foria is a Neo-classic serif inspired by a combination of Baskerville and Bodoni with round corners to give a soft impression, looks feminine and classy so it is perfect for fashion, branding, menus, cooking, and female inspiration and is also suitable for neutral typography

The astype series Accolades A offers the designer a fine balanced set of calligraphic swashes, swirls and floral ornaments. The shapes are in systematic order and harmonize in contrast and detail. The shapes can be combined easily and the advanced designer can build hundreds of sophisticated compositions. No matter, whether packaging lables, invitations or greeting cards - every assignment with the need of a delightful appeal will be served well. Accolades A and A2 share the same base set of ornaments but differ in some of the major shapes. Despite these differences, the total width of the shapes will be always the same. If you are looking for some good companion fonts, give Gracia and Adana a try. Every classic high contrast stroke design like Didot or Bodoni works well. Note: To look perfect, adjust the size of the ornament font to fit in contrast the design of the companion font. So if you use a Bodoni font as companion, try to match the thickness of the thinnest part of a upper case Bodoni letter with the thinnest part of a shape from the ornament. Note 2: Each package comes with a technical documentation and an InDesign2 sample file.

Spumoni plays freely off of the typeface Bodoni . Though commercial lettering is becoming a disappearing craft, Spumoni provides this hand-drawn quality in a digital medium. Its bouncy, playful letters infuse a sense of humor into headlines, titles and blurbs of text in need of a merry touch

ITC Ozwald was designed by David Farey and is a revival of a little-known typeface of American type designer Oswald Cooper called Cooper Fullface. The original was intended to be a modernized version of Bodoni and Farey captured all the charm, wit and creativity of the original in ITC Ozwald.

The roots of Adana going back to the year 1930, to the Berlin-based German graphic designer Wilhelm Berg. His typeface can be interpreted as an answer to Lucian Bernhards Schönschrift. Adana Circular and Regular play well together in all kinds of adverts, as well with designs like Bodoni or Didot.

A highly decorative slab-serif that is combat ready. The steady contrast and sharp angles make it great for titles and posters. Mechanical and aggressive but can easily be used for static background text and shapes. May keep Bodoni and Niagara Solid company if not for just a short while.

The bigger the better! M8T Mamma Mia is a broken Bodoni inspired serif font whose each character has been handdrawn. Hundreds of strokes build this rough, yet soft font. It is perfect for titles, especially in large scales. Using it on chalkboard backgrounds you will realize the inspiration of chalk-board-writing.

Fortezza is a family of fonts inspired by the great masters who have created the Modern Roman style: Firmin Didot (1764 -1836) and Giambattista Bodoni (1740 -1813) Both typefaces can be similar, but a trained and close vision, show clear differences in the final result, like its weight and the degree of transition of the strokes. The type of Didot suggests greater warmth and elegance, they are characterized by extreme contrast in thick strokes and thin strokes, by the use of serifs very thin and by the vertical stress of the letters. while the Bodoni type conveys a greater robustness and hardness. Fortezza brings together the elegance and spirit of both types, but proposes a contemporary vision, establishing a distance with certain features typical of the baroque that was manifested at that time.

Wicked, cheeky and geeky! That's what went through my mind when updating this font. Originally made around year 2000, and now it comes in a restored and updated version. I cleaned up all curves and lines, added multilingual support and kerning. Based upon classic typefaces like Bodoni and Baskerville, but far more unpredictable and wild.

Madisonian has been found in a catalogue of the New York Bruce type-foundry, dated 1859. The lower cases have the feeling of a Bodoni Italic and the initials have a "spencerian" touch. This font did exist originaly in a single weight. The family has been extended with a bold and an engraved version.

Mark Jamra based the design for Jamille on the forms of the 18th century Modern Face fonts of Didot and Bodoni, but was also influenced by the work of artists like Adrian Frutiger, who reworked such fonts to adapt to the demands of modern technology. A very legible font, Jamille will give text a classic, elegant feel.

Lisa is an elegant script family in the tradition of early Italian type designers like Bodoni. I added counter strokes and floral embellishments to the font. Lisa comes in three variations: the beautiful Lisa Bella, the flowery Lisa Fiore and the extra swinging Lisa Piu (which means more in Italian). Enjoy! Your elegant script designer Gert Wiescher

Styla is a refined romantic sans, in the best tradition of Didot and Bodoni. The combination between Styla’s feminine grace and sharp endings creates an air of seduction, ideal for magazines, ads and books on fashion, fine arts, philosophy, luxury goods, women and love. A typographic jewel, Styla brings romantic sensuality and refinement to the world of sans-serifs.

Gerry Powell, typographer, industrial designer, and director of typographic design for American Type Founders, designed Onyx font for ATF in 1937. A very popular advertising type in the 1940s, Onyx resembles an extremely condensed, bold member of the Bodoni family. Onyx is a good display font, with proportions that make it readable even when space is at a premium.

This revival of the Bruce Foundry’s No. 11 is typical of the nineteenth century types derived from the work of Didot and Bodoni; the face remains popular with lawyers and government printers. In fact, Theodore Low De Vinne opposed this kind of design as hard to print and read; he had Century designed to replace it.

