styles: straight and cursive (true italic if you will, although the word is not really correct here), which come in ten weights, from thin to black. This wide range ensures that whether you are looking for delicate or bold strokes (or a combination of both) you will be satisfied. Every style also contains a set of small caps (with matching punctuation). Old-style, proportional and tabular numerals are included too, along with ligatures, symbols and language support in Adobe Latin 3 range.

"Old is Gold".. Perhaps that's the best words to represent this typeface called Fragtude - a pair of vintage display typeface consist of bold script and serif. One of our finest typeface, crafted carefully to make sure its quality. Inspired by 40s 50s lettering and signage, the nostalgic feels will bring you back to the good ol' days. This typeface is perfectly made to be applied especially in logo, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : uppercase & lowercase numbers and punctuation multilingual swash and ligatures alternates PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations. How to access opentype feature : letterhend.com/tutorials/using-opentype-feature-in-any-software/ Email us to letterhend@gmail.com if you need something! Happy Designing!

Gluck family is based on sans serif font. It fits to product design, any commercial and decorations. Glück family supports european languages. It includes 5 styles: • regular • stroked • bold • bold stroked • stripes

Based on ten characters found on the cover of a 1960s Blue Note jazz album. The source characters were originally designed for film-based typesetting by Wayne Stettler as part of a single typeface published by Visual Graphics Corporation (VGC) under the name Neil Bold. Mobley Sans, along with its condensed and serifed counterparts, constitute a brand new typographic whole molded around the original inspirational source. The family embodies the independent creative spirit of that era - yet manages to remain contemporary with several modern design traits - creating its own unique visual theme through the use of odd counters, generous curves and sharp corners. Mobley delivers your message in a bold, yet friendly, and subtly discerning fashion. Perfect for music artwork, packaging and book covers. Available with both sans and serif versions, in regular and condensed widths.

"Road Monsta" is a basic graffiti font that's perfect for a variety of powerful design projects. With expressive letter characters and bold, striking lines, this font adds an urban and bold touch to your typography. Whether used for posters, logos, or designs that require a strong graffiti aesthetic, "Road Monsta" ensures that your message appears bold and full of energy.

Soft Aura is a minimalist and simple sans family that have four fonts in total. You will get the regular, italic, bold, and bold italic in the package. You can use this font for any purpose, suitable for contrast logotype and branding. Combine the style fonts, italic and bold in one word to get stylish contrast look. This font also support multi language.