Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

HELLO GOOD OLD Is A Modern Family Font Serif. It has a modern style with a touch of creative ideas that is very suitable to be applied anywhere that requires creative ideas. Is an elegant, authentic and thin lettered serif font. It will add a luxury spark to any design project that you wish to create!

Iowan Old Style was designed for Bitstream in 1990 by noted sign painter John Downer. Iowan Old Style is a hardy contemporary text design modeled after earlier revivals of Jenson and Griffo typefaces but with a larger x-height, tighter letterfit, and reproportioned capitals. Iowan Old Style Titling was designed by John Downer and added to the Iowan Old Style family in 2002. The cap-only character set includes several ornaments and fleurons, broadening the appeal and functionality of the typeface family. Iowan Old Style was originally designed for Bitstream in 1990 by Downer, a noted sign painter. Iowan Old Style is a hardy contemporary text design modeled after earlier revivals of Jenson and Griffo typefaces but with a larger x-height, tighter letterfit, and reproportioned capitals. Expert and old style figure font sets were added in 2000.

The Century Old Style family was modeled on Century Expanded, which had been cut in 1900. Similar weights and proportions were maintained, but the letter shapes were made more elegant by the introduction of a number of old style characteristics. The Century Old Style family is a useful text design that offers good legibility and economy.

Based on custom design work by DTP Types Limited in 1992.

ITC Berkeley Old Style is based on a typeface designed by Frederic W. Goudy in 1938 called University of California Old Style. It was a private press type for the publishing house of that school. In 1958, about ten years after Goudy's death, Monotype re-issued the type under the name Californian, and it became a very successful face for book typography. Goudy himself said he designed this face to have the greatest legibility possible, and it is indeed free from the exuberances in some of his other faces. Tony Stan redrew the family for ITC for 1983, and it was named ITC Berkeley Old Style, Berkeley being the city where the University of California Press is located. Stan did a careful drawing of eight styles including italics. ITC Berkeley Old Style is a crisply beautiful tribute to a distinguished typeface, and it works well for books, magazines, and advertising display. Featured in: Best Fonts for Tattoos

Willard T. Sniffin deserves the credit for this charming little stationery and greeting card typeface developed for American Type Founders in 1930. Capital letters show an occasional hint of ornamentation and lowercase letters are of the linking variety. The original set of exquisite alternate characters (A,B,G,T,V, W, o, s) has been included in this digital version. Adonis Old Style is ideal where a 1920s or 30s script-like lettering look is required. Adonis Old Style with Alternates is also available in the OpenType Std format. Some new characters have been added to this OpenType version. Advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress 7. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Canterbury Old Style Pro is a two-weight serif font family with a small x-height. In 1920, Morris F. Benton designed the original weight for American Type Founders (ATF). Raymond Vatter and Steve Jackaman produced the digital version in 1992 and added a new “Bold” weight, and a full set of swash capitals were designed and released in 2003. Jackaman redrew and remastered the family in 2017, engineering the complete family into OpenType Pro format. Our OpenType fonts have extended character sets that support Western, Central, and Eastern European languages. Canterbury OS Pro has a whimsical, old-time feel, and handsomely distinguishes itself at all sizes. Canterbury Sans, its sans serif sister font, complements the family with its flowing forms.

Italian Old Style™ was designed by Frederic W. Goudy for the Lanston Monotype Company in the USA. Goudy was asked by Monotype to copy Cloister Oldstyle, a successful font that belonged to a competing foundry (it was designed by Morris Fuller Benton, see Cloister Open Face). Goudy refused on grounds of ethics, and instead talked Monotype into producing a new face. This he based freely on fifteenth century Venetian types, which were the same historical models used by Benton for Cloister and later by Bruce Rogers for Centaur. Goudy's result was Italian Old Style, released by Monotype in 1924, and considered by many to be one of Goudy's best fonts for book typography."

Steve Jackaman & Ashley Muir. An antique, rustic or even mystical design that will grow on you the more you use it. Pickworth contains all the high-end features expected in a quality OpenType Pro font.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

LTC Italian Old Style is not to be confused with the English Monotype font also called Italian Old Style, which is an earlier design from 1911 based on William Morris’s Golden Type that is based on Nicholas Jenson’s Roman face. Goudy went back to Jenson’s original Roman and other Renaissance Roman faces for his inspiration and the result is what many consider to be the best Renaissance face adapted for modern use. Bruce Rogers was one of the biggest admirers of Italian Old Style and designed the original specimen book for Italian Old Style in 1924 using his trademark ornament arrangement. These ornaments are now contained in the pro versions of the Roman styles—Regular Pro and Light Pro. With most digitizations of old metal typefaces, one source size is often used as reference (as was Goudy’s method for his own cuttings of his Village foundry types) so that all sizes refer to one set of original artwork. The original hot metal fonts made by Lanston Monotype (from Goudy’s drawings) and other manufacturers used two or three masters for different size ranges to have optimal relative weights—smaller type sizes would need proportionally thicker lines to not appear thin and larger sizes would require thinner lines to not appear to bulky. The variations in size ranges can also be affected by the size of the cutter head in making the master patterns. The light weights of LTC Italian Old Style were digitized from larger display sizes (14, 18, 24, 30, 36 pt) and the regular weights were digitized from smaller composition sizes (8,10,12 pt). The fitting for the regular weights is noticeably looser to allow for better setting at small sizes. Very few font revivals take this approach. Italian Old Style, originally designed by Frederic Goudy in 1924, was digitized by Paul Hunt in 2007. In 2013, it has been updated by James Grieshaber and is now offered as a Pro font. The newly expanded Pro font includes all of the original ligatures, plus small caps and expanded language coverage in all 4 Pro styles.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

The origins of Bookman Old Style lie in the typeface called Oldstyle Antique, designed by A C Phemister circa 1858 for the Miller and Richard foundry in Edinburgh, Scotland. Many American foundries made versions of this type which eventually became known as Bookman. Monotype Bookman Old Style roman is based on earlier Lanston Monotype and ATF models. The italic has been re drawn following the style of the Oldstyle Antique italics of Miller and Richard. Although called “Old Style,” the near vertical stress of the face puts it into the transitional category. The Bookman Old Style font family is a legible and robust text face.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Century Old Style Pro is one of the fonts of the SoftMaker font library.

