“Hey, look at me!” cried the new advertising typefaces. With the nineteenth century and the industrial revolution came an esthetic revolution in type design. Brash, loud, fat display faces elbowed their way into the crowd of book faces, demanding attention. Those who admired traditional book types harumphed and complained. Robert Thorne had fired the opening round with his Fatface. With the cutting of Figgins Antique, the battle was well and truly joined. Job printing came into its own and it seemed like everything changed. The world of printing had been turned upside down and the gentile book-type aficionados recoiled in horror much as the rural landed gentry recoiled at the upstart middle class shopkeepers and manufacturers. William Savage, approvingly quoted by Daniel Berkeley Updike over a hundred years later, described the new display faces as “a barbarous extreme.” These were exciting times. According to Geoffrey Dowding in his An Introduction To The History Of Printing Types, “The types which we know by the name of Egyptian were first shown by Vincent Figgins in his specimen book of 1815, under the name Antique.” Of course, dating the design is not quite as simple as that. Nicolete Gray points out that Figgins used the same “1815” title page on his specimen books from 1815 to 1821, adding pages as needed without regard to archival issues. As a result, there are different versions of the 1815 specimen book. In those copies that include the new Antique, that specific specimen is printed on paper with an 1817 watermark. The design is dated by the 1817 watermark rather than the 1815 title page. Figgins Antique ML is an all-cap font. This typeface is for bold statements. Don't waste it on wimpy whispers of hesitant whimsies. And please don't use it for extended text -- it will only give someone a headache. Think boldly. Use it boldly. Set it tight. Go ahead and run the serifs together. Solid and stolid, this face is very, very English. FIGGINS ANTIQIE ML represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Added glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 331 glyphs. 2. Added OpenType GSUB layout features: liga and pnum. 3. Added 86 kerning pairs. 4. Revised vertical metrics for improved cross-platform line spacing. 5. Redesigned mathamatical operators. 6. Included of both tabular (standard) & proportional numbers (optional). 7. Refined various glyph outlines.

The faces of IanSegoe were early attempts by IngrimayneType to construct medieval-looking faces. They drew inspiration from several medieval-themed fonts that were available at the time (1990). The upper-case letters are similar but not identical in the two faces but the lower-case letters are completely different.

2 font faces that combine together with attached lower case glyphs. A combo type-face that can be used with or without joining its lower case.

Xavierace of a racing-style with sharp lines. Xavierace very suitable for automotive magazine covers, racing game covers, logos & branding, product design, labels, and so on.

Hello! Retrofield is here! With a cute, playful and bold looks, Retrofield bring happiness for both of writers and readers. If you want to write something fun, happy and cheerful, we suggest you to use Retrofield. Hope Retrofield can boost the appearance your text. Enjoy this font in your children book, birthday card, fun poster, comic book, and any other arts. :)

Elaina Family Elaina Script is a tidy, precisely penned script face — perhaps closest of all of Laura’s faces to her own handwriting. In its standard form, with its sober x-height and restrained ascenders and descenders, it’s a pleasure to read at smaller display sizes and in short blocks of text. It is accompanied by an unconnected version of the lowercase characters, its stylistic alternates, and a companion font, Elaina Semi Serif, useful for body text and complementary contexts. Of course, like most of Laura’s typefaces, it includes hundreds of swashes, alternates, and ligatures, for attention-getting effects at large sizes and in brand identities. Elaina Script Elaina Script is a tidy, precisely penned script face — perhaps closest of all of Laura’s faces to her own handwriting. In its standard form, with its sober x-height and restrained ascenders and descenders, it’s a pleasure to read at smaller display sizes and in short blocks of text. It is accompanied by an unconnected version of the lowercase characters. Of course, like most of Laura’s typefaces, it includes hundreds of swashes, alternates, and ligatures, for attention-getting effects at large sizes and in brand identities. Elaina Semi-Serif Elaina Semi Serif was designed to complement Elaina Script. Both faces share calligraphic roots and typographic and allow them to mix harmoniously. Its modulated strokes and subtly flared terminals give it a humanist feel that adds warmth and positivity to any setting.

HeyPumkin is a letterbat font designed for use in the late autumn, when the leaves are falling and the harvest is underway. October 31 is an especially good time to use it. The upper- and lower-case letters are almost identical. If you want a version of this face without the pumpkins, try Ingone. Buried in the font is another set of letters on pumpkins. They are on unicode characters in the 2400 block, circled digits and letters. These characters can also be accessed using the OpenType stylistic sets feature. (The alternative characters are further developed in a separate typeface, part of the InsideLetters family.)

