Duc de Berry is a part of the 1990 program Type before Gutenberg, which included the work of twelve contemporary font designers and represented styles from across the ages. Linotype offers a package including all these fonts on its web page, www.fonts.de. The design of Duc de Berry was influenced by those of typefaces created between the 13th and 16th centuries. The font was named after Duc de Berry, whose beautiful missals inspired typefaces of the 15th century. The capital letters are especially elegant and can be used either as initials or as contrast to the much more reserved lower case letters.

Schotis Text is a workhorse typeface designed for perfect reading on running texts. Its design is based in Scotch Roman 19th-century style but designed from scratch, with a more contemporary and not nostalgic look. It has seven weights plus matching italics, with 1100 glyphs per font, with a very extended character set for Latin based languages as well as Vietnamese, and shows all its potential with OpenType-savvy applications. Every font includes small caps, ligatures, old-style, lining, proportional and tabular figures, superscript, subscript, numerators, denominators, and fractions. The Scotch Romans were one of the most used letters during the 19th and early 20th century, but they don’t have their own place in the main typographical classifications. They appeared at the beginning of the 19th century with Pica No. 2 in the catalog of William Miller (1813) and assumed the British route towards high contrast and vertical axis modern Romans. In fact, they were called just Modern. In opposition to the continental route of Fournier, Didot, and Bodoni, the English way opted for a wider, more legible letter also resistant to bad printing conditions. The name Schotis comes from the misspelling of Scottish that gave the name to a popular dance in Madrid in the 19th-century. It first was called Schotis and today is knows as Chotis.

Rosso is a condensed geometric Sans with a retro style, inspired by various typographic styles. It features the Roslyn Gothic structure, which was popularly used for the covers of Philip K. Dick's books in the 1970s. Rosso has 10 variants from Ultra Light to Black with their respective Italics. In addition, it is divided into two Subfamilies, Normal and Alt. The normal one remains faithful to the proportions of Roslyn Gothic and classic geometric fonts, while the Alternative version expands its round shapes, generating a striking and unique rhythm and contrast, classic of Art Deco fonts. In addition, it has alternative glyphs and discretionary ligatures inspired by the work of Herb Lubalin, which add greater possibilities to face any design project. All this makes Rosso a font full of personality, striking and recognizable. Ideal for the construction of logos, eye-catching headlines, movie posters, volumetric posters, etc.

Mailuna Pro is a family of gothic typefaces of weight and oblique stature, finding themselves on a line between modern and historical gothic styles. Originating as a revival and elaboration of a limited lettering specimen from a series of old loose spanish specimen book pages, it finds itself in the visual company of vintage transportation roll signs, wood type gig posters, financial publications, etc. What began as just Capitals, Lowercase and Numerals was expanded to a rich pro glyphset including small caps, unlimited fractionals, superiors & inferiors, ordinals, tabular & proportional figures, a Caps to small caps feature and an expanded language glyph set. From modern letterpress back to historical adverts, book covers, headlines, or anything else you want to give a dash of vintage authenticity to, the Mailuna Pro Family is here to fill your needs. Be sure to download and take Mailuna Pro AOE - Book weight for a spin for free.

Dignus was inspired in two clever and famous typefaces: Bank Gothic and Microgramma. Bank Gothic designed by Morris Fuller Benton for ATF in 1930. Microgramma typeface designed by Alessandro Butