Zahariel is a stylish script font based on samples of turn of the century calligraphy. It has a different, cleaner look in comparison with many of our other script fonts, and features alternate versions of many of the lower case characters.

Courant means "newspaper". Courant font was modeled on 17th century Dutch newspapers and most of the glyphs are authentic. The 'modern' glyphs, like @, $, €, * and several others have been designed by me, as they were not in use in the 1600's.

Prevya is a display family. Inspired by the metalwork of the early twentieth century. Have appropriate characteristics for ornamental titles. Is accompanied by a light version for featured texts and it has a shadow layer to combine in beautiful designs.

Sepian is a wickedly fresh update on the centuries-old textura blackletter form. Use its razor-sharp “gothic” face and darkly cool character to create tattoos, horror-movie posters, or scary video game text. See what’s included! http://bit.ly/2c5MnNN

Inspired by 19th century storybook lettering, Upona is a font fit to tell all tales. Fresh yet familiar, Upona blends classical styling with whimsical flourishes. Carrying a sense of history and tangibility, stories set in Upona are worth holding onto.

Boldu is a simple grotesque font. I created it using simple forms. I love geometry and tried use only one size of lines. Boldu was created being impressed by works of beginning of 20th century - period of strict and geometric forms

Dominated by a vigorous, african-inspired, jungle-like pattern, this contemporary, 21st century, sans serif font - African Jungle - contains an eclectic mix of elements from the 20th century. It combines gentle curves with base and caps-line transgressions but is substantially more rounded than in most commercial-style sans serif faces. Terminal strokes are slightly rounded and occasional elements are strongly rounded. The African-inspired pattern fill is suggestive of dense vegetation without being too literal. African Jungle is readable and can be successfully used for headers in presentations, magazines etc, and for display use in newspapers, advertising and promotions. Professionally kerned and spaced with 256 characters.

I really like Wales; I like the culture, the people and the language. I also like the Welsh legends, especially the ones about King Arthur and Merlin. I am reading a book about Arthur right now, so when I was working on this font, I wanted to give it a Welsh name. Caerphilly is a town in Southern Wales and is home to an immense 13th century castle (Castell Caerffili). Caerphilly font is based on a 16th century manuscript. I kept the glyphs rough, to give it ‘ye olde’ look. Comes with a hoard of diacritics, a bunch of double letter ligatures and some alternate glyphs as well.

Named after a practical seabird, Fulmar is a modern Scotch intended for extended reading. More European than American, it draws on a range of influences from around the North Sea, from Fife’s Alexander Wilson to 17th-century French experiments in modulation and 18th-century Belgian flash, and combines them with contemporary structure and proportions. The result is crisp yet warm, steadfast yet lively, sharp yet robust, rational but humane. It can be appropriate for new translations, new histories and new understanding. With five weights, ten styles, small caps, a clamjamfry of OpenType features and unicorn manicules, Fulmar dispenses with sprawl while retaining range and dexterity.

Clementhorpe is inspired by the lettering on an early 20th century enamel advertisement-for chocolate. From the dozen or so hand drawn letters found in that source Greater Albion Typefounders have constructed a family of Roman faces for display and text work, with bold weights, an italic form as well as condensed, small capital and title forms, all preserving the fun of their inspiration. The Clementhorpe family provides a complete solution for early 20th century inspired design work with Character, offering all the faces needed to complete a project or a range of projects within one family. Give this flexible family a try in your next project!

This font is one of the most used broken letter fonts today. Fette Fraktur is used to invoke a nostalgic or rustic feeling and found often on restaurants with hearty homemade food’ or breweries who use the good old recipes’ of the founder. The font was designed in the 19th century and from the beginning intended as an advertisement typeface. The lower case letters have a gothic character with only the ornamental flourishes making them broken letters, while the capital letters are more characteristic of broken letter typefaces. One could say Fette Fraktur is a true mix of styles, not unusual for typefaces created at the turn of the 19th century.

The Cochin font is based on the work of eighteenth-century punchcutter, Cochin. Charles Peignot commissioned the revival of this strong typeface in 1912. The capitals are squarish. The lowercase has long ascenders and sharp serifs, giving Cochin an unusual elegance. The curved ascender in the italic lowercase d is a major characteristic and the p and q lack foot serifs. Cochins overall vivacity derives from the engravings on copper, produced in France in the eighteenth century. Cochin is a trademark of Linotype Corp. registered in the U.S. Patent and Trademark Office and may be registered in certain other jurisdictions in the name of Linotype Corp. or its licensee Linotype GmbH.