Though Zigarre can easily be categorized a brush script, Jim Rimmer actually drew it using a big marker. Jim’s original face, inspired by inter-war German poster lettering, was a rough one, with the marker’s juicy ink roughing it out all over the place. The smooth version, Zigarre Script, was produced as part of a major update and remastering the design underwent in 2012. Both Zigarre Script and Zigarre Rough come with extended Latin language support, as well as a few built-in stylistic alternates. 20% of this font’s revenues will be donated to a GDC scholarship fund, supporting higher typography education in Canada.

Eccles is another of our 'Early Victorian' typefaces, a series we started with the Wolverhampton family a little while ago. It might be described as 'extreme-Tuscan' in style but has a delicacy that many other Tuscan faces seem to lack. It's ideal for giving design projects a clear period feel, particularly in design and advertising work. We also see it having considerable application in preparing invitations to a certain type of happy event. At the other extreme, some of our younger associates have described it as 'your latest Steampunk font'. So perhaps we'll just have to settle on it having a split personality...

Auriol and Auriol Flowers were designed by Georges Auriol, born Jean Georges Huyot, in the early 20th century. Auriol was a French graphic artist whose work exemplified the art nouveau style of Paris in the late 19th and early 20th centuries. In 1900, Georges Peignot asked Auriol to design fonts for Peignot & Sons. The resulting Auriol font was the basis for the lettering used by Hector Guimard for the entrance signs to the Paris Metro. It was re-released by Deberny & Peignot in 1979 with a new bold face, designed by Matthew Carter. These decorative fonts with a brush stroke look are well-suited to display settings.

A typeface that shows its root in stencil lettering. Dario Muhafara created a modern sans serif type family which is ideally suited for cool, technical themes. A small caps font offer a widely usage in book production.

Drawn by Tony Stan, ITC Garamond was first released in 1975 in Book and Ultra weights only. These were intended as display faces to complement existing text designs from other foundries. (In fact, many of ITC’s interpretations of traditional typefaces began as display counterparts for existing text designs.) These first weights of ITC Garamond became so popular, however, that ITC released the Light and Bold weights and a suite of condensed faces in 1977. Now, the complete ITC Garamond family features sixteen members: four weights of roman and italic in normal width and four weights of roman and italic in companion condensed versions. The family resemblance is there, but ITC Garamond’s unique provenance gives it an unmistakable, one-of-a-kind appeal.

Mixcross is a display font in the capital letters particularly created in a racing theme to express courage and power, which relates to the theme of racing. It is frequently applicable in 1) titles either to highlight the emphasizing phrases or to attract readers’ attention, and 2) large-sized texts owing to the unique sizes and shapes. Additionally, Mixcross provides interesting features to help designers improve their design products. Features: Multilingual Supports PUA Encoded Numerals and Punctuations This font type works best for any design projects, for instance, posters, banners, logos, book covers, headings, printed products, merchandise, social media, and so on. Find out more ways to use this font by taking a look at the font preview. Thanks a lot for purchasing our font. Happy designing.

This is the elaborately expanded version of what is arguably the most classic and popular of all historic Dutch faces: Sjoerd Hendrik de Roos's Hollandse Mediaeval from 1912. Over the decades, many pressmen and typography connoisseurs have gushed loving prose about this typeface. An extended family of two weights, corresponding italics, small caps, four condensed fonts, four book fonts, a set of initials and some very Dutch ornaments, Dutch Mediaeval is a versatile workhorse that flows comfortably and artistically, with the elegance of the main weights nicely complemented by the sturdiness of the bolds. Very few text faces are this clean and inviting while being crafty as well. The Dutch Mediaeval family comes with quite a few OpenType features and extended Latin language support.

Lotus is a traditional-style Arabic text face derived from foundry types cut earlier in the 20th Century, based on the calligraphic models in the Ottoman Naskh style (the traditional style of Arabic script for use in printing). Its graceful finials and elegant logotypes contribute to the classic look of the face making it particularly suitable for serious book and journal work. The conversion of the PostScript versions of these fonts to OpenType format has taken full advantage of the latest digital technology, allowing accurate positioning of diacriticals and kerning refinements. The Lotus typeface is available in two weights: Lotus Light and Lotus Bold. These two fonts incorporate the Arabic codepage (CP 1256), and support Arabic and Persian. They also include both tabular Arabic and Persian numerals.

