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.

Nomadic Blackletter font, also known as Gothic or Old English font, is characterized by its bold, ornate and decorative style with thick vertical and thin horizontal strokes. They are highly ornamental and are distinguished by their black, high-contrasting nature. Features of Nomadic Font: Ornate and Decorative: Nomadic fonts are highly ornamental, artistic and decorative, making them ideal for titles, headlines, logos, and other design applications where a touch of sophistication, elegance, and class is required. Strong and Bold: Due to its bold strokes, Nomadic fonts exude strength and power, making them the perfect choice for logos and branding, especially in fields such as music, fashion and sporting industries. High Contrast: Nomadic font creates a high contrast between the thick and thin strokes, creating a unique visual appeal that is not found in other fonts. Gothic Style: Nomadic font originates from the Gothic period where it was commonly used in manuscripts and inscriptions. This style has persisted through the centuries and is still popular today. Use of Capitals: Nomadic fonts make use of stylized capital letters with exaggerated loops and curves, adding to the uniqueness of the font. In summary, They are excellent for logos and headlines, providing a touch of elegance and sophistication. However, their complexity limits their use in large amounts of text.

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.

Benton Modern was first prepared as a text face by Font Bureau for the Boston Globe and the Detroit Free Press. Design and proportions were taken from Morris Fuller Benton’s turn-of-the-century Century Expanded, drawn for ATF, faithfully reviving this epoch-making magazine and news text roman. The italic was based on Century Schoolbook. This version of the family is part of the Reading Edge series of fonts specifically designed for small text onscreen, having been adjusted to provide more generous proportions and roomier spacing, and having been hinted in TrueType for optimal rendering in low resolution environments.

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 wooden type fonts of the 19th century; suitable for text.

One of the classic display types of the 19th century, an Egyptian with slab serifs. Quite bold.

A revival of one of the popular wooden type fonts of the 19th century, somewhat condensed, square.

A revival of one of the popular wooden type fonts of the 19th century, somewhat condensed, square.

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

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

One of the classic display types of the 19th century, an Egyptian with bracketed serifs. Quite bold.

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

This is almost a necessity if you are doing reproductions of mid-19th century posters and playbills.

HERENGRACHT (Patricians' Canal or Lord’s Canal) is the first of the three major canals in the city centre of Amsterdam. The canal is named after the heren regeerders who governed the city in the 16th and 17th century. The most fashionable part is called the Golden Bend, with many double wide mansions, inner gardens and coach houses on Keizersgracht. Former bureau of André Toet (SO)Design was situated there for over 32 years, it was about time to name one of our fonts to: HERENGRACHT. Concept/Art Direction/Design: André Toet © 2017