Designed as a typewriter face for IBM, Courier was redrawn by Adrian Frutiger for the IBM Selectric series. Courier is a typical fixed pitch design, monotone in weight and slab serif in concept. The Courier font is used to emulate typewriter output for reports, tabular work and technical documentation.

Limited to a single width for all characters and a rough image transferred through a ribbon to the paper, in 1953 Clayton Smith at IBM, Lexington, adapted the classical serifed letterform to this difficult medium to obtain a typewriter face of good readability and interesting texture.

This font is a collection of simple calligraphic ornaments suitable for invitations, gift tags, and anything that can benifit from a "spoonful of sugar" visually.

Decima Nova Pro is a geometric sans serif typeface family, built in eight styles. The typeface is ideal for use in display sizes, but also is quite legible in text and is well suited for editorial and brand design. Features include extended language support, small caps, multiple numeral styles, slashed zero, ligatures... Decima Nova Pro is released as font family in OpenType format with a Latin Western 1252, Eastern European 1250, Baltic 1257, Turkish 1254 and Cyrillic 1251 character set.

Here's a refined version of Grange, released by Edinburgh's Miller & Richards foundry just around the turn of the twentieth century. A bit quirky with a lot of warmth. Both flavors of this font feature the 1252 Latin, 1250 Central European, 1254 Turkish and 1257 Baltic character sets.

The 1897 specimen book from Barnhart Brothers and Spindler showed a enchanting little face called Dotted Roman. Here's a faithful revival, ready to warm up the 21st century. Both versions support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Here's an unusual take on the classic Tuscan face of the 1880s. The unusual finials lend a slightly spooky feel to the face, hence its current name. Both versions support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

This rough-and-tumble typeface is inspired by lettering in the Book of Kells. Celtic knots can be found in the ASCII circumfles (^), ASCII tilde (~), florin (ƒ) and section (§) positions. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

This typeface finds its inspiration from hand-lettering by Albert Roller for Ver Sacrum magazine in 1903, made famous by its revival on many psychedelic posters of the 1960s. Both flavors of this font feature the 1252 Latin, 1250 Central European, 1254 Turkish and 1257 Baltic character sets.

This font is a straight-up revival of Rustikalis, a typeface designed for the VGC Phototypositor in the 1960s. This face combines medieval flair with contemporary design sensibilities into one attractive package. Both flavors of this font feature the 1252 Latin, 1250 Central European, 1254 Turkish and 1257 Baltic character sets.

Here's a page from the Page Company, circa 1850, originally called Doric. This version is reasonably faithful to the original, but streamlined for better reporduction at a variety of sizes. Both versions support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Based on the extrabold extended version of Venus, a typeface originally issued by Bauersche Giesserei from 1907 to 1927. Use it when you want to be heard loud and clear. Both versions support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Two offerings from the Page specimen book, Aldine and Aldine Extended, provided the patterns for this family of Western-style standards, named for the smallest county in Texas, at least area-wise. Both flavors of this font feature the 1252 Latin, 1250 Central European, 1254 Turkish and 1257 Baltic character sets.

Here's another example from the William H. Page Company, originally called French Clarendon XXX Condensed No. 117. This version dials up the contrast, making it suitable for tight headlines in large sizes. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Originally issued by the Palmer and Rey Type Foundry of San Francisco in 1884, this typeface bore the name Octagon Condensed, and is as fresh today as it was way back when. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

This font is based on a little-known work by master type craftsman Frederic Goudy called—wait for it—National Oldstyle. Use it when a blend of classic and slighly quirky is called for. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

It is what it says: a classic woodtype face by the same name from Vanderburg and Wells' 1878 specimen book. What it lacks in refinement, it makes up for in exuberance. Both versions support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Here is a faithful revival of Gothic Number Ten, released by the Cincinnati Type Foundry in the late 1800s. Not your garden-variety sans-serif, its quirky caps will warm up your headlines. Both flavors of this font feature the 1252 Latin, 1250 Central European, 1254 Turkish and 1257 Baltic character sets.

