Boardley Script is a script-style display font in two layers, Boardley Script was the result of an exploration of mid-century American and European bold script lettering for advertising. is an attractive contemporary typeface drawn from scratch with brand-new, more vigorous detailing — and layerable variations for chromatic use.

WigWag Bold and Wigwag Deluxe are bold, informal lettering styles inspired by mid-20th century Showcard Lettering. Especially by the work of Speedball lettering artist Ross George, and also the work of Cecil Wade and Samuel Welo. Designed around 2001 by Jim Parkinson, Wigwag has recently been refreshed and re-released.

Hoosier Daddy is based on Foundry Type samples from various mid-19th century specimen books. This shaded slab serif was made by conforming several different cuts of the styles, filling out the character set, and adding a few contemporary touches for freshness. This is a display face. Use it big.

This 1935 design from Monotype is an extremely condensed display font that has a slight flavor of nineteenth-century wood type. Runic Condensed font is tall and lean with a huge x-height and hairline serifs. It is an ideal display type for eccentric pieces where space is at a premium.

Axteroid was made to look like something that was teleported from a computergame from way-back in the 80s. To make it more 21st century-like, I have spiced the font up with some OpenType alternate letters and ligatures! You will need to use OpenType supporting applications to use the autoligatures.

This quintessential nineteenth-century offering is based on a typeface from the 1912 American Type Founders catalog called Lining Central Antique. Quaint, yet crisp and clean, it is equally suitable for headlines or body copy. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Stuttgart Gothic is based on early 20th century hand lettering samples developed by Ernst Schneidler at the Stuttgart School of Design. It is a very bold style in the gothic tradition, but with additional characters for modern users. It is at once both quintessentially gothic and uniquely modern and decorative.

Lettera – Delivering 20th-century penmanship vibes, this monoline script font accomplished with rounded nib carries the soul of a romantic naive hand. Connected letterforms Illustrate a charming revival of handwriting. With 400 glyphs including alternates, swashes and ending forms, this typeface is perfect to create beautiful decorative custom headlines and wordmarks.

The origin of the word Codswallop is uncertain, but it might have something to do with a 19th century English soft drink brewer named Hiram Codd. Codswallop is a beautiful hand drawn font. A little weird, a tad grotesque and a wee bit over the top, but fun and useful nonetheless.

Legasov is an original font family designed for logos, titles, book covers, and branding identity. You can also use it for small text fragments. Legasov is a modern geometric grotesque inspired by the Ukrainian modernism of the last century. It has a dynamic shape of characters and an avant-garde nature.

Inspired by the sans-serifs of the late 19th and early 20th century, Korbin is a legible and versatile text and display face available in five weights. It mixes geometric and humanist traits to achieve a modern, clean, friendly appearance. The italic variations include bespoke characters for a more flowing look.

Display Art Two is a display font inspired by the art nouveau fonts popular at the turn of the 20th century. It is not intended for text use. It was designed specifically for display, headline, logotype, branding, and similar applications. Display Art Two has an uppercase alphabet, numbers, and punctuation.

Display Art Three is a display font inspired by the art nouveau fonts popular at the turn of the 20th century. It is not intended for text use. It was designed specifically for display, headline, logotype, branding, and similar applications. Display Art Three has an uppercase alphabet, numbers, and punctuation.

Rataczak is a stiff, awkward serifed font that was inspired by similar fonts from the 19th century. It is legible as a text font but not graceful. In addition to plain, italic, bold, bolditalic, extrabold, condensed, and condenseditalic styles, there is a striped style and a font of swash capitals.

Type that preserves the over- and under-inked textures of true old-fashioned wood faces, now available without ink on your fingers straight from your keyboard. Based on samples taken from early and mid Nineteenth century Clarendons, the font carefully preserves all the battered idiosyncracies of vintage print shop type.

Ghiberti is a contemporary interpretation of the bold Florentine lettering style used with marble inlaid and bronze cast inscriptions of the fourteenth and fifteenth centuries. The font, consisting of caps and small caps, was designed by Paul Shaw and Garrett Boge in 1997. Ghiberti is part of the LetterPerfect Florentine Set.

This is a decorative font containing the letters A-Z, numbers 0-9, and enough punctuation to make invitations, playbills, posters, and the like. It is meant to have the feel of the theatre district early last century. "Roaring 20s" comes in three styles: regular/engraved, hollow/white, and black. Enjoy!

An authentic collection of engineered fonts, constructed in East London. Docklands is a handmade font family inspired by the creation of the London docks in the early 18th century. The rough edged sign written style is evocative of the era when iron works and boatbuilding wharfs lined the River Thames.

