This great Victorian display font of the late 19th century was revived for today’s use. You also find two frame elements. To start setting a frame, type [shift] + [alt] + p for the corner, and continue with typing [alt] + p. Duplicate and mirror the lines to get a fantastic frame.

Here is a wood type from Tubbs & Co., about 1900. Its lack of decoration reflects the changes that were rapidly occurring in the design of printed pieces at the beginning of the 1900s. There were several similar types in metal in the first decade of the 20th century.

XPhyngern is a collection of pointing fingers taken from a variety of sources. Some come from the 19th century, when there were a great many used. Others are based on fingers I found in reproductions of medieval manuscripts. If you need a interesting pointing finger, try this typeface.

Capricho is a warm, comfy, and pleasantly readable typeface. It unites the virtues of a 17th century transitional typeface with its own distinctive and individual flavour. Its large descenders and ascenders make for a distinguished appearance. The complementary Italics with its gently flowing ductus is the contrasting counterpoint.

Designed by Dave West and released in 1960, the name Barnum associates this face with the famous nineteenth-century traveling American circus and showman P.T. Barnum. The wood-cut influence of the letter makes the PL Barnum Block font ideal for posters, signage and creative titling and packaging.

The 1915 sheet music for the tune "Dancing the Jelly Roll Song" by Nat Vincent and Herman Paley featured the title hand-lettered in a sans serif design strongly influenced by the Art Nouveau movement of the early 20th Century. This formed the basis for Jazzy Roll JNL.

Designed for a privately-published luxury edition of The Time Machine, HGWelles Ultralight, Regular and Bold are now being made available to the public. This is the Welles of the early 20th century, seeing many of his predictions coming true and anticipating the shape of things yet to come.

The Vienna Workshop (Wiener Werkstätte) produced a tremendous variety of art from the turn of the century until the beginning of World War II. This set, which includes three typefaces and a collection of graphic extras, draws on both the Art Nouveau and Expressionist traditions of the Workshop.

Halfway between nineteenth century display wood letters and the American grotesk sans-serif of the early twentieth, we can find Ultramarina, a display font for use in large body headlines, which show its power of attraction to quality food, the country’s legume, and gentlemen with a mustache and apron.

An elegant typeface from the turn of the last century named "Venezia", issued by Karl Brendler and Son of Vienna, provided the inspiration for this little gem, with hints of the exotic. Both versions of this font include the complete Unicode Latin 1252 and Central European 1250 character sets.

Discovered within the pages of a turn-of-the-Twentieth-Century specimen book of the Società Nebiolo of Turin, Italy, was this little gem, which shows both antique and Art Nouveau influences. Both versions of this font include the complete Latin 1252 and Central European 1250 character sets.

Stockholm is a contemporary roman typeface designed by Paul Shaw in collaboration with Garrett Boge in 1998. Its strong yet refined roman character shapes were inspired by twentieth century Swedish lettering. The face is appropriate for both text and display settings. Stockholm is part of the LetterPerfect Swedish Set

Goteborg is a an original italic typeface designed by Paul Shaw in collaboration with Garrett Boge in 1998. Its graceful yet sturdy character shapes were inspired by twentieth century Swedish lettering. The face is appropriate for both text and display settings. Goteborg is part of the LetterPerfect Swedish Set

Named for Algonquin Round Table wit Heywood Broun, Heywood is bold, but playful. The simplicity of the letters combined with the shifting baseline make this the least formal and most fun of The Algonquin Collection of fonts.

The ballpoint pen woman’s handwriting As the name suggests — the Iris’ Hand is a woman’s personal handwriting, written with a ballpoint pen. Iris’ Hand is an amazing font — almost indistinguishable from “real” handwriting. Thanks to the over 200 different ligatures and stylistic alternates the typeface is extremely lively and varied. The ballpoint pen has its own characteristics, which are clearly expressed in this font. The stroke is not always uniformly thick. Sometimes only a delicate, thin line is created. Often it breaks off suddenly and leaves a gap. In addition to the normal version, there is also a light and a bold version. Handwriting is sometimes written more or less slanted. So does Iris’ Hand. The normal version is only slightly slanted. But there is also an oblique version that is significantly more inclined by 20°, which makes the script appear more regular and somehow feminine. The Iris’ Hand is also available as a variable font!

The award-winning Scala family (1990-1993) is a worldwide bestseller and has established itself as a ‘classic’ among digital fonts. It was one of the first serious digital text fonts to support small caps, ligatures and different set of numbers. In fact Scala and Scala Sans (1990-1993) are two different typefaces sharing a common form principle: the skeletons of both Scala and Scala Sans are identical. Scala’s dark colour and low contrast works to prevent the thin parts from breaking up. The generous length of Scala italic’s serifs gives it a strong rhythm. The bold weight has the same character widths as the normal weight, so changing a text from normal into bold does not affect the set width. Another part of Scala is very popular among its users: Scala Hands, containing more than one hundred decorative hands and pointers, is a free bonus. Scala Jewels is a set of four highly decorative typefaces, based on the bold capitals of Scala.