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 Times New Roman World Version is an extension of the original Times New Roman with several other scripts like with the Helvetica World fonts. It is part of the Windows Vista system. The following code pages are supported:1250 Latin 2: Eastern European 1251 Cyrillic 1253 Greek 1254 Turkish 1255 Hebrew 1256 Arabic Note: The Roman and Bold versions include the arabic scripts but they are not part in the corresponding italic versions. 1257 Windows Baltic 1258 Windows Vietnamese

The name says it all: here's a faithful revival of a Schelter und Geiseck release from 1911, designed by Moritz Greishaber and originally called Monos. Although it predates the Art Deco era, it has a Deco vibe. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

This family of faces is based on the series Riverside Drive, designed by Peter Max for Photo-Lettering Inc. in the early 1970s. However, several letters have been altered to maintain design consistency and to improve legibility. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

This typeface takes its design cues from Dudley Upright, a Dan X. Solo find from the sixties. This version is considerably wider than the original, which increases its legibility while retaining its flower-power vibe. Both flavors of this font feature the 1252 Latin, 1250 Central European, 1254 Turkish and 1257 Baltic character sets.

The font extra bold slab serif with reverse contrast, he refers to the “Italian” or “wood types”. This decorative display font is designed for use in large sizes, suitable for the lettering, the major labels, headers, logotypes. Ideal for embedding images. It's an all-caps font, but there are biform variants of a, e, m, n and u, so you can mix things up to create more interesting headlines. This font contains the complete Latin language character set (Unicode 1252) plus support for Cyrillic (Unicode 1251), Central/Eastern Europe (Unicode 1250), Baltic (Unicode 1257) and Turkish (Unicode 1254) languages as well.

Scriptissimo-Forte-Swirls is the bold version of Scriptissimo but with lots of swirls. Sometimes a job just calls for lots of embellishments, that's what this version is good for. Yours very swirly, Gert Wiescher.

A heavy slab face for many applications.

A personal handwriting done in pencil. Conté Script is a computer font but has the extraordinary look of handwriting. The typeface is exceedingly lively, diversified and distinct thanks to more than 300 different ligatures, i.e. letter combinations. In addition to the letter combinations in Conté Script, there are also double letters and figures included (aa, ff, AA, MM, 22, 66…) as ligatures with stylistic alternates. Type set in Conté Script appears remarkably similar to a text actually handwritten with a pencil. The typical style of the pencil — crumbliness where pressure lessens and the deep darkness where the pressure of the graphite in it's fullest denseness smudges — is another earmark of Conté Script. The font appears to be written quickly, fleetingly, casually, as if not really to be taken seriously, and as if it would be written one minute and erased the next. Conté Script looks most ”authentic“ around the point size of 18 to 22.

Fort Courage JNL is a bold slab serif wood type in the French Clarendon genre, taking its name as a tongue-in-cheek reference to the cavalry fort populated by a number of post-Civil War misfits in the 1960s television comedy "F Troop".

The Abrown Monte is a elegant handwritten font. It brings a beautiful and attractive typeface. Made for any professional project branding. It is the best for logos, branding, wedding and quotes. Features: Standard Ligatures Multilingual Support PUA Encoded Numerals and Punctuation Thank you for downloading premium fonts from Ocean Stud

Front Row JNL is an all-caps reinterpretation of Morris Fuller Benton's 1937 type design "Empire", and is available in both regular and oblique versions. As is often the case when a digital type font is based on a few letter examples found on a printed sample [in this case, the sheet music of the 1946 Guy Lombardo hit "What More Can I Ask For"], the missing characters were drawn from scratch.

Adapted from lettering found on a poster by an Italian artist with the unlikely name of Marcello Dudovich, this ultrabold Art Deco font, with its graceful curves, commands attention. Primarily an uppercase only font, there's a variant lowercase m with a strong design element.

Fonce Sans Pro is a mono-weight, Swiss-style typeface with influences from great typefaces like Din, Helvetica, Interstate, and Trade Gothic. Its form is unique and sophisticated with an unmistakable Dutch style. It’s subtle and enjoyable, and works beautifully in both display and body copy.

An elegant typeface from the turn of the last century named "Venezia", issued by Karl Brendler and Son of Vienna, provided the inspiration for this little gem, with hints of the exotic. Both versions of this font include the complete Unicode Latin 1252 and Central European 1250 character sets.

Don’t let the name fool you! My Left Foot was made by hand. Alts, ligatures and Vietnamese all included in this whimsical typeface. Go ahead and dip your toes in!

Franklin Type Foundry's 1897 specimen book offered the patter for this face. Numerals maching the lowercase are standard but, if you want numbers to match the uppercase letters, activate Stylistic Alternates in OpenType-savvy applications. Both versions support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.