The Dinkle fonts are the creation of a sketchbook artist who spent years refining her craft, Diana Hollingsworth Gessler. She created the Dinkle handwriting fonts for use in her book "Very New Orleans," and now you can use it in four convenient styles: Regular, Bold, Italic and Bold Italic. Each font in this family was drawn individually, capturing nuanced differences of natural penmanship when the weights are paired together. A hand-lettered journal style, the highly legible Dinkle fonts offer tidy text and clear captions. Use it for signage, quotations, or anywhere you need a personal touch in your designs.

Derived from the world famous Rennie Mackintosh Font, the Moonlight version gives a hollowed effect with a drop shadow to the Classic Rennie Mackintosh lettering. The "Moonlight" name comes from one of Mackintosh's less well known watercolour paintings - The Harvest Moon (1892).

Based on retro vinyl records in the middle of 20th century. the mixture of funky, hippie and mid-century’s futuristics. There are three other fonts designed by in the same concept. -African Elephant Trunk -Moon Star Soul -Rebel Train Goes -Word From Radio

The font SweynheymPannartz is strongly modeled after an example Conrad Sweynheym and Arnold Pannartz used in their early printing venture in Subiaco, Italy which began around 1465. Their efforts were supported by Pope Sixtus the IV after they enthusiastically printed more books than they could sell. They not only brought printing to Italy, but also developed the first Roman style type. This font has over 600 defined glyphs to cope with modern needs, and also the ability to use several abbreviations common to that period. It also has an alternate minuscule “k” more modern in appearance for those that find the original too unusual.

“PGF-Trajanite” is a simple Roman typeface, with capital letters inspired on classical Trajan schemmas such regular square and circle, simple and double root five, early ideas based on the golden ratio, while lowercase have more organic but yet balanced proportions with short ascenders/descenders stems allowing more air to flow between textlines, both (capitals and lowercases) optically adjusted to deliver a better reading experience. Due to simple and universal look it result in versatile typeface perfectly suitable for branding, packaging, label design, UI Interface design. Include standard and discretionary ligatures, alternate glyphs, oldstyle numers, various numerical arrangements. Altogether you will find this a very clean, fashionable, and elegant typeface.

Sigillium is a flare serif typefaces, which inspired by early XX centuries sign painting advertising. It has strong historical nature. Letters proportions are very closed to the Roman Capital Letters. Sharp flare serifs endings give special medieval style to the typeface. Sigillium includes: 4 types in Upper- and Lowercases Each style contains more than 250 glyphs which support Latin, Western European, Central European languages (Cyrillic is also included) Files description: regular, carved empty, - not filled 2 styles carved with shadow, - different "light" directions Hope you are enjoying using Sigillium. Please do not hesitate to ask me any questions about the product. (c) Photo credit - Unsplash

Digitized handwriting fonts are a perfect way to give documents the “very special touch”. Invitations look simply better when handwritten than when printed in bland Arial or Times New Roman. Short handwritten notes look authentic and appealing. There are numerous occasions where handwritten text makes a better impression. Clay Handwriting Pro is a beautiful typeface that mimics true handwriting closely. Use Clay Handwriting Pro to create stunningly beautiful designs easily. This typeface comes with alternative characters for sophisticated typography – all easily accessible as OpenType features. A “random” feature even allows for automated random switching between variations of the same character, resulting in type that looks authentically handwritten.

Elegant, fluid and romantic are but a few of the words that describe this beautiful font. Certificate is a perfect choice for awards, wedding invitations, greeting cards - in fact any products for which a sophisticated, contemporary yet formal look is sought. Certificate was designed for situations that require: - a classical, “award” like font (for certificates, invitations, formal notices etc); - a very legible font (particularly important for invitations to events such as weddings and formal occasions where details of the occasion are very important and should not be mis-read); Certificate is fully professional, carefully letterspaced and kerned. All upper and lower case characters, punctuation, numerals and accented characters are present.