Introducing "Canelo" is a playful handwritten font. Dive into the world of joyous design with "Canelo," a delightful handwritten font that brings an element of fun to every project. This font contains a regular style and fun style, which is equipped with patterns in fun-style fonts. There's some connected letters and some alternates that suitable for any graphic designs such as branding materials, t-shirt, print, business cards, logo, poster, t-shirt, photography, quotes .etc This font support for some multilingual. Also contains uppercase A-Z and lowercase a-z, alternate character, numbers 0-9, and some punctuation. If you need help, just write me! Thanks so much for checking out my shop!

Wamelo, a work that is purely a result of handwriting and writing by using a liquid ink pen, has a natural characteristic. This is perfect for invitations, signatures, blogs, social media, business cards, product brands. OpenType features can be accessed by using OpenType smart programs such as Adobe Photo Shop, Adobe Illustrator, Adobe Indesign, Corel Draw and Microsoft Office. They can also be accessed through the character map.

Styling is a simple, light, sans-serif typeface inspired on old cars and planes with an aerodynamic shape. The font comes in 5 weights plus italics. Styling and Styling Alt families offer professionals a wide range of creative options. Styling was created in 2014, while its designer was 30,000 feet in the air and the plane was flying over some Latin America cities. A flight full of flavours and shapes. This typeface is the result of anxiety and speed. Keep on rollin’ and fly high with Styling!

A revival, based on a 1930’s design.

This is the classic style of Vilna font with Nikud and Taamim.

This old fashion font looks like it belongs on a saloon sign. If you've got old west style photos, finish up your scrapbook page with title and journaling done in this cool font. It's perfect for lettering on western themed invitations, newsletters, sign, flyers, even menus.

Camelia is an demi–slab display type family with reversed strokes to achieve an unexpected look and rythm. Was designed and optimized for use in large sizes. It is inspired by the geometric typefaces of the 1920s and the egyptiennes of the 1930s. An emphasis on circular and rectangular shape give it the identity.

Introducing by Balpirick Studio. Camelia Boutiue - a Monoline Handwritten that's clean, elegant and perfect for a range of design projects! With its smooth, effortless lines and understated sophistication, this font is the perfect choice for those who want a modern look that's still timeless in its appeal. Crafted with precision and care, this font is incredibly versatile and can be used for a range of design projects, including logos, branding, invitations, packaging, and more. With its simple yet refined aesthetic, it's sure to make a lasting impression on anyone who sees it. - also multilingual support Enjoy the font! Feel free to comment or feedback! Thank you!

Camelong Brush is a handwritten font to get the best texture for each letter. Camelong Brush is designed to perfection, each letter character will make your design strong and charming. Each letter and symbol is painted using the finest brushes and ink. Camelong Brush contains upper and lower case characters, numbers and various punctuation marks that are ready for you to use with unique and charming characters. Camelong Brush Font is suitable for any modern design such as for advertising banners, modern cards, invitations, announcements, seasonal designs, social media promotions, web design, branding and logo styling and more.

August Cameron is a signature font with beautiful curves and alternate characters. A style that we choose was the natural look hand made, unique identity. South Portland also comes with alternative characters that are carefully created for adding a minimalist decor of the letters. Stylistic alternates allows versatile design options and works perfectly for Headlines, Posters, Logos Packaging, Branding, T-shirts, Greetings, Presentations and much more.

Introducing! Camelia Script - a modern script with a handmade calligraphy style, decorative characters and a dancing baseline! So beautiful on invitation like greeting cards, branding materials, business cards, quotes, posters, and more design concept! Features : - Unique ligatures - Stylistic Alternates - Stylistic sets - Basic Latin A-Z and a-z - Numbers - International Symbols include - Punctuations

Introducing by Timur type Proudly Present, Admire Camelia Admire Camelia A Handwritten Font Admire Camelia is perfect for product packaging, branding project, megazine, social media, wedding, or just used to express words above the background. Admire Camelia also multilingual support. Enjoy the font.Thank you!

Are you looking for a true cursive sans serif? Stile is a true cursive with moderate inclination. Its cursive character has mainly to do with writing-speed. Therefore it may serve also as copy font and not only for emphasizing purposes. Stile has a good readability and is really flexible and universally applicable. Stile is a sans serif and renounces to an excessive use of ligatures and other explicit calligraphic shapes in order to ensure a contemporary style and a homogenous text color. The whole font family consists of 8 weights (from ultrathin to black) and offers a wide range of Western and Eastern European special characters, typographical ligatures, uppercase, oldstyle and fraction figures. In addition Stile features a very complete and specifically tailored range of numberings and arrows. Bring a personal style into the artwork, with Stile. Download a free trial version of Stile with a reduced character set. Check it out!