Plywood is based on a long lost American film classic: Franklin Typefounders's Barker Flare from the early 1970s. Plywood is a surprisingly effective mix between the rigid confidence of nineteenth century wood types and the smooth feminine curves of twentieth century art nouveau ideas. With many variations on almost every letter in the alphabet, it's a versatile typeface that can make itself timelessly at home in multiple design environments, with motifs ranging from the strong and western to the crafty and artsy. Plywood's very expanded character set comes in all popular font formats, including a Pro version that takes advantage of OpenType's many character alternating features in supporting programs.

Karlgeorg Hoefer designed Beneta in 1991, inspired by the Littera beneventana, the script of the Benedictine scribes from the 10th to the 12th century. During this time, scribes began to use wider pens and set them at a 45 degree angle to the paper, which caused their scripts to have radical stroke contrasts. This script was mainly used for books and certificates but disappeared by the end of the 13th century. Beneta revives the characteristics of this historic script, changing a line of text into an almost ornamental space. Beneta should be used in middle to larger point sizes for shorter texts and headlines.

Nylon is an interpretation of pre-16th century letterforms, in particular those found in mediaeval portraits at the National Gallery, London. The source material contains many unusual and manic shapes—it appears as if these classical forms have, over time, become perverted, almost demonic. Draylon is the more restrained counterpart to Nylon; it is based on letterforms found on 18th century ceramics—some 200 years after the source material of Nylon. Nylon and Draylon have been designed so that they can be mixed together with ease. Both typefaces have been drawn with a kind of crude digital awkwardness—acknowledging the tool of the present moment, the computer, in the design process.

The Ancient North Arabian scripts Ancient North Arabian is the name given to a group of scripts belonging to the South Semitic script family, which also includes the Ancient South Arabian alphabets (musnad and zabūr) and the vocalized alphabets used in Ethiopia for Geʿez, Amharic, etc. The Ancient North Arabian scripts were used both in the oases (Dadanitic, Dumaitic, Taymanitic,) and by the nomads (Hismaic, Safaitic, Thamudic B, C, D, and possibly Southern Thamudic). There are tens of thousands of inscriptions and graffiti in these scripts which were used in the period roughly between the sixth century BC and the fourth century AD. See the descriptions of the individual scripts below

Acre is a geometric sans-serif type family of eight weights that's both inspired by and named after my great grandfather, Tex Acre. Tex was an artist and sign maker whose handcrafted signs illuminated the roadsides of the American Midwest and typified mid-century Americana. Acre is a tribute to him, his work, and many of my favorite early 20th century geometric typefaces. With eight weights ranging from Thin to Black, Acre is an extremely versatile family that can be used for display, text, or anything in between. Acre offers full European language support plus many OpenType features such as tabular and oldstyle figures.

Fournier was made by Monotype in 1924. The design is based on types cut by Pierre Simon Fournier circa 1742, some of the most influential designs of the eighteenth century. Fournier's types were among the earliest of the transitional" style of typeface and were a stepping stone to the more severe "modern" style made popular by Bodoni later in the century. They had more vertical emphasis than the old style types, greater contrast between thick and thin strokes and little or no bracketing on the serifs. Fournier has a light, clean look on the page, provides good economy in text and retains an even colour.

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.

The seventeenth century Dutch old faces have a distinct character of their own, and were the source for eighteenth century English type designs, such as Caslon. Christoffel van Dijck was one of the great Dutch typefounders, although this face, which bears his name, may not have been cut by him, it is nevertheless representative of the best designs from that period. The Van Dijck italic, for which original punches survive, is almost certainly the work of van Dijck. Drawn at Monotype under the supervision of Jan van Krimpen. The Van Dijck font is a graceful typeface, best used for setting books, quality magazines and articles.