Akira Rosty is a very unique handwriting, the shape is modern but pleasing to the eye and the style is very natural. This modern calligraphy font includes a modern Love font which can be varied with the Normal font, This font is designed to have the potential to take your every creative idea to the highest level! These designs are used for branding, web and editorial design, print, crafts, quotes, It's great for logos, wedding invitations, romantic cards, labels, packaging, name spelling and more. Akira Rosty includes OpenType style alternatives, ligatures, and International support for most Western Languages. To enable the OpenType Stylistic alternative,you need a program that supports Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or a later version. How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ Akira Rosty is coded with PUA Unicode, which allows full access to all additional characters without having to design any special software. Mac users can use Font Book, and Windows users can use Character Map to view and copy any additional characters for pasting into your favorite text editor / application. How to access all alternative characters, using the Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw

As a late work the “Meier Kapitalis” forms an arch within the typographic creations of the Swiss type designer Hans Meier who died in 2014. The first sketches of this typeface can be found in the teaching manual “The Development of Script and Type” (German: “Die Schriftentwicklung”; French “Le développement des caractères”) which was published in 1994, however, under the title “Roman Lapidary, 1st Century”. The booklet was first published by the Syntax Press, Cham, Switzerland and contains an introduction by Max Caflisch in which he writes: „The present work, „The Development of Script and Type“ is a concise, authoritative textbook, concentrating on the essentials in a wide survey from ancient Greek inscriptions to the printer’s typefaces of the present day. His (Meier’s) 72 varieties of letterforms enable the student or general reader to understand the history of script and type, while more than 60 of his own calligraphic specimens provide excellent models for all who practice this art.“ Unfortunately, the “Meier Kapitalis” is one of the few typeface families in this publication which has been digitized. It was to be the last type project fully realized by Meier. In cooperation with Elsner+Flake, the typeface family was developed and expanded and now contains the four cuts: Roman, Medium, Demi Bold and Bold with either a complement of characters for 78 Latin-based languages (EL=EuropaPlus) or in West-Layout.

Ozana Pro is a bracketed serif font family adapted to the professional requirements of graphic designers, web designers and mobile app developers. Comprised of 24 styles including 12 styles designed especially for headlines and 12 styles for text and long paragraph design, Ozana Pro is a very versatile family of fonts that can be used in many projects such as editorial design, branding or corporate identity creation, design of posters or logos, the creation of websites or the development of mobile applications. This serif font family, with a resolutely modern aspect, also hides a unique typographic design since it has 2 distinct styles (Roman and Display) which have 2 different optical sizes in order to graphically differentiate the appearance of titles, subtitles and long paragraphs. With this design of glyphs differentiated by the optical size according to the styles, the titles have a very graphic aspect while the long texts have a more classic design in order to keep an optimal readability in all cases. Ozana Pro is also equipped with powerful OpenType features such as case sensitivity, true small caps, ligatures, tabular figures, old styles figures, numbers circled. Ozana Pro is also available as a variable font family.

Charllona is a very beautiful and unique font. This font is perfect for all types of your work. This font is perfect for all wedding needs (wedding invitations, wedding photography, decorations, and other wedding designs), your business promotion (hotels, villas, vacation spots, products, services or promotion of snacks / beverage products. Also suitable for promo updates, logos, branding, posters, or status updates on social media, making romantic words, or quotes. This font is also equipped with swash, ligature and multilingual.

Milea Lover is a beautiful script font with an irregular baseline. Milea Lover comes with a feminine and trendy style that gives a touch of love to your design projects. Milea Lover looks very beautiful for branding, logo, wedding invitations, greeting cards, fashion, book covers, posters, labels, quotes and other romantic projects. Have fun using Milea Lover!!! I really hope you enjoy it! Feel free to follow, like and share. Thank you so much for checking out my shop!

Momotarō is a Japanese legend about a boy who came to earth inside a giant peach. He was found by a childless woman and grew up to be a hero. I'm in a Japanese mood - mainly because lately I have been working with brushes and ink a lot. Momotaro font is a very detailed brush font. It doesn't come with a hero inside a giant peach, but it does give your design work that extra oomph, ahh and wow.

Hi everyone, Introducing my special font Magic Prince Magic Prince is a modern stylist serif font. Magic Prince inspired from Magic Romance typeface, have unique style and elegant looking, is well-suited for advertising, branding, logotypes, packaging, titles, headlines and editorial design. I created more much alternates variant and much natural ligatures to make this font very classy and look so beauty. Magic Prince was built with open type features make your project will be perfect.

Hi! It's Orenari here want to introduce a romantic display serif font, New Romantine. This font has lovely curves and almost of all the uppercase and lowercase has stylishtic alternates. The fact of this font is Romantine was my very first font. This New Romantine is the newer version of Romantine. It's bolder than the old version. Just launch the New Romantine in February so this font will bring the Valentine's Vibe to your creative projects.

