A classic late nineteenth-century face from the Dickinson Type Foundry of Boston. Both versions of this font support the Latin 1262, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

JetJaneButton has letters on a design that looks like a computer button. Its letters are from JetJane Mono, a sans-serif monospaced font. The typeface contains characters that can add color to letters. There are two ways to do this. One uses layers and the other a combination of characters, some with zero width. This pdf file explains the how this can be done.

A successful collaboration between MRF and Psy/Ops Type Foundry. In search for a Sans Serif with a significant and strong character but still ”low-key” enough to be functional for most areas, Sophisto finally grew into an extensive family of 21 parts. Made carefully to fit both text- and display solutions. The buttons, images and patterns makes it even more complete as a family.

An epochal battle in form of font. Calligraphic characters and pixel fight against each other in this experimental font. Two historical epochs collude. You decide the destiny of the battle using the shift button. The font is based on OpenType technology. Ligatures are required for its correct functionality and must be switched on (both on professional and office applications). May the best win, with Pixwar.

Reloaded - Military Serif Font, first conceptualize was inspired by the classic vintage military stencil design . I wanted a typeface that could be a solid base for any military inspired project Reloaded Fonts can be used for wallpaper, pattern fills, web page background, surface textures. Perfect for making army posters , scrapbooking,invitation cards, stationary, gift wrap, packaging, buttons, pendants, holiday gifts, print on fabrics and so much more.

Knitting & Sewing Doodles are just that. If you type all caps you get 15 knitting icons and lower case is 15 sewing doodles. Knitting items include yarn, knitting, needles, ball winder, spinning supplies, stitch counter, etc. Sewing machine, buttons, thread, pin cushion, bobbin, thimble and needles, scissors, label, tape measure, darning egg, zipper, seam ripper, and pins, all in the Outside the Line style.

Running Hipster is a tall, thin and all caps font with a funny name. The upper and lower case letters differ and can be mixed. You don’t necessarily have to use it to market your free range sheep woolen jumpers or organic button squash and soy based sour cream soup, feel free to use it for just about anything. Comes with a vintage amount of diacritics.

Maxwell is a clean condensed san serif typeface inspired by similar retro fonts from the 1950's. It comes in regular and small caps versions, includes stylistic alternatives and via the glyph panel you can access scientific inferiors, fractions, oldstyle numerals, Cyrillic, Greek, Latin and other Western and Central European languages. It can be used as a headline font or paragraph text.

Will Ransom designed the exemplar for this series for Barnhart Brothers & Spindler in the early 1900s. The typeface was originally named "Parsons", after the advertising director of a Chicago department store (evidently a very BIG customer of BB&S). Both versions of this font contain the Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

A modern display typeface with ultra sharp detailing. The unique line style takes influence from earlier fonts produced in the 1970’s by Letraset. These lines are then blended with a stronger letterform creating a more visually dynamic font suitable for today’s market. Details include: three unique styles, all caps character set with alternatives, manually edited kerning and Euro symbol.

Schreibweise is a pirate-flavored font inspired by a hand-lettered manuscript dating from 1492. The digital font features numerous traditional blackletter and discretionary ligatures and contextual alternates to help create the feel of genuine hand lettering, and features archaic glyphs including the long s and rotunda r for vintage typography. The font also includes a complete set of small caps.

Alight Slab is, wait for it... A light slab! Designed to be set large, in headlines or subheads and (very) short paragraphs of running text. It has slightly super-eliptical forms and crisp details, giving it a contemporary look. Alight Slab features automatic fractions, a discretionary ct ligature, and a capital sharp s. Anultra Slab is an ultra bold accompanying typeface.

Erle Stanley Gardner’s beloved lawyer “Perry Mason” first appeared on screen in a series of six films with Warren Williams starring in four of them. The hand lettered opening title for 1935’s “The Case of the Lucky Legs” is a classic Art Deco sans serif design, and is now available as Courtroom JNL in both regular and oblique versions.

Based upon Emil Rudolf Weiss’ Fraktur, first released in 1913, Emilia Fraktur was redrawn and extended not only with its engraved initial caps but also with various ornaments and border elements. To get access to all ligatures, it is recommended to activate both Standard and Discretionary Ligatures. The quickest way to the long s is by typing the integral sign.

A charming series of 26 holiday “type warmers” based on the works of Carl S. Junge for the Barnhart Brothers & Spindler type foundry in the 1920s. Single-color cuts are in the uppercase positions, while 13 of the cuts suitable for two-color usage occupy the lowercase in adjacent pairs; e.g., a and b, c and d, and so on.