Lisa is an elegant script family in the tradition of early Italian type designers like Bodoni. I added counter strokes and floral embellishments to the font. Lisa comes in three variations: the beautiful Lisa Bella, the flowery Lisa Fiore and the extra swinging Lisa Piu (which means more in Italian). Enjoy! Your elegant script designer Gert Wiescher

Lisa is an elegant script family in the tradition of early Italian type designers like Bodoni. I added counter strokes and floral embellishments to the font. Lisa comes in three variations: the beautiful Lisa Bella, the flowery Lisa Fiore and the extra swinging Lisa Piu (which means more in Italian). Enjoy! Your elegant script designer Gert Wiescher

Based upon classic typefaces such as Bodoni, you might find Rookie Heat familiar. However, the rough outline and handmade look and feel makes it perfect for your craft products. All in all, Rookie Heat is reflecting the beauty of decorative objects. Play around with the swashes for upper- and lowercase to make your designs stand more out.

Take Five is a very jazzy typeface. It is more Swing than Bebop but it also evokes memories of the Cool Jazz era. Take Five can be used for jazzy covers or children's birthdays as well as jumble sales leaflets. Take Five is pretty versatile; no wonder - it is a descendant of my Bodoni Classic typeface family. Your jazzy designer Gert Wiescher

Since 1997, The Washington Post’s iconic headlines have been distinguished by their own sturdy, concise variation on Bodoni, designed by Matthew Carter. For the 2009 redesign, Richard Lipton, Jill Pichotta, and Dyana Weissman expanded the family with more refined Display and Condensed styles for use in larger sizes. Originally called Postoni, the fonts were renamed in honor of The Post’s founder, Stilson Hutchins

Yuli is my daughter - she was born on February 13th, 2014. I named this font after her, because there are some similarities. Both are bouncy and happy, playful and quirky, funny and happy - and above all: cute and cuddly. Yuli font was loosely based on Bodoni and Spumoni - two typefaces I like a lot. Yuli speaks a lot of languages.

Cyrillic Latino is a combination of the cyrillic and latin version of my Bodoni-Classic-Text typefaces. The typeface comes in very handy if you want text to look Russian but can be read by everyone. Since it is a combination of two of my typefaces I only charge the price for one typeface. Your trying-to-be-fair designer, Gert Wiescher

I began my work on Emona while still struggling with Birka. I took the superellyptic form as the basic shape, and that gives the typeface some of its characteristics. It is strictly vertical. It is easy to classify it in the same section as Bodoni & Company. Emona is what Ljubljana, the capital of Slovenia, was called in the Roman days. Emona was released in 1992.

The combination of some Bodoni extra-wide wood type letters and an image redrawn from a 1940s package label from the long-defunct Railway Express Agency form the characters in Letter Delivery JNL. These initials are perfect for personalizing notes, gift labels, personal stationery and other creative projects. For retail commercial products, please consult the information within the Font License Agreement and contact the font's author directly.

Cuisine originated from a how-to lettering book from the 1950s. It suggests the script style found on food and beverage labels in the early 20th century. This creamy font does for food advertising what Bodoni does for haute couture. Its simmering, hand-scribed charm captures the complexity of wine and the robust energy of coffee. It shines on luxe food packaging or high-end menus

Zapf Book font is the work of German designer Hermann Zapf, a blend of the characteristics of Walbaum, Melior and the contrasting weights of Bodoni. It is a typical Zapf font, distinction without eccentricity and superb sensitivity and letterfit, and clearly demonstrates his concern that an alphabet work not just as a collection of single letters, but also have a sense of unity in itself.

A new take on the classic font Bodoni, revealing the structural elements of the font, and adding a little sparkle with a pseudo-stencil treatment. The font is named in honor of its original designer and also the undisputed king of the two-chord song. Both versions of the font include the 1252 Latin and 1250 CE character sets (with localization for Romanian and Moldovan).

a family with decorative variations of Gras Vibert, a bodonian typeface

Craw Modern was designed by Freeman Craw in 1958 and first released by The American Typefounders Company, (ATF). In typography, 'Modern' is a style of typeface (classification) developed in the late 18th century that continued through much of the 19th century. Characterized by high contrast between thick and thin strokes and flat serifs. Bodoni is among the most popular of the Moderns. Moderns are also known as Didone and New Antiqua.

With a gentle, modulating effect and very neat from a formal point of view, Botija is ideal for medium sized texts: it is a font family with a unique style. Created initially as a reinterpretation of Bodoni, it maintains a sharp vertical axis and a medium level of contrast, suitable to function in smaller bodies and featuring subtle details which stand out in medium-sized bodies of text.

Didot LP is a very elegant rendition of the 18th-century French typeface -- Didot. This design took the earlier Italian neo-classical model (Bodoni) to a new level of refinement, with fully rationalized shapes and delicate hairlines. Didot LP accentuates these qualities, providing a classical text face with a clear and modern voice. The companion face -- Didot LP Display -- optimizes the proportions, spacing and hairlines for use at very large sizes.

