This is an original font designed in the Art Nouveau style with strong influences by Arnold Boecklin.

Symmetry is best suited for display use, inspired by circle shape and lines and curves, also space.

Tricky is a modern and dynamic design which is enhanced and supplemented by Tricky Tracky following soon.

A light hearted unicase typeface inspired by the titling of the 1977 Pink Panther cartoon, Therapeutic Pink.

Tradition and romance joined in the beautiful typeface, inspired by old hand drawn signs in Tel Aviv.

The typeface was created for TypeMarket in 1998 by Natalia Vasilyeva. Based on Lainie of Soft Horizons.

Twenties nostalgic oldstyle revival supervised by F.H. Pierpont at Monotype with echoes of Jenson, Caslon, and Goudy.

Madang Lovers is a lovely script font with a cute feel. Get inspired by its nostalgic charm!

Sign Designer JNL was inspired by a set of 1960s-era gold foil embossed self-adhesive letters.

MonoronSans is the first family of fonts produced by Fontron. The weights are lighter than conventional fonts.

Based on the ATF typeface by Morris F. Benton, circa 1934. Steve created two additional new weights.

A typical set of American Tuscan capitals cast by ATF in the middle of the nineteenth century.

Gothic Bold Condensed, first shown in 1889 by Hamilton wooden type founders. With lowercase. Gothic Bold Expanded.

Gothic Ritual is inspired by well known franchise Diablo that made its initial release back in 1996.

Based on an Adrian Williams design, circa 1976 and Brook Type in 1903 designed by Lucien Pissaro.

Gionni was designed by Cindy Kinash. This is a hand drawn, tall, light, thin retro inspired font.

Inspired by old manuscript serif font, this low contrast font makes it high legible for long texts.

Based on the magical writing system originated by Dr. John Dee and Edward Kelly in Elizabethan England.

Originally designed by Sol Hess as just a roman and italic for Lanston Monotype, circa 1920-23.

HK Blocker™ is a display typeface inspired by the paste-up typography back in the 50s.

PI Communication is part of the Scangraphic Collection and designed 1985 by Schriftatelier Scangraphic Dr. Böger GmbH.

Inspired by traditional old Biblical type, this font has a rich and unique style, with modern touch.

This font was inspired by lettering found on old tradecards and drugstore ads from the 19th century.

The Alexander font family was designed by Adam Roe for Lunchbox design. Alexander was released in 1993.

Bowl a perfect strike! Sunset was inspired by the retro stylings of the local bowl-o-rama.

Hypnerotomachia Poliphili, which can be translated in English as “Dreaming Love Fighting of Poliphilus”, is a romance about a mysterious arcane allegory in which the main protagonist, Poliphilo, pursues his love, Polia, through a dreamlike landscape. In the end, he is reconciled with her by the “Fountain of Venus”. The author of the book is anonymous, however, an acrostic formed by the first, elaborately decorated letter in each chapter in the original Italian reads “POLIAM FRATER FRANCISCVS COLVMNA PERAMAVIT”, which means “Brother Francesco Colonna has dearly loved Polia”. Despite this clue, the book has also been attributed to many other authors. The identity of the illustrator is less certain than that of the author. It was first published in Venice, in December 1499, by Aldo Manutio. This first edition presents an elegant and unique page layout, with refined woodcut illustrations in an Early Renaissance style and a refined Roman font, cut by Francesco da Bologna, which is a revised version of the type used in 1496 for the De Aetna of Pietro Bembo. The print quality is very high for the time, but nevertheless it presents many inconsistencies and imperfections due to the non-ideal inking and adherence of the matrix to the paper. For that reason numerous samples of the original have been used to create every single glyph which will result in an appropriate reconstruction and not a mere and humble reproduction. Some letters like \J, \U and \W were extrapolated, because they are not part of the original alphabet of the period. Some letters like \Q, \X, \Y, \Z and \h have been updated to more modern variants, but the original shape is accessible by Stylistic Alternates Opentype Feature, which also changes the shape of the \V and the \v. The original numerals \zero, \one, \tree, \four and \six have been accompanied by reconstructions of the missing numbers and extended by modern figures. Finally, swashed lower cases and original scribal abbreviations were also included. The font has joined by a matching Italic variant, closely inspired from Aldo Manuzio's 1501 "Vergilius", the first book printed entirely in Italic type by Francesco da Bologna.

Digital Sans Now combines and completes the many diverse requests and requirements by users of the past years. By now, 36 versions for over 70 Latin and Cyrillic languages have become available, including Small Caps. Digital Sans Now is also available as a webfont and reflects, with its simplified and geometric construction and its consciously maintained poster-like forms as well as with its ornamental character, the spirit of the decorative serif-less headline typefaces of the 1970s. The basic severity of other grotesque typefaces is here repressed by means of targeted rounds. Exactly these formal breaks allow the impression that it could be used in a variety of visual applications. Short texts, headlines and logos of all descriptions are its domain. It is because of this versatility that the typeface has become a desirable stylistic element, especially in such design provinces as technology, games and sports, and that, for many years now, it appears to be timeless. Additional weights designed on the basis of the original, from Thin to Ultra, the Italics, Small Caps and alternative characters allow for differentiated “looks and feels”, and, with deliberate usage, give the “Digital Sans Now” expanded possibilities for expression. The basis for the design of Digital Sans Now is a headline typeface created in 1973 by Marty Goldstein and the Digital Sans family which has been available from Elsner+Flake since the mid-1990s under a license agreement. The four weights designed by Marty Goldstein, Thin, Plain, Heavy and Fat, were originally sold by the American company Visual Graphics Corporation (VGC) under the name of “Sol”. Similarly, the company Fotostar International offered film fonts for 2” phototypesetting machines, these however under the name “Sun”. The first digital adaptation had already been ordered in the mid 1970s in Germany by Walter Brendel for the phototypesetting system Unitype used by the TypeShop Group, in three widths and under the name “Digital Part of the Serial Collection.” Based on the versions by VGC, Thin, Plain, Heavy and Fat, new versions were then created with appropriate stroke and width adaptations for data sets for the fonts Light, Medium and Bold as well as for the corresponding italics