Block Font Family is display font inspired by the forms of communist mass housing architecture (called blocks - resembling straight geometric shapes arranged symmetrically) started in the mid 70's in the 20th century. It comes in 4 weights and its matching italics and rounded options. The Light weight is a free of charge, so you can used to your projects.

I took Arquà’s curvy lines from some details in art nuveau posters from late 1800 / early ‘900, then I added to the mix a little bit of elegance with some weird contrast (look at the S). One hour in the hoven and a modern looking display font came out in 2 weights: Goodboy and the doppelganger Badboy perfect to mix up.

Introducing a new retro bold script called Rockadelic. Bring back to the 70's era Rockadelic inspired by posters and album covers of funk, disco and rockabilly music with bold and fun style. Rockadelic comes with OpenType features such stylistic alternates, stylistic sets, swash & ligatures and is good for logotype, poster, badge, book cover, t-shirt design, packaging and any more.

Eastiside Brush is Inspired by a casual style from sign painter who create a beautiful lettering trademark. A classical, timeless, and contemporary. Eastside Brush comes with 3 style, That's script style, cursive style, and capital style for all caps letter. It s should be easy to mix and match which best style for your design. Multiple language are available to all fonts.

Friedrich Bauer’s Senatsfraktur, coming in two styles, regular and bold, released by Genzsch and Heyse, Hamburg, in 1912, has come to life again. Both styles contain the traditional long s which can be accessed by either the OT feature historical alternatives or by typing [alt] + b. To get access to all ligatures, it is recommended to activate both Standard and Discretionary Ligatures.

MardiParty is a totally wild latin typestyle with inlines that grow out of it. Inspired by hand-lettering from a 1950's Haiti travel brochure, where the original lettering was just the word "Haiti", this font proved a fun challenge to flesh out. The end result, a funktastical tribute to its origins, perfect for any celebration themed invitations, logotypes, or outlandish branding.

Wieynck Gotisch, a 1920s font family created by Heinrich Wieynck, was completely redrawn and redesigned for modern usage. Use this remarkable and eye-catching fonts in an appropriate context. This font contains a bunch of useful ligatures, and by typing 'N', 'o' and period plus activating the OT feature Ordinals you get an oldstyle numbersign. The round ‚s‘ lies on the #-key.

In the late 90’s, there were many German cars coming into Malmö (where I lived at the time). I was blown away by the font on the license plates. So strange, so strong, peculiar – but still macho. I built the uppercase from my own photos. After this I completed the font with my own lowercase, small caps and punctuation.

Churchward Isabella is a five weight typeface family originally designed during the 1980's by the late type designer Joseph Churchward, from New Zealand. A straightforward, geometric sans serif, it is a no-nonsense, highly legible workhorse design, readable on screen as well as in print, for text, headline and display. The family includes Light, Regular, Medium, Bold and Extra Bold.

Solente is an elegant slab serif font and was inspired from Early 1900's Art-Deco, Art Nouveau and Jugendstil fonts. Perfect for use as headline or sub-head text in you design. It perfectly represents vintage esthetics in a modern way. The font has stylistic alternates for all capitals and an extra set of ligatures to replace some combinations.

Fram is an uppercase stencil typeface. It comes with a fine-tuned kerning, its extensive character set ensures multiple languages coverage and the design is adapted to different ranges of size through size-specific optical compensation. Fram L is intended for use at large sizes and Fram S with larger gaps guarantees good performance even when the size is reduced.

Masserini is inspired by the 20's art deco era of colorful posters, fonts, and typography with a vintage flair. With its strong geometric shapes and letters, like a style of sans serif that was used in signs and posters during that time period. This collection consists of a variety of widths, weights, and variants to suit your creative needs.

From original samples of Rudolf Koch's Maximilian, Gothicus and Gothicus Alternate have Fraktur style captials, Gothicus Roman has Roman capitals. All three have the same lower case which includes three swash characters for g, s and t, available as discretionary ligatures in OpenType versions, and manually otherwise. All include two authentic ornaments, also penned by Koch. Gothicus Roman has three additional floret ornaments.

Aesthet Nova is a display type family. Released initially as Aesthet in 2015, it had a significant makeover. Inspired by the 70’s aesthetics, Aesthet Nova remains true to its original "back to nature" roots. It is a smooth talker with a larger than life personality. Equipped with an extended Cyrillic character set, it features rounded serifs, ball terminals and soft corners.