Element 120 (Unbinilium) is a hypothetical chemical element in the periodic table. You can forget about that, I just thought it was a cool name for a font. Element 120 is a hand drawn Ultra Bodoni. I drew all the glyphs by hand, then gave them a good grunge makeover and the result is what you see before you. Comes with a periodic table of diacritics as well!

This typeface is named after Sarah Eaves, the woman who became John Baskerville’s wife. As Baskerville was setting up his printing and type business, Mrs. Eaves moved in with him as a live-in housekeeper, eventually becoming his wife after the death of her first husband, Mr. Eaves. Like the widows of Caslon, Bodoni, and the daughters of Fournier, Sarah similarly completed the printing of the unfinished volumes that John Baskerville left upon his death.

Scottish typefounders exerted a strong influence on the development of "transitional" typefaces, the bridge from "oldstyle" (Jenson, Garamond) to "modern" (Bodoni, Didot) designs. Scotch Roman designs were first cut by Englishman Richard Austin and cast by the Scottish typefounder Alexander Wilson and Son in Glasgow. Scotch Roman font has wide proportions, short descenders, bracketed serifs, and large, strong capitals. Its subtle charm makes it suitable for any text setting, particularly books and magazines.

Destine is a modern display typeface that has high contrast and hairline serif. The typeface inspired by Didot and Bodoni. Destine typeface has opentype features like stylistic ligatures and stylistic alternate to beautify any design project. This typeface is compatible for branding, logo, book magazine, headline, wedding invitation, and so on. You will get : Destine Regular font with full set of lowercase and uppercase letters, numerals and punctuation, multilingual characters, ligatures & alternates.

Vincenzo is based on a beautiful condensed typeface from the 1920s or earlier; original designer unknown. This is a "Modern" style with fine slab serifs, vertical stress between thick and thins, and high contrast. What is unique about this design is that the triangular serifs (e.g., E, F, L, T, etc.) do not gradually taper as they join the rest of the letter, as would be the case in Bodoni and similar designs. Uppercase only.

Our Bazaruto family was inspired by an old fashioned specimen from “Letters and Lettering” by Carlyle & Oring, but you'll find the inspiration has been greatly expounded upon. What began as an all Capitals specimen has been fleshed out to an extended full character set with many features and variants from the original design. Bazaruto has been an exercise in typographic evolution. The original Art Deco style spawned an Engraved version, then a Bodoni-esque text style, and then a monoline version of that text style (both of the latter complete with Obliques). But after that is when the real interpretations of form began with the development of the Iron fonts, playing off the original specimen having a visual flavor of wrought ironwork in them, and blending that into the Bodoni-esque typestyles. Lastly, a fast and loose hand drawn version of the Iron fonts and an ornaments font were created to add more variety and spunk to the family. The Bazaruto family is a visual grab bag of styles which all have an underlying harmony.

Cotton Club remembers the fonts of the thirties of the last century and the Bodoni, but it does not present graces: it is a sans serif. It has 360 glyphs and is composed of two regular and italic styles. Cotton Club is characterized by a high contrast between thick and thin strokes. The emphasized signs give the font an essential, sharp and elegant look. The Italic style of the Cotton Club refers to handwriting and this is noticeable in the ligatures obtained with kerning. The name of the font, “Cotton Club,” refers to the famous Jazz Club in New York, in Harlem, active in the twenties and thirties, during and after Prohibition. At that time the Bodoni, in its many derivations, was widely used not only in lead composition, but also in neon signs, plaques, posters, as well as in many other applications. Redesigning a new font that brings back to those years wants to be, therefore, a tribute and a reinterpretation of the graphics of that period as well as, it is understood, to the glorious Bodoni. Supported Languages Bulgaro, Bosnian, Catalan, Czech, Danish, German, English, Spanish, Estonian, Finnish, French, Irish, Croatian, Hungarian, Icelandic, Italian, Lithuanian, Latvian, Maltese, Dutch, Norwegian, Polish, Portuguese, Romanian, Slovak, Slovenian, Albanian, Serbian, Swedish, Turkish. Vincenzo Crisafulli font designer Vincenzo Crisafulli graduated from the Faculty of Architecture in Palermo and works as a graphic designer. He has been designing fonts since 1996 and has published with T26 (Type-Foundry, digital foundry in Chicago-California USA): Crisafulli, Chocolat, LST, Luminaria, and Stitching; with MyFonts: Rétrospectif, Bella Copy, Jasmin and Noahs Ark.

Prushkov is the first typeface that I made. Its name comes from the town I lived in at the time. The design was inspired by both geometric typefaces like Futura, and didone fonts like Bodoni. Its aim (perhaps quite bold) is to blend high contrast with mathematical excellence. Prushkov will work well as a display font, both in uppercase and lowercase. It has a wide array of stylistic alternates for all of the capitals and some lowercase glyphs too.

Noelia Script is a typeface inspired on the work of Doyald Young, Tommy Thompson, Matthew Carter and Giambattista Bodoni. This project is great to use in designs about sports, travel, and city postals, among others. This font has about 360 glyphs with stylistic alternates, old style numbers, serif caps, and a nice touch of classic penmanship. This is the result of a few months of work and that is it! Enjoy it! Thanks for buy it!