If you were a grotesque in mid-20th-century Switzerland, you were expected to be serious and proper, if a little dull. Unlike its dogmatic Modernist predecessors, Formular is a hip Swiss sans serif of the new generation. Inspired by the utilitarian 19th-century grotesques, its precision and and versatility are combined with a slightly eccentric character. A child of its time, it scoffs at the ideology of ‟ideal” forms, yet it is every bit as functional for all its idiosyncrasies, as any self-respecting Swiss sans. Formular comes in five weights with corresponding italics and a monospace companion to the regular weight. Each weight includes special extra-light punctuation, lining tabular and old style figures, case-sensitive punctuation, and stylistic alternates.

Faktum is an exploration into the geometric sans genre, inspired by Mid-century modern architecture and interior design. Especially the combination of clear lines, organic curves and geometric shapes, highly popular among designers and architects of the second third of the 20th century, gave the impetus for a design with clear modernist roots and a strong contemporary finish. The family comes in 8 weights plus matching italics, featuring a wide range of alternate characters and opentype features like discretionary ligatures, case sensitive shapes, different number sets and many more. Due to its clean lines and slightly organic structure, Faktum functions great in many sizes and surroundings, working either as a restrained supporting font in long paragraphs, or as a main actor in powerful headlines.

Hont, the original Haunted Font is here. We've captured the essence of an old-school horror film and now you can use it to create awesome-looking titles for all your projects. With its chunky appearance, this font is perfect for vintage poster designs, t-shirt designs, logos, or anything that needs a hint of spooky. Hont is the ultimate Haunted Font that looks amazing on all projects. Inspired by classic mid-century horror films, it will give your projects just the right amount of classic horror. Features Doubles Elimination gives you a more natural look. Inspired by classic mid-century horror films. Includes a Remedy667 Font Catalog PDF, all your favorite fonts in one handy catalog. Possibly haunted, may possess you to create awesome work.

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. The Bodoni Classico of Franco Luin displays less stroke contrast than the original and is therefore also appropriate for smaller point sizes.

Nicolas Cochin (not to be confused with another font named simply "Cochin") was originally designed by Georges Peignot in the early 20th Century and was based on engraved letters of the 17th Century artist Charles Nicholas Cochin. Many foundries including Lanston released versions in the 1920s. Several digital versions can now be found, but none have kept the irregular details of the metal type which include strokes that cross over each other as if hand drawn (see letters K & y). The new Lanston digitization is the only digital version to retain the idiosyncratic treatment which makes the metal type so alluring. The Opentype version included an expanded Central European character set as well as ligatures, alternates, fractions, superior/inferior numerals (the Italic also has swash characters).

Titul is a display typeface with strong historical connotations. It is based on a series of stylish lettering for book covers, designed by Russian graphic artist Alexander Leo in the 1920s. The historical reference for him was book design of the 1st half of the 19th century. Type family consists of four ornamented and three basic styles: one solid, one inline and one striped. All seven faces have corresponding oblique styles. Also, there is a beautiful vignette font and a style for constructing ornamental borders. Titul suits best for vintage spirited typography, from the 19th to early 20th century. It is perfect for book covers, theater posters, packaging and greeting cards. Typeface was created by Isabella Chaeva and released by Paratype in 2020.

The Kensington Runestone is a rune-covered slab of brownstone that was claimed to have been discovered in central Minnesota in the United States in 1898. Olof Öhman, a Swedish immigrant, reported that he dug it out of a field in the largely rural town of Solem in Douglas County. It was then named after the nearest settlement, Kensington. The inscription claims to be a record left behind by Scandinavian explorers in the 14th century (internally dated to 1362). There has been a long-standing debate as to the stone's authenticity, but since the first scientific review in 1910, scientific consensus has classified it as a 19th-century hoax, and some critics have directly accused Öhman of fabricating it. there is community.

Venetic is an extinct Indo-European language, usually classified into the Italic subgroup, that was spoken by the Veneti people in ancient times in northeast Italy (Veneto and Friuli) and part of modern Slovenia, between the Po Delta and the southern fringe of the Alps, associated with the Este culture.[3][1][4] The language is attested by over 300 short inscriptions dating from the 6th to the 1st century BCE. Its speakers are identified with the ancient people called Veneti by the Romans and Enetoi by the Greeks. It became extinct around the 1st century when the local inhabitants assimilated into the Roman sphere. Inscriptions dedicating offerings to Reitia are one of the chief sources of knowledge of the Venetic language

Veteran designer Bo Berndal has created Cartesius, an oldstyle serif typeface with roots in the 16th and 17th centuries, France and Venice. Bo Berndal: "Rene Decartes, the great French philosopher, was invited to Sweden in the 17th century, when the country was at the height of its power. In the university city of Uppsala he used the Latin name form Cartesius. The typeface that carries his name is inspired by letterforms from the 1600s, but upper case letters are of pure Roman type". Cartesius holds up well even under less than perfect circumstances, and is suitable for magazine and book design. It comes with a full range of styles, including small caps. Swedish type foundry T4 premiere new fonts every month. Cartesius is our fifth introduction.