A stylish cartoon sans reminiscent of lettering by Harvey Kurtzman on early issues of Mad, or other casual mid-century types. The three widths give full versatility for expressive, customised headlines and layouts, while the lighter weights can be used for text. Conveys an approachable, light touch with style and finesse.

Draughtsman Engraved, inspired by hand drawn 19th century lettering, is an open shadowed display face, with an extensive range of OpenType features, including ligatures, stylistic alternates, petite and small capitals and old style numerals. Draughtsman Engraved is ideal for headings, initial capitals and anywhere a touch of distinction is needed.

What would happen if one took a rather crude, squared-serifed typeface of the type popular in the 19th century and added medieval and calligraphic ornamentation? Maybe the result would be Medieval Gunslinger. The MedievalGunslingerShadOverlay font is spaced so that it can be layered with MedievalGunslingerShadow to produce bicolored lettering.

Acadami is an experiment toward what will hopefully be my masterwork (probably named Hackberry). It's also the font used as I get used to FontLab 5. The serifs are stronger and sharper. It's modified with the feel of my memory of Century Schoolbook (without ever looking at CB for a reference.

Chevalier LP is a revived decorative face with a European lineage. Its patterned and shaded 'fatface' letterforms exhibit the continent's 19th century fascination with elaborate engraving techniques, often used on currency as a deterrent against counterfeiting. It is not without reason that Chevalier conjures up images of bank notes and finance.

Tuskcandy is a decorative Tuscan font in which the prominent split serifs are made of two balls. It is available in two weights and also an inline style. It has a nineteenth century feel to it though it is not a copy of any particular font from that time period.

Poetically Dark is a font created to recall a certain type of dark and romantic writing from another century. Well-groomed letters, but written instinctively, as if in the throes of a creative frenzy. In a clash between the refined taste of the past and the ever-present speed of communication.

Minimal, modular, modern—at first glance, Materia shows a contemporary flair, combining pure, strong geometrical form with a subtle, distinct appearance. Actually, the design was inspired by lettering from the turn of the 19th to the 20th century that still can be found in the East of France. While its formal origins date back as far as this, revived e. g. by the constructivists into the nineteen twenties and later on by Dutch information designer Wim Crouwel in the nineteen-sixties, the visual language of Materia still speaks of the »future«. Following a minimalistic concept the font is formally built on a grid. Wherever optical curves are needed for a smoother, more comfortable shape of letters than a simple rectangular block, diagonals cut off the egdes – like a diamond is cut to achieve more beauty. Thus headlines and texts set in Materia are given a certain »egdy« feeling, whereas their tonality is still kept well-balanced, keeping concentation all on information in a nonconfomist way. Materia comes in eight styles, from elegant Thin to attention-forcing Ultra. Even a regular Italic is available, following the classic type-set-principle. Two of the styles are explicitly designed for display use, Shadow and Code. Both are ready for combinations with Bold or each other respectively, the layering of Shadow and Code e. g. allows astonishing effects or highlighting within the letters. For OpenType-users Materia is a real Pro, containing accented Latin letters for over 70 languages, small caps, old style, tabular and lining figures and special condensed titling all caps for cases in which space is all that counts. How useful all of the above mentioned is may be seen in the book David Lynch – Lithos, designed by Koma Amok, published in 2010 by item éditions, Paris, and Hatje Cantz, Germany, which was typeset completely in Materia.

The German designer Emil Rudolf Weiss originally created Weiss Rundgotisch for the Bauer typefoundry in 1937. In their catalog for the typeface, Bauer began with this quote from Leonhard Wagner: The round gothic (rundgotisch) script is the most beautiful kind of script; she is called the mother and the queen of all the rest." While designing Weiss Rundgotisch, Weiss was inspired by Renaissance types cut by the Augsberg printer Erhard Ratdolt. Ratdolt had spent some time in Venice, which is most likely where he became familiar with round gothic letters. This sort of letterform was never as popular in Germany as Fraktur or Gotisch may have been, but round gothic types were used there for centuries to represent arts and craft feelings, as well as old-fashioned handwork. For a blackletter typeface, Weiss Rundgotisch is very similar to normal serif and sans serif designs, especially its uppercase letters, which seem to have some uncial influence in them as well. Therefore, Weiss Rundgotisch is more legible for contemporary readers, making this an excellent choice for anyone looking to set text, logos, or headlines with in blackletter. Weiss Rundgotisch was apparently quite a difficult typeface to design, even for a master designer like Weiss. He began work on the face in 1915; Weiss Rundgotisch's development took over 20 years to complete."