“Hand Stamp Gothic Rough” is based on real vintage rubber stamp letters from Germany. A classic american gothic face mixed with a modern condensed sans serif type. Rough & dirty with a authen­tic hand stamped look for a warm analogue vintage charm. It star­ted ana­lo­gous with only a few rubber stamps and finally it was digi­tal 776 gly­phs. With 4 × A–Z, 4 × 0–9, 4 × a–z and many other alternative glyphs like @. Plus modern OpenType Features like contextual alternates (automatic generated loop for letter variation). The different variations from the dynamic pressure by hand inten­ded to show the hand-made nature and crea­tes a live­li­ness in the display font. The font has 80 decorative extras in the form of symbols & dingbats like arrows, hearts, smileys, stars, further numbers, lines & shapes. A range of figure set options like oldstyle figures, lining figures, superiors & inferiors. Additionally stan­dard liga­tures, deco­ra­tive liga­tures (type the word “show” for ☛ and “love” for ❤ … ), Ver­sal Eszett (German Capital Sharp S) and many emojis & symbols. Example of use It’s your turn … for example everywhere where it makes sense. The hand stamped font would look good at head­lines. Advertising (big headlines), Corporate Design (type for logos & branding), Edi­to­rial Design (maga­zine or fan­zine headlines), Product Design (typographical packaging) or Web­de­sign (head­line web­font for your web­site), flyer, pos­ter, music covers or web banner … How To Use – awesome magic OpenType-Features in your layout application: ■ In Adobe Photoshop and Adobe InDesign, font feature controls are within the Character panel sub-menu → OpenType → Discretionary Ligatures … Checked features are applied/on. Unchecked features are off. ■ In Adobe Illustrator, font feature controls are within the OpenType panel. Icons at the bottom of the panel are button controls. Darker ‘pressed’ buttons are applied/on. ■ Additionally in Adobe InDesign and Adobe Illustrator, alternate glyphs can manually be inserted into a text frame by using the Glyph panel. The panel can be opened by selecting Window from the menu bar → Type → Glyphs. Or use sign-overview of your operating system. For a overview of OpenType-Feature compatibility for common applications, follow the myfonts-help http://www.myfonts.com/help/#looks-different ■ It may process a little bit slowly in some applications, because the font has a lot of lovely rough details (anchor points). Tech­ni­cal Spe­ci­fi­ca­ti­ons ■ Font Name Hand Stamp Gothic Rough ■ Font Weights Regu­lar & Dirty (Bold) ■ Font Cate­gory Dis­play for head­line size ■ Font For­mat.otf (Open­Type Font for Mac + Win) ■ Glyph Set 776 glyphs ■ Lan­guage Sup­port Basic Latin/English let­ters, Cen­tral Europe, West European diacritics, Turkish, Bal­tic, Roma­nian, OpenType Features, Dingbats & Symbols ■ Spe­cials Alter­na­tive let­ters, sty­listic sets, automatic con­text­ual alter­nates via Open­Type Fea­ture (4× different versions of A–Z & 0–9 + a–z), Euro, kerning pairs, stan­dard & deco­ra­tive liga­tures, Ver­sal Eszett (German Capital Sharp S), 80 extras like Dingbats & Symbols, arrows, hearts, emojis/smileys, stars, further numbers, lines & shapes. ■ Design Date 2016 ■ Type Desi­gner Manuel Vier­gutz ■ License Desktop license, Web license, App license, eBook license, Ser­ver license

The inspiration source for MFC Whitworth Monogram is an alphabet set from a vintage embroidery alphabets book, Alphabets Broderies No. 238 by N. Alexandre & Cie. What began as 26 referenced capital letters has been expanded to three sets of alphabets within a single typeface. True to the original reference, the Capitals are the stylized cursive capital letters in all their gorgeousness. The lowercase encapsulates the capital letters intertwined within rectangular frame. By enabling Stylistic Alternates and typing any lowercase letter, you get each letter encapsulated and intertwined within an oval frame. A handful of decorative forms are placed in the 0-6 numeral slots. Originally intended to adorn handkerchiefs and other linens, this digital revival opens it up to a whole new realm of possibilities. This is one of many monogram designs from the late 1800's to early 1900’s that is loaded with panache and intricate detailing.