"A capital titling face with numerals, erroneously labelled in Figgins specimen book of 1817 as an 'antique' or roman. With a very bold, nearly monoline construction and squared serifs as thick as the main stroke, this type surpassed even the fat face style in blackness, it was popularised by the advent of handbills and early advertising posters, which needed bold type styles to project commercial messages from a distance. A sign-writer friend of mine theorises that the Egyptian style originated with the North African campaigns (hence Egyptian) of Napoleon Bonaparte, and the type historian Ruari McLean also suggests that the Egyptian style originated with signwriters 'block' letters, just like the prototypical (and contemporary) sans serif of Caslon IV." (Ben Archer)

A solid powerful Bold condensed face great for headlines and sub heads and in some cases even as a text face. High Intensity will definitely get your attention.

Poster type faces from the twenties and thirties are enjoying a new wave of popularity. The summary, even rather hard principle of the sign is required for a view from a distance. The information appearing on the poster must be readable even from the opposite pavement. And, as is often the case with monumental type faces, these type faces are legible even in small sizes. The name Bahnhof suggests the hypothetical use of the type face on railway station buildings.

A rare natural history book from the early 18th century served as inspiration for the MVB Sirenne typefaces. The artisan who engraved the book—likely a map engraver—had a distinctive style of lettering that was used on the descriptive captions for the many tropical fishes depicted in the book. The plates used to print the illustrations would have been copper, the letterforms hand-engraved. The designers at MVB Fonts found the distinctive quirks of the roman letterforms and the eccentric stress of the italic interesting enough to embark on developing digital fonts based on the engraved samples. As the captions were hand-lettered, there was a great degree of variation, making a direct “revival” impossible, so Alan Dague-Greene interpreted the characteristics of the letterforms into a workable typeface design. The challenge was to retain a rustic quirkiness to the forms, yet have a typeface that was useful for more than display. The solution was to make optical sizes. The “Six” faces are full of character, but strong and open for clarity at small sizes. The design of the “Text” faces is more subtle, so that they can be used for passages of text, but retain the feel of their model. MVB Sirenne “Eighteen” and “Seventy Two” are intended for display use.

Turbayne is an all caps serif display revival of book cover titling originally drawn by A.A. Turbayne in 1896 London. Expanding upon the original drawings, Turbayne includes basic Latin, western and south eastern European language support, and includes opentype features such as ligatures, stylistic alternates, and even ornaments. Reflecting the refinement of the late Victorian era without being gaudy, it is perfect for designing headlines, labels, logotypes, posters, invitations, t-shirts and so much more.

"Radio Stereo" is experimental vintage font style that to speak instant retro sensation, it was inspired by the inscription on the radio/televisiom in the 2000's era. "Radio Stereo" will help you to create special and touching typographical design for your nostalgic and oldschool projects.Perfect when you place them into magazines, book cover, cafe product, newspaper titles, poster, and many more. It is really universal and modern font. The owner of endless possibilities!

Big Hug Weeny is a playful contemporary handwritten font, inspired by fun good old days cartoon in the late 80s and 90s. It will elevate a wide range of design projects to the highest level. You can use this font for many design ideas such as stickers, t-shirt designs, amazing logo designs, magazine or book covers, comics, cartoon drawings, and many more. This font will add a super cool touch to your designs!

The appeal of Calisto as a text face lies in its very even color on the page, while its robust construction means that it can work equally well at display sizes. The slightly calligraphic treatment of letter shapes and the classical proportions give Calisto a clean elegance on the page. The Calisto font is a graceful and interesting addition to the typographer's repertoire and will prove particularly useful for book, magazine and advertising work.

This unusual Gothic face was found in the 1882 McKellar, Smiths and Jordan specimen book under the name Borussian, a then-current variant of “Prussian”. This version is true to the original, so please note: a few of the uppercase characters—notably E and G—are rather unusual, so proceed with caution. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

Finoteca (on English would be Niceteca) is display font for nice people. Why so? Well, by it's design, it's one happy, bouncy font with a lot of charm and positive feeling. Use it on product label, in books for kids, movie posters or as indoor graphic for your restaurant – if will fit anywhere. Available as single weight only – Regular, contains set of stylistic dingbats with interesting faces and persons made out from letter shapes.

DALEK PINPOINT is a clean and precise version of K-Type’s distressed DALEK typeface, a small caps face with overtones of Greek, Phoenician and Runic alphabets, based on Dalek comic book lettering from the 1960s. The package includes Regular and Bold weights, plus an Italic and Bold Italic which are optically corrected obliques. The fonts contain a full complement of Latin Extended-A characters, and now include Greek capitals and small caps.