Saythis Script Upright is our latest product that need so much effort to create it. We research and do the best to make this font good for you. This is very suitable for beautiful logo, poster, magazine, photography and any other design project. Saythis Script Upright goes with Romantic and Elegant Upright Calligraphy, ready to give your design project with Fresh and Feminine Style. This font have an 264 Standard Glyph + 503 Glyph Alternate in Open Type Standard Format.

Introducing "Riads - Stylish Handwriting Font" with a signature style look. "Riads Script" very recommended for you who want to make some designs with natural handwriting style. This font easy to use and perfect for elegant branding, greeting cards, wedding design, name card design, invitation design, poster, packaging, romantic book cover designs, handwritten quotes, unique social media post, and so much more. Feature and what inside: • Uppercase and Lowercase • Uppercase and Lowercase Alternates • Number and Punctuation • Ligature • Swashes • Multi Languages

Golden Way Family attracts such a subtle, clean, feminine, sensual, glamorous, simple and very readable typeface. The classic style is perfect to apply in various formal forms such as invitations, labels, menus, Logos, fashion, make up, stationery, letterpress, romantic novels, magazines, books, greeting / wedding cards, packaging, labels Golden Way Family also features a strong neoclassical serif typeface with high contrast, cool, stylish and unique look with alternative fonts, Ligatures, and multilingual support Thank you for your visit.

Bunga is a serif typeface that gives a romantic feel to every curve. With 45 ligatures and alternates which are included, it is very helpful in creating the title of each of your projects such as film titles, book covers, branding, logos, packaging, magazines and more. Also supported PUA encoded. Simply copy and paste the alternate characters using the Character Map (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac).

Baby Algutta is a modern, handwritten and modern calligraphy font. The shape is modern and unique and the writing style is very natural. The Baby Algutta features a varied baseline, smooth lines, beautiful glyphs, and amazing alternatives. Hand-drawn design elements allow you to create many beautiful typographic designs in an instant such as branding, web and editorial design, prints, crafts, quotes, It's great for logos, wedding invitations, romantic cards, labels, packaging, name spelling, and more. Thank you.

Crypton is a modern geometric design by Alex Kaczun. It’s an alternate style variation based on his popular Contax Pro family of fonts. The look is clean, smart and sophisticated—the chiseled end strokes reflect the rage of the 1980s; lettering that represented something to do with electronics, computers and outer space. It’s a futuristic sans-serif exploration of shape and form. This display font is not intended for text use. It was designed specifically for display headlines, logotype, branding and similar applications. The entire font has an original look which is strong and dynamic—it can be widely used in publications and advertising. Crypton is a futuristic, techno-looking and expressive typeface with the appearance of machined-like parts—round geometric shapes and sharp edges. This attractive display comes in roman with lower case and lining figures. The large Pro font character set supports most Central European and many Eastern European languages.

Kulturista is an unmistakeable linear slab serif typeface with pronounced rectangular serifs. The drawings are based on the sans-serif Nudista typeface, and Kulturista also inherits Nudista’s distinctive narrowed character proportions, range of weights and glyph sets. The italics are inclined sufficiently, and have the same width and colouring as the plain styles. They aren’t just a mechanically-slanted version of the basic styles, as is often the case for typefaces derived from geometrical images — a whole range of characters have their own drawn variants, which greatly strengthens their highlight function. The italics are therefore an equal partner for the roman styles. Kulturista is definitely a good choice for a headline typeface for magazines and book covers. The range of boldness can come in handy when editing sections, headlines and supplements. The typeface understandably proves itself as a healthy foundation for a unified visual style, and holds up at display sizes as well as on shorter texts.

The spurred serif style of Roman lettering has long been a favorite of sign painters and show card writers. Spur Handlettered JNL from Jeff Levine gives this classic design an ultra-casual look, complete with all of the nuances of hand-lettering.

A partial set of antique brass stencils inspired Old Spur Stencil JNL, which is available in both regular and oblique versions. The lettering is based on a traditional Roman stencil design with Western-style spurs added to the approximate centers of each character.

Kareemah is humanist typography, composed of roman and italics with 16 styles and 8 weights (800 glyphs) including ligatures, alternates, small caps,old style figures, fractions, superiors, inferiors and more. Perfectly legible and clean for long, simple texts in headlines. "Specimen Kareemah PDF"

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.