In the year 1528 Pierre Attaignant led a revolution in music printing. His method of once-press moveable type, greatly simplifying the original 3 impression process developed by Petrucci, remained in use till near the end of the 17th century. The method could only realize one line of music per staff, and the introduction of barlines as a common means of aligning multiple staves brought this method to a close after nearly two centuries of use. This font is meant to allow the printing of music using that method with the notation of that era. It is largely based on an exemplar printed by Snodham of London.

Sporting pot-hook serifs and a tiny aperture, the Scotch Modern was an evolution of the Didone and Scotch Roman classifications, becoming the default type genre of the 19th century. Recontextualizing the 10-point type of a scientific report published in 1873, Nick Shinn has produced sleekly refined, micro-detailed vector drawings by eye, without the assistance of scans, of this magnificent classic. A beautiful genre of type, so popular in books, magazines and advertisements during the Victorian era and much of the 20th century, the Scotch Modern was derided by advocates of both the Arts & Crafts movement and 20th century modernists, and was never been properly adapted to hot metal, phototype, or digital media -- until now. Now the full range of typographic expression is possible in this style. The OpenType fonts support Western and CE encodings, Cyrillic (with Bulgarian alternates) and Polytonic Greek. There are many special features, including small caps, unicase, italic swash capitals, ten sets of figures per font, and both slashed and nut (vertical) fractions. Together with Figgins Sans, comprises The ModernSuite of matched fonts.

Giambattista Bodoni (1740–1813) was called the King of Printers and the Bodoni font owes its creation in 1767 to his masterful cutting techniques. Predecessors in a similar style were the typefaces of Pierre Simon Fournier (1712–1768) and the Didot family (1689–1836). The Bodoni font distinguishes itself through the strength of its characters and embodies the rational thinking of the Enlightenment. The new typefaces displaced the Old Face and Transitional styles and was the most popular typeface until the mid-19th century. Bodoni’s influence on typography was dominant until the end of the 19th century and even today inspires new creations. Working with this font requires care, as the strong emphasis of the vertical strokes and the marked contrast between the fine and thick lines lessens Bodoni’s legibility, and the font is therefore better in larger print with generous spacing. Chauncey H. Griffith’s Poster Bodoni displays characteristics of the advertisement fonts of the first half of the 20th century. The font was most often used for posters and signs, eventually including neon signs.

Auto license plates in the United Kingdom are made with a typeface originally designed by (and named for) Charles Wright and must meet strict criteria as to type height, weight and spacing. A bold sans serif design; British Vehicle JNL is available in both regular and oblique versions.

One design sparks another. As Alejandro Paul experimented with the strokes and curves of the monoline script Business Penmanship, he discovered interesting new forms and shapes that didn't fit the Spencerian theme of that typeface. These forms simmered in Ale’s subconscious over the next three years, during which time he visited New York City, pored over rare type specimen books in the New York Public Library, and explored Brooklyn’s neighborhoods. Brownstone, the face born from these explorations, is an original 21st-century design, yet one subtly infused with historical and cultural references -- keen observers might spot influences from decorative typefaces of 19th-century foundries. And just as faces from that era were influenced by contemporary architecture, the frames included with Brownstone echo the ornate iron railings of Park Slope’s row houses. (There’s also a slight 1960s vibe to Brownstone, of novelty swash-sans photocompositing faces, that can be played up at your discretion.) Influences aside, Brownstone has broad appeal to modern audiences. A soft, monoline sans-serif, with elements of Swiss geometry (see the ‘k’ and ‘x’), its marriage of highly legible, draftsman-like letterforms with decorative swashes and ornaments reflects the old-meets-new aesthetic of the DIY craft culture seen in Brooklyn and other urban centers. It’s ornamental but unfussy, romantic but understated. Brownstone includes character sets for Latin-based languages, including Western and Eastern European, Baltic, Turkish, Maltese, Celtic and Welsh. Over 1500 glyphs, including small capitals, swash characters, alternates, and ligatures, in both Light and Thin weights. Ornamental frames are also included in both weights. The Brownstone Frames fonts are available as separate fonts in the new Brownstone Slab family.

