DF Camino is a revised mid 20th century geometric sanserif which guides you from somewhere to elsewhere. And beyond.

SwirlityScript takes an old (16th or 17th century) calligraphic script style and combines it with the caps from SwirlityText.

A revival of one of the popular wooden type fonts of the 19th century, suitable for text or display.

A revival of one of the popular wooden type fonts of the 19th century, suitable for display, extra condensed.

Cultura New is a reviewed, expanded and improved version of the previous released Cultura.

Informal does not have to mean aggressively modern or casual. Helenium is inspired by some hand drawn capitals that I found added to a 19th century map. It's a great font for informal titles and headings that still keep an air or regularity and ever so slightly period elegance. It manages to be formal and casual all at once, as well as classical and modern. Helenium's range of different weights and drop shadow effects make it useful for hierarchical titles and headings. Helenium miniscule adds greater flexibility by extending the family with a fun range of rounded lower case forms.

Gart Serif is a serif font that combines traditional Antiques from the 18th century with modern solutions. Compared to other Antiques, Gart Serif stands out with its "display" metrics that enhance its character without compromising readability. With a variety of weights, Gart Serif can have an elegant demeanor seen in its thin weight or a more robust and sturdy presence in its bold rendition. It serves well for setting large amounts of text as well as for short headlines. Gart Serif comprises 5 weights, 642 glyphs, basic Cyrillic and extended Latin, several stylistic sets, ligatures, numeral sets, and a variable font.

Noir is a sans serif font family of 12 fonts with contemporary aesthetics heavily influenced by early 20th century geometric typefaces. While having its geometric structure it carries organic personality with touch of warmth injected to each form. Noir font family ranges from light and elegant weights perfect for small text, to extremely heavy and masculine weights suited for large display sizes. Noir has a rich arsenal of Open Type features for highly professional use and extended Latin, Cyrillic and Greek language support. Noir is delivered as Std and Pro version. Cyrillic and Greek are available in Pro package only.

Urania is a new approach to early sans serif typefaces, in particular Ferdinand Theinhardt’s types which came out at the beginning of the 20th century. Urania is not an adaption, but a new interpretation of familiar and successful formal features, transformed into a contemporary look. The Urania family consists of 18 styles and it comes in OpenType format with extended language support for more than 40 languages. All weights contain ligatures, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals, matching arrows and alternative characters.

Niveau Grotesk—the companion of Niveau Serif —is a type family of six weights plus matching italics and small caps. It was designed by Hannes von Döhren in 2013. Influenced by classical nineteenth-century faces, the fonts are based on geometric forms. Because of its straight architecture, Niveau Grotesk has a “punch” in big sizes but is very legible in smaller sizes and longer texts—in print or on screen. Niveau Grotesk is equipped for complex, professional typography with alternate letters, arrows, fractions and an extended character set to support Central and Eastern European as well as Western European Languages.

Generica Condensed is based on mid-20th century geometric sans designs, but is less formal, with a touch of playfullness.

Based on a revival of one of the popular type fonts of the 19th century, suitable for display, or text.

An original design, based on a very early turn-of-the-century typeface from the defunct Keystone Type Foundry, Philadelphia.

This font was inspired by lettering found on the cover of an old Almanac style cookbook from the 19th century.

A revival of one of the popular wooden type fonts of the 19th century, a very useful design for display.

A revival of one of the popular wooden type fonts of the 19th century. Suitable for posters and display applications.

A revival of one of the popular wooden type fonts of the 19th century; a very useful design for display.

An original slab serif design inspired by the slab serif designs of the 19th century, with a modern geometric look.

A classic example of a narrow 19th century 'egyptian' style font. Excellent for old-fashioned posters where space is limited.

Roman Ionic is a unique revival of a typeface that was once popular and used in many late 19th century and early 20th century music publishing houses, such as Durand et fils. It displays a happy marriage between the beautiful features of the Clarendon type and the legibility of the Scotch roman class and is thus aimed to work for titling and body text.

Typefaces designated as Latins were popular during the last half of the nineteenth century. One of the styles that continued to be popular into the twentieth century is the bold condensed typeface Latin. Readily identifiable by its triangular serifs and sharp terminals on the strokes of some of the lowercase letters, Latin Condensed makes an interesting display type and its condensed proportions easily solve copyfitting problems.

Typefaces designated as Latins were popular during the last half of the nineteenth century. One of the styles that continued to be popular into the twentieth century is the bold condensed typeface Latin. Readily identifiable by its triangular serifs and sharp terminals on the strokes of some of the lowercase letters, Latin Condensed makes an interesting display type and its condensed proportions easily solve copyfitting problems.

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.

ITC Braganza is the work of British designer Phill Grimshaw, an elegant typeface steeped in historical inspiration. Reminiscent of the handwritten manuscript styles of the 16th century, the name Braganza refers to Catherine, Duchess of Braganza, who was a prominent figure in Portugal at the time. The vertical script style displays the elegance and refinement which distinguished the Royal Courts of the 16th century.

