PT Petroglyph™ was designed by Ekaterina Kulagina and licensed by ParaType in 2002. The type was created on the basis of petroglyphs (rock-carvings) that are known in 77 countries. They remained in a form of geometrical drawings in the caves of North Spain and France. Scientists claim that the radial spread-out of circles or center-pointed circles that are usually depicted show the development of solar symbolism at that period of time. We know for sure that such mysterious signs as drawings carved on rocks already existed 40 centuries ago.

Eleusis is a sans serif monospace display font. The typeface has a distinct style inspired by a combination of Naval, Industrial, Mid-Century Modern and ancient sacred geometry, designed to be bold and easy to read. The Eleusis name is derived from the legendary town (Ancient Greek: Ἐλευσίς), home of the Eleusinian Mysteries and birthplace of the great tragedian Aeschylus for its past and present. Contemporary Eleusis is one of the main industrial centers of Greece with refineries and shipbuilding. Eleusis is great for display work, quotes, invitations, posters, titles and headings.

Rashi script or Sephardic script based on 15th-century Sephardic semi cursive handwriting.

Mandragora is a set of 16th century decorative initials with a floral theme.

Robert Harling’s 1938 revival of this nineteenth century form, designed for Stephenson Blake.

A collection of 174 calligraphic designs derived from early 20th Century European arabesques.

Cheap Pine™ is a tribute to the wood type of the eighteenth century and nineteenth century. You can use Cheap Pine Sans & Cheap Pine Shadow together to influence the color of the shadows. The font contains arrows, hands, stars and other special glyphs available through the OpenType ligatures feature.

The Bitstream version of Monotype Rockwell, 1934. Twentieth-century design influence is revealed in strokes of more even weight than in the original nineteenth-century Egyptians or Slab Serifs. Rockwell is a prime example of this twentieth-century approach. It seems to be a simple Constructivist geometric sans with strong square slab serifs added to. Angular terminals make its sturdy design particular sparkling. It is a strong face for headlines and posters, and is legible in very short text blocks. Cyrillic version was developed at ParaType in 2000 by Isay Slutsker and Manvel Shmavonyan.

A typeface based on early Constructivism Design and Early 20th Century Type form the Modernist Movement. Cap Height for the font has been extended to represent early 20th century typography more closely, while rounded shoulders add a contemporary, modern feel, allowing the design to bridge both centuries. Cobalt Bold works best for headers and titles, while Cobalt Medium and Regular lend themselves to body text. Cobalt Text has smaller Cap Heights, Ascenders, and Descenders, and has been designed where smaller leadings in a body of copy is needed.

An old turn-of-the-century style commonly used on billheads, letterheads, certificates, etc.

This is The Classic font of XX century. Based in a typeface created by

One of the classic Clarendon fonts, always useful, originally created in the 19th century.

This font was inspired by lettering found on old tradecards from the 19th century.

William Caslon’s design as made regular by ATF at the beginning of this century.

Devilish is a digital revival of 2 decorative lettering sets. The uppercase letters are based on characters from the end of the 18th century, and the lowercase letters are based on characters from the 19th century. The letters are made up of light-hearted devilish figures engaged in playful and mischievous activities.

Morris Fuller Benton started the Bodoni revival with this version for ATF in the early years of the 20th century. We consider it the first accurate revival of a historical face for general use. Sturdy and a little mechanical in the 19th century tradition, this is the Bodoni series familiar to us all.

The standard German Fraktur textface of the last century, principally used today for mathematical setting.

A revival of one of the popular American Clarendon wooden types of the 19th century.

This font family was inspired by lettering found on old letterheads from the 19th century.

Decorative font based on XIX century Cyrillic handwriting. Dulsinea is a handwriting-based font, that is why most of the letters are tied to each other. Such handwriting is often seen in documents dated 2nd half of the XIX century. Its special features are rounded lengthy movements and unusual for present days sequence of strokes.

Starfire is a retro styled geometric sans-serif family with roots in mid-century graphic design.

This font was inspired by lettering found on an old newsprint periodical from the 19th century.

Tom Carnase and Ronne Bonder’s freewheeling ITC adaptation of ATF’s turn-of-the-century Caslon boldfaces.

A revival of old hand painted sign in Old Jaffa, from the mid of 20th century.

Morris Fuller Benton’s version of the standard American nineteenth century blackletter made for ATF in 1901.

This is another of those early 20th century, post art nouveau types from Europe. Probably German.

Based on a 19th century Toscanienne typeface, Planchette has two hand ornaments accessible by the < and > keys.

This font was inspired by lettering found on an old soap box from the 19th century.

A turn of the century inspired font. Designed to be fashionable for your weekly séance invitations!

Southbeach is a 21 century art déco font. The bigger it gets, the better it looks.

The concepts of this font come from the Palmer’s Penmanship guides and manual from XIX century.

Designed at ParaType in 1994 by Tatiana Lyskova. Based on Carola Grotesk of H.Berthold and Bauer type foundries (early 20th century) and Boutique of Haas type foundry (Munchenstein, Switzerland). Bold style based on Herkules of H.Berthold foundry (early 20th century) was added for ParaType by Manvel Shmavonyan in 2002. For use in advertising and display typography.

This revival of the Bruce Foundry’s No. 11 is typical of the nineteenth century types derived from the work of Didot and Bodoni; the face remains popular with lawyers and government printers. In fact, Theodore Low De Vinne opposed this kind of design as hard to print and read; he had Century designed to replace it.

The Iberian scripts are the Paleohispanic scripts that were used to represent the extinct Iberian language. Most of them are typologically unusual in that they are semi-syllabic rather than purely alphabetic.[1] The oldest Iberian inscriptions date to the 4th or possibly the 5th century BCE, and the latest from end of the 1st century BCE or possibly the beginning of the 1st century CE. The characters in this font do not contain all the characters of the Iberian script. If there are friends who need all the characters, contact me so that I can install the font on the system.

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

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

A typical set of American Tuscan capitals cast by ATF in the middle of the nineteenth century.

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

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

A revival of one of the popular fonts of the early 20th century, suitable for light text.