This humanist slab-serif style is an extension from Gazeta font family, the letterform are more sharp, racional and mechanical. Italics are having small differences from roman letterforms, the characters are slightly more narrow (weight) and the proportions are less open (width).

Bramble is a lively organic font that draws reference from Roman characters rather than Italic forms. Use Regular for small point-size setting to retain legibility. For invigorating display settings try combining Regular and Wild. Warning: you may become attached to Bramble!

Citation was designed by British lettering artist Trevor Loane. It is a solemn, all caps roman alphabet whose coolly elegant letters look as though they were etched in stone. Citation is perfect for any work which should have a stately and expensive appearance.

FDI Triumph revives Albert Auspurg’s “Triumph” typeface originally released in 1929 by the type foundry Ludwig Wagner in Leipzig. The forgotten design was carefully digitized from the original wood type font and extended to cover the Western codepages Win 1252 and Mac Roman.

Constantine - an exquisite display modern serif, inspired by classic roman arts and vintage cars aesthetics. Specially designed for luxury, clean, high-end projects, perfectly suitable for creating elegant, classy design such as magazine, social media, and more. The font features standard ligatures.

Savigny began as an offshoot of Le Havre. Le Havre met my design objective of a geometric sans serif with a strong art deco touch. Le Havre’s primary inspiration came from the art deco titling of the 1930’s, and the lower case was just icing. The art of the 1930’s is of particular interest to me, and I love the art deco era and its art, and the simplicity of geometric shapes. I am mostly interested in designing display typefaces. In many ways Le Havre was the exact opposite of another popular insigne offering, Aviano Sans. Le Havre has very high ascenders, a lower case and is very condensed. Aviano Sans has no lowercase and extremely extended capitals. With the rise of webfonts I began to see Le Havre being used frequently online. It’s short x-height and very tall ascenders made it difficult to read in on screen text settings as it was intended as display type. With this observation, I felt that there is more room for a geometric sans in the insigne catalog. So I set about to design a new geometric sans using the successful skeleton of the Le Havre family. Although I planned to extend the Le Havre line, the new family is so drastically different I decided on a new name: Savigny. The face evolved and began to take on a few humanist touches. Designed from the very beginning as a webfont, the design is open and pleasing to the eye, with a tall x-height. To optimize it for onscreen settings, the spacing is generous. In addition, it includes extended and condensed members, making it insigne’s first superfamily. The family includes over 100 OpenType alternate characters. These include several style sets. Some are stemless, others are purely geometric, and in a nod to Savigny’s origins, Art Deco titling alternates. Please see the informative .pdf brochure to see these features in action. OpenType capable applications such as Quark or the Adobe suite can take full advantage of the automatically replacing ligatures and alternates. This family also includes the glyphs to support a wide range of languages. Savigny is a great choice for a professional designer who wants a well rounded typeface family that is ready for the web.

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. Times™ Europa is the Walter Tracy re-design of 1972, its sturdier characters and open counterspaces maintain readability in rougher printing conditions. Times New Roman™ is the historic font version first drawn by Victor Lardent and Stanley Morison for the Monotype hot metal caster."

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. Times™ Europa is the Walter Tracy re-design of 1972, its sturdier characters and open counterspaces maintain readability in rougher printing conditions. Times New Roman™ is the historic font version first drawn by Victor Lardent and Stanley Morison for the Monotype hot metal caster."

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. Times™ Europa is the Walter Tracy re-design of 1972, its sturdier characters and open counterspaces maintain readability in rougher printing conditions. Times New Roman™ is the historic font version first drawn by Victor Lardent and Stanley Morison for the Monotype hot metal caster."

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. Times™ Europa is the Walter Tracy re-design of 1972, its sturdier characters and open counterspaces maintain readability in rougher printing conditions. Times New Roman™ is the historic font version first drawn by Victor Lardent and Stanley Morison for the Monotype hot metal caster."

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. Times™ Europa is the Walter Tracy re-design of 1972, its sturdier characters and open counterspaces maintain readability in rougher printing conditions. Times New Roman™ is the historic font version first drawn by Victor Lardent and Stanley Morison for the Monotype hot metal caster."

Gothico Antiqua is the result of grunging up one of my early sans-serif type designs. It strangely works very well and looks authentic at small to medium settings.