More Printing Helpers JNL gathers another assortment of vintage printing embellishments and ornaments from the late 1800s. Within the standard twenty-six alphabet keys are pointing hands, corner pieces, border elements and decorative center and end pieces. On the lower case, certain elements have been flipped or inverted for matching effects. Some additional positions are available on the 1 through 9 keys and on the colon and semicolon. A bonus to this font: three expandable panels. the first (with decorative end caps) is attained by typing the left parenthesis for the left side, the hyphen for the center lines and the right parenthesis for the right side. The second one features ribbon ends, and the combination of the less than-equal-greater than keys creates this panel. The third design can be made by typing the left brace/vertical bar/right brace keys.

Empresario Stephen F. Austin (1793-1836) is considered by many the “Father of Texas” for leading the first Anglo-American colony into the then-Mexican territory back in the 1820s. A few years later, while on a diplomatic mission to Mexico City, Austin was arrested on suspicion of plotting Texas independence and imprisoned for virtually all of 1834. During this time he kept a secret diary of his thoughts and musings—much of it written in Spanish. Austin Pen is my interpretation of Austin’s scribblings in this miniature prison journal (now in the collection of the wonderful Dolph Briscoe Center for American History, in the Texas city that bears his name). The little leather-bound book is filled with notes in ink and pencil—some of the faded penciled pages traced in ink years later by Austin’s nephew Moses Bryan. A genuine replication of 19th century cursive, Austin Pen has two styles: a fine regular weight, along with a bold style that replicates passages written with an over-inked pen. Each is legible and evocative of commonplace American penmanship of two centuries ago.

ITC Photoplay is another gem from Nick Curtis. Unearthed from the 1927 edition of Samuel Welo's Studio Handbook for Artists and Advertisers, the design's original suggested use was for title and caption cards for silent movies. A monoweight design that bridges the gap between turn-of-the-century decorative type and Art Deco, ITC Photoplay is both casual and stylish. And, yes, the cap S" is supposed to look that that. To expand this already handy typeface's versatility, a Black weight has been added to the original design. Curtis has also created an array of alternate characters, a couple of conjunctions, and a handful of "bishop's fingers" to help make your point. ITC Photoplay is eminently suitable for all those occasions when you need to say, "Unhand that fair damsel, you dastardly cad!", and really mean it."

Rigatoni is a didone display family with exceptional readability. Based on a German mid-century lettering specimen by Nerdinger, designer Alejandro Paul expanded the face into an extensive family, with 5 weights, italics, and a 2 weights stencil version. Its tall letterforms and sturdy serifs give it a noble bearing when set in all caps; in the lower case its large x-height and spacious counters imbue it with a welcoming tone. A plethora of alternate and swash characters let you create distinctive settings for identities, labels, titles, and headlines. Use the shorter ascender and descender variants for aesthetic effects, or to prevent collisions in tightly stacked text. Since we've imagined Rigatoni being used for restaurants, menus, and food packaging, Sudtipos asked to designer Esteban Diácono to create some 3D visualizations. Ale’s type has never looked saucier!

The Rosella™ family, by Sabina Chipară, is an elegant and playful suite of typefaces that are ideal for book covers, social announcements, packaging and posters. Inspired by late 19th century engravers typefaces that mimic the delicate and ornate hairlines of steel and copperplate engraving, the family’s foundation is built on the dramatic Solid design and then expands to Deco, Engraved, Flourish, Hatched and Inline styles. Rosella also takes to color like the beautiful Australian parrot it is named after. Words set in the typeface come alive when vibrant colors, or tinted backgrounds become part of their plumage. While modern as today, the design also has a quiet antique vibe that brings an understated refinement to a variety of hardcopy projects. Rosella is a typeface for those times you need a design that stands out from the crowd – but with grace and composure.

Based on a revival of one of the popular Textura fonts of the early 20th century; suitable for display, or text.

The PL Westerveldt font has a late twentieth-century style, with flared strokes. Use PL Westerveldt for display and short texts.

A revival of one of the popular sans serif wooden type fonts of the 19th century, narrow, short ascenders and descenders.

A condensed American blackletter designed for ATF in 1932 by Morris Fuller Benton; the face grows out of nineteenth century roots.

Classical nineteenth century french engravers typeface, traditional with corners sharpened, a flick of the burin and a touch of Art Deco.

Based on a revival of one of the popular wooden type fonts of the 19th century, suitable for display, or text.

A thin, very elegant caps-only cross-stitch font, based on an embroidery pattern from the end of the 19th century.

Based on a revival of one of the popular wooden type fonts of the 19th century, suitable for display, or text.

An original design, loosely based on a typeface from an old wood type specimen book from the turn-of-the-century.

Based on a revival of one of the popular type fonts of the 19th century, suitable for display, or text, bold.

Richard Lipton originally released Sloop Script in 1994 through Font Bureau. Sloop Script Pro is the new, improved, rethought version, offering expanded language support and smart OpenType features. All of the new enhancements can be activated via human-readable stylistic sets whose names precisely describe what they do: “Entry Swashes,” “Exit Swashes,” “Smaller Caps,” and so on. Every weight of Sloop Script includes the available styles. Applying these features is straightforward and, thanks to automatic ligatures and contextual alternates, Sloop Script sets beautifully right out of the box.