Historical influences coalesce with a contemporary twist to form the striking slab serif typeface Regime. In the early 19th century, as the Industrial Revolution began to transform Britain, the slab serif was born. The impact of new technology created a demand for a visual language that was compatible with mass-production and that could capture the attention of a newly-literate consumer. The design of the first slab serif typeface is credited to British punchcutter and typefounder Vincent Figgins and was released under the name Antique in 1815. In the same year, Napoleon was defeated at Waterloo. The name Regime alludes to this moment in history, when Britain emerged as the principal naval and imperial power of the 19th century.

The hand composition typeface was developed at the Ossip Lehmann type foundry (St. Petersburg) in 1904-07 (after designs by Alexander Leo?). It was redeveloped at Polygraphmash in 1960s for slugcasting composition. Named after Russian Empress Elizabeth I (1709-61). Based on typefaces of George Revillon type foundry of 1840s, though some characters’ shapes were redrawn similar to Russian Academy of Sciences typefaces (mid-18th century). Sharp contrast, strong weight Modern Serif with archaic flavor. The typeface is useful in text and display composition, in fiction, historical, and art books, especially connected to the 18th or 19th centuries. It looks great in Russian classical literature such as Pushkin and Gogol works. The revised, improved and completed digital version was designed at ParaType in 2001 by Lyubov Kuznetsova.

The PARATYPE library is our latest major addition, consisting of more than 370 typefaces. In the spirit of the perestroika changes and following the collapse of the Soviet Union, a group of Russian type designers quit the state-owned Polygraphmash foundry to establish ParaType, the first, and now largest Russian digital type foundry. The ParaType team under the supervision of Vladimir Yefimov creates new typefaces and explores the Russian typographic heritage by making digital versions of existing Russian designs: these include the hits of Soviet typography such as Literaturnaya and Journal Sans. Most ParaType fonts are available in Western/Roman, Central European, Turkish and Cyrillic encodings. The Russian constructivist and avant garde movements of the early 20th century inspired many ParaType typefaces, including Rodchenko, Quadrat Grotesk, Ariergard, Unovis, Tauern, Dublon and Stroganov. The ParaType library also includes many excellent book and newspaper typefaces such as Octava, Lazurski, Bannikova, Neva or Petersburg. On the other hand, if you need a pretty face to knock your clients dead, meet the ParaType girls: Tatiana, Betina, Hortensia, Irina, Liana, Nataliscript, Nina, Olga and Vesna (also check Zhikharev who is not a girl but still very pretty). ParaType excels in adding Cyrillic characters to existing Latin typefaces — if your company is ever going to do business with Eastern Europe, we recommend you make them part of your corporate identity! ParaType created CE and Cyrillic versions of popular typefaces licensed from other foundries, including Bell Gothic, Caslon, English 157, Futura, Original Garamond, Gothic 725, Humanist 531, Kis, Raleigh, or Zapf Elliptical 711.

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

Flornaments are decorative font ornaments, with a hint of floral styling. Each Doodlebat corresponds to a letter or number on the keyboard. This downloadable set of dingbat doodles will add a fanciful, formal flair to your scrapbook journaling.

Groom is a a casual brush script refined and developed from handwritten letters. It combines dramatic though readable caps with more readable, smoothly connecting and more formal lowercase to give a script that is both confident and legible.

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.”

Display Art One 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 One has upper and lowercase alphabets, numbers, and punctuation.

We know very little about this font. A printer in Lisbon had it, but said it came from England. Nicolette Gray shows it in her Nineteenth Century Ornamented Type Faces as Lord Mayor from the British Typefoundry. We never got the complete font, but drawing the missing letters was not difficult.

Warren Chappell named his font after the Roman emperor Trajanus, who ruled in the first century AD. The Roman capitals on Trajanus’ memorial combined with the lower case style from the time of Charlemagne formed the models for the font characters. Trajanus will give a text a classic, almost calligraphic, feel.

A quill pen-like joined script typeface which echoes the cartoon lettering of 17th Century court papers during the period of the English Civil war. A nifty feature of this font is that if you enter a vertical bar '|' character, it will turn off the exit stroke of a joining character.