Boutiera is an upright and soft vintage script with a modern twist. Its main characteristics are bouncy baseline, round forms and bumpy stems. These qualities gives Boutiera its casual, friendly and handmade looks. It has three weights to give contrast and options to your typographic elements and designs. Boutiera has two sets of Upper cases; Slightly swashy and more basic one. The more basic set can be used in all caps. Boutiera has positional alternate characters; Initial forms to letters like r, s, x and z. And final forms to all lower cases. Those final forms have a shortened upstroke to give more balanced and harmonized look. You can use these easily by enabling Contextual Aternates from OpenType menu. It also has alternate versions of letters t and s. You can use Boutiera on logos, packages, on titles or wherever you need a friendly and lively font.

Living from 1545 in Lyon, France, the famous punchcutter Robert Granjon created a typeface that looked like his own handwriting. The first book printed with this font, in 1557, was probably Dialogues de la vie et de la mort by Innocent Ringhier. We offer the complete typeface. It is a charming font with historical forms (long s, final s and others) and many ligatures, enriched with accented letters and other characters that did not exist in the original (thorn, eth, lslash and others), and a lot of alternates that permit rich and varying typography. Warning: all characters appear with the 1500s manual blackletter old style, especially letters “e” “r” or “h” alternate and some ending forms, and may be difficult to read at first, but it quickly becomes very easy. The font contains all characters for Baltic, Western European (Including Celtic), Eastern European, Northern European, and Turkish languages.

If you are looking for a friendly type design that jumps off the page, ITC Posterboy might be for you. Although not quite a script, the font displays strong brush-stroke overtones. The design's inspiration, according to designer Chester Wajda, came from the window-poster lettering in my neighborhood grocery store." The slight top-heavy quality of the design is most noticeable in characters like the 'F,' 'G,' and 's.' ITC Posterboy also has a charming sense of naïveté which is most evident in letters like the cap 'S' and 'J' and lowercase 'f'' and 'g.' ITC Posterboy is a brilliant display design that adds spark and charm to the most mundane display copy. A multifaceted artist, Wajda has been an art director, multimedia and print designer, illustrator, cartoonist, animator, writer, typographer, and infographic designer. ITC Posterboy is his second typeface created for ITC."

Eurostile Next is Linotype's redrawn and expanded version of Aldo Novarese's 1962 design. This new version refers back to the original metal types and to its mid-century modern aesthetic of squarish characters and subtle curves. Eurostile Next brings back the gentle curves, which were lost in other digital versions, therefore regaining the spirit of the original design and its somewhat softer demeanor. The family has been greatly expanded, now consisting of five different weights: ultra light, light, regular, semibold, and bold. Along with the regular width, all weights also have extended and condensed versions. Stylistically, Eurostile Next is well suited for designs in the fashion of the 50's and 60's, yet it still has a remarkably new and contemporary feeling. Its numerous variations and typographic features are invaluable for projects ranging from extensive corporate branding to one-off posters and from large signage to small print text.

Eurostile Next is Linotype's redrawn and expanded version of Aldo Novarese's 1962 design. This new version refers back to the original metal types and to its mid-century modern aesthetic of squarish characters and subtle curves. Eurostile Next brings back the gentle curves, which were lost in other digital versions, therefore regaining the spirit of the original design and its somewhat softer demeanor. The family has been greatly expanded, now consisting of five different weights: ultra light, light, regular, semibold, and bold. Along with the regular width, all weights also have extended and condensed versions. Stylistically, Eurostile Next is well suited for designs in the fashion of the 50's and 60's, yet it still has a remarkably new and contemporary feeling. Its numerous variations and typographic features are invaluable for projects ranging from extensive corporate branding to one-off posters and from large signage to small print text.

Goudy Handtooled was done in 1922 and is a shaded version of Goudy Bold. Some authorities credit the design to Charles A. Becker and others to Morris Fuller Benton and Wadsworth Packer.

Daniel Berkeley Updike seems to have stimulated the architect Bertram G. Goodhue to design the prototype in 1896 for Ingalls Kimball at the Cheltenham Press. Six years later Morris Fuller Benton at ATF developed it into the design and then the series that we know today. “Owing to certain eccentricities of form,” writes Updike, “it cannot be read comfortably for any length of time.” But he concludes: “It is, however, an exceedingly handsome letter for ephemeral printing.” Mergenthaler bought composing machine rights to the original design c. 1896, but bought the Benton design in 1904.

In 1928, the application of pure geometric form to sanserifs and slabserifs was in full swing. Morris Fuller Benton applied geometry to the Modern letterform to arrive at Parisian and Broadway for ATF.

In 1928, the application of pure geometric form to sanserifs and slabserifs was in full swing. Morris Fuller Benton applied geometry to the Modern letterform to arrive at Parisian and Broadway for ATF.