The Cleveland Type Foundry strikes again, with this delightful little number from their 1893 specimen book, originally named "Mikado". This version takes its name from one of the characters in the Gilbert and Sullivan operetta of the same name, and the name aptly describes the tasty nature of this frolicking face. Both versions of this font include the complete Latin 1252 and CE 1250 character sets, with localization for Romanian and Moldovan.

This family, which includes faces in light, book, bold, and ultra weights, more stroke contrast than is typical of sans serifs, making it very legible in text. Because of its large x-height, it is recommended for used in point sizes ranging from 12 point upward. Of course, it functions well in display sizes, too. The contrast between the four weights makes this family optimal for use in hierarchical advertising systems, and corporate identity uses.

Magrit is a bold serif display font, It has many alternates character with nice curve that you can arrange to create a nice logo lettering, or use it as a display face on a poster and add a few alterations to it to make a beautiful eye catching words. Magrit font is best for branding, logo lettering, headlines, product packaging, tshirt design, wedding theme, poster, book cover, wedding invitation, Christmas and many more

Core Label is a condensed sans serif font. You will be able to manage a lot of information into limited spaces with Core Label. Its highly legible even in condensed forms and also clear at small sizes. Supported codepages are MS Windows 1252 Latin1 and MS Windows 949 Korean consisting of 11,172 Korean letters and Symbols, except Chinese. This Type-face is good for narrow spaces such as Labels, Books and so on.

Avenue is an eleven font family with five synthesist serif faces, five humanist sans serif faces, and one old style face. It is designed as an extrememly versatile body copy set. There are many special dingbats for bullets, and so on. It has oldstyle numbers and the small caps versions have lining numbers and small caps numbers.

Tumbletype offers two faces with a fun antique look. This is a rough and tumble Roman face with a hand-cast and much-used look, ideal for recreating early printed documents. Use it for headings and feature paragraphs. It's the irregularity of this face which makes it so special-give it a try and join in the fun!

techno, fancy, racing, super, movie, race, superhero, tech, film, automotive, calendar, font, motor, running, typography, futuristic, speed, drive, display, fast, power, action, game, branding, logotype, rally, sport, modern, car, esport

A decorative face with original swashes anf curls in its letterforms. For use in advertising and display matter. The face designed by Natalya Vasilyeva and licensed by ParaType in 2007.

If you love outrageous clothes, makeup, hairstyles, platform-soled boots, flamboyant costumes, so Glamwords is what you need for your design creations. Glamwords typeface is new font with a nostalgic reference to the Glitter style developed in 1970s. This font has been especially designed for Mostardesign Studio by Olivier Gourvat. Created in 2009, this font family can be used for very short texts however it is particularly effective for headlines in larger point sizes so that its details are emphasized. Glamwords is a very geometric face best used in experimental designs (i.e., logos, web sites, flyers, and expressive headlines).

Freda Sack and Colin Brignall collaborated to produce the Victorian typeface. Their work was inspired by late 19th century display letterforms, and they sought to create a new ornate font in the same style. Victorian superbly reflects the refinement of the late 19th Century. Victorian Inline Shaded was designed by Nick Belshaw. He was inspired by late 19th century display letterforms, and sought to create a new ornate font in the same style. Victorian Inline Shaded superbly reflects the refinement of the late 19th Century.

After the Second World War, the Ionic style replaced Modern Face as the favored typeface for newsprint. A couple decades later, it was in turn replaced by the next generation of newspaper fonts, a mix of Old Face, Transitional and Modern Face forms. Rotation was designed by Arthur Ritzel and presented by Stempel/Linotype in 1971 and named for the rotation newsprint machine for which is was particularly suited. The font displays the influence of Old Face design and gives newsprint a feeling of lightness and elegance.

Gildersleeve evokes the spirit of the Arts and Crafts movement of the 1920s. Think of a hand-cut Roman display face, with loving care lavished over each serif and letterform. Gildersleeve is offerered in the classic combination of a regular face, a bold face, an italic and an italic bold. Any of them are ideal for poster or cover work, as well as for chapter and section headings in a longer document, in combination with a text face such as Vertrina or Clementhorpe Text.

Umbertone is a modern sans serif with roots in classic hardcover book design and the Art Nouveau movement. It takes the inventiveness of the early 20th century designers and brings it a century forward with some unique letterforms and a collection of subtle but elegant ligatures. Excellent for typographic book cover concepts, and also great for high-end branding for luxury and fashion products.

A classic bold face.