Pacific Atoll JNL is a stylized slab serif type design based on the movie title lettering for the 1942 wartime film “Pacific Rendezvous”, and is available in both regular and oblique versions. According to Wikipedia, “…an atoll (sometimes known as a coral atoll), is a ring-shaped coral reef, including a coral rim that encircles a lagoon partially or completely. There may be coral islands or cays on the rim.”

Uppercase Character Set A-Z Numerals & Simple punctuation OTF file format

Funtasy is a fun font. It mixes the formal rules of traditional types, and also has the beauty of informal fantasy types. It could be useful with kids clothes, children books, birthday invitations, and with more kid related items.

Write is a handwriting font, more like neat print than a flowing cursive script, which renders it highly readable and almost like a formal font, but still retaining the informality of handwriting. Also there are some "special effects" varieties.

This font perfectly made to be applied especially in logo, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose.

This font is a collection of Borders and Illustrations on a Halloween theme. It includes spiders, owls, a bubbling cauldron, and a swarm of bats. Border designs occur in at least four rotations, to allow for symmetrical formal designs.

Based on script handwriting and engraving used in formal announcements and invitations, Mahogany Script lends itself to typesetting in which an elegant mood is desired. The Mahogany Script font is an elegant design with a warm and informal feeling.

P22 Flora Mambo is based on the distinctive style of 20th century illustrator Jim Flora. Most widely known for his Jazz album covers of the 1940s & 50s, Flora's style shows his fantastic imagination and bold graphic style. The P22 Flora Mambo Set contains 3 fonts- Flora Mambo, a 2-part font that can be used to achieve 2-color text in the style of Flora's iconic 1955 album design, Mambo for Cats and Flornaments, a set of 72 ornaments that features a variety of Flora's illustrative styles from his Jazz album covers to children's books to his fine art prints. Please note that P22 Flora Mambo B is not intended to be used on its own but rather is included with P22 Flora Mambo to create 2-color text. For best results, use with page layout applications. The fonts contained in the P22 Flora Mambo Set are licensed through the Estate of James Flora and JimFlora.com .

The Carrigallen family of fonts has roots in Megalithic and Celtic Ireland. It has six weights—Light, Regular and Bold and their corresponding italics. The distinctiveness of the Carrigallen family, is in it's sculpted, spiral nature, inspired by the graphics at the entrance stones and kerbstones at the Newgrange passage graves in Ireland. This is where it derives it’s decorative nature and suitability, as a very distinct Display font. Exceptionally suited for Logos and Headlines, it can increase the corporate presentation of a company as its main identifying feature—and with high memorability! The three separately designed letterforms—differing in line weight—are held in place by the white space within and without the character giving a distinctive twenty first century flavour! It is this dynamic that makes the font unique! Carrigallen Display is a modern font. It draws from its nomadic influences allowing it to be culturally representative of all languages.

Letterpress Studio -Crafted Vintage Goods Letterpress Studio includes following • 7 fonts - a textured and clean version of each • Ornaments • Catchwords • 25 Logo Templates Letterpress Studios core is seven fonts - textured and clean version of each. Fonts are designed in same proportions and work great together. Here’s a short introduction to the fonts: • Letterpress Script -A connected script with lot’s of OpenType features • Letterpress Script Bold -Bold version of Letterpress Script • Letterpress Condensed -A condensed sans-serif typeface with swash uppercase characters on • Letterpress Gothic -A sans-serif typeface with swash uppercase characters • Letterpress Sans -An extended sans-serif typeface with swash uppercase characters • Letterpress Wood -A woodcut style serif typeface with swash uppercase characters • Letterpress Black -A black woodcut style serif typeface with swash uppercase characters • Letterpress Ornaments -A set of pictograms, ornaments, borders and badges (OTF, AI & PDF) • Letterpress Catchwords -A set of over 100 woodcut-style catchwords (OTF, AI & PDF) All fonts have West European, Central European, Baltic, Turkish and Romanian character sets. Fonts come in OTF format. TTF are also available but OpenType features won’t work with them. Letterpress Templates -25 templates (AI) Letterpress Templates is a set of 25 ready made compositions with font pairings, shapes, ornaments and ready made 2-4 color schemes for each. Templates can be used as such or as a starting point for your own project. Download Letterpress Templates here.

Auldroon was inspired by the pseudo-medieval fonts that were fairly popular in the late 19th century. Auldroon comes in two variants. Auldroon-Eld was designed first and is a bit more compact than the regular version. Both are decorative and distinctive and neither was created with a specific use in mind.