ITC Greengate is the result of a time-traveling, intercontinental collaboration--one between 21st century South African designer Richard Every, and early 20th century Scottish artist Jessie Marion King. Jessie Marion King (1875-1949) began her professional career as a book designer and illustrator, but over time her creativity found its outlet in many forms, including posters, jewelry, ceramics, wallpaper, fabrics, murals, interior design and costumes. After eventually settling in Kirkcudbright, Scotland, she founded Green Gate Close, a center for women artists. Although her style is reminiscent of the Art Nouveau artist, Aubrey Beardsley, King's aesthetic was an offshoot of the “Glasgow Style,” a Scottish hybrid of the Arts and Crafts movement and Art Nouveau. Often, her illustrations included hand lettering. It was just this kind of lettering that gave Richard Every his inspiration for ITC Greengate. When he saw some children's book illustrations that King created in 1898, he knew on the spot he had to complete the hand lettering as a typographic font. He began working on the typeface in 1996, but it took six years to be released as an ITC typeface. Every simplified and harmonized King's letterforms slightly and, most importantly, added a suite of lowercase characters. The result is a somewhat earthy Art Nouveau design, with a character quite distinct from typical digital revivals. Every's career has been as diverse as King's. He was born in Durban, South Africa and studied graphic design at ML Sultan Technikon in Durban. He's been an art director, freelance designer, the owner and manager of a nightclub and co-manager of a South African band. “Through it all,” he says, “typography has always been one of my passions.”

A 1926 travel brochure for a steamship line provided the basis for this darkly sparkly spritely font. Smooth curves and an off-center inline treatment gives this typeface a strong architectural feel.

AZ Clouds was inspired from a need to develop a sans serif typeface with center accents for a t-shirt design. This font was designed for use as a fun bold headline.

With this charismatic new type system, the possibilities are as large as your vision behind them. Achieve the impact you're looking for by layering the different fonts and colorations for a custom, hand-drawn look that likes to be noticed. Play around with the potential. Create effects such as realistic 3D looks by adding centerlines, dotted centerlines, and shadow variations. Inspired by the affable look of vintage handmade signage, the Aviano Sans Layers spacing accommodates these shadows and other features well with its generous width and helps you hit your message home. Try mixing it with the other members of the Aviano Hyperfamily, too. There are lots of funky options for you to explore. See what you can create with Aviano Sans Layers!

Nomarch is a charming new Art Nouveau font based on samples of poster lettering from the beginning of the twentieth century. The relatively bold weighting of the characters makes Nomarch particularly good for use in large sizes for titles on posters and flyers.

The characters in this font are composed of rounded lines with even thickness, giving an impression of neon tubes. Although the design is completely new, it has its stylistic roots in the modernistic 20th century world of steel-tube chairs and fluorescent lamps.

Vidro is a glass technique introduced by the Dutch in Japan in the 16th century. Vidro glassworks, such as decorations and children's toys, enrich the live of Japanese people. P22 Vidro is comprised of simple forms that express both irregularity and fluidity.

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.

A fitting complement to the ever-popular Saturday Morning Toast is this book weight, monoline version, popular in the early twentieth century. Both versions contain the complete Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

Matrice is a sans serif (Semi Extended) display font family in 8 weights plus matching natural italics. support 75+ Languanges (Latin Based) influenced by the grotesk typefaces developed in the early 20th century, perfect for branding (Identity), logotype, headline text, and caption.

A late nineteenth-century type specimen catalog from Farmer, Little & Co. yielded this droll little typeface, originally called "Arbor". The distinctive decorations of the face suggested a fool's cap, and thus the font got its current name. And don't call me Surely.

16th and 17th century formal handwriting forms the basis for Tinderbox, an antique script. Preserving the rough impression of a quill pen on parchment, Tinderbox evokes old manuscripts, ecclesiastical texts, gothic inscriptions, faded tattoos and horror literature; spooky calligraphy for the digital age.

Moonface Script is a flowing script with lovely swashes. It is based on the 20th Century Packaging typography. Moonface Script is a characteristic font with a retro feel. It contains a full set of ligatures, alternatives, swashes and special characters to end.

Inspired by mid-century greeting card hand-lettering, Sheree is a unique serif font with some really fun qualities. While some characters are distinctly calligraphic and conformist in nature, Sheree bounces all over the baseline, displaying an unconventional attitude all her own.

Informal is the work of lettering designer Martin Wait and is reminiscent of the late 1940s and early 1950s. Informal is worthy of its name and perfect for anything with a look of the mid-20th century or simply a casual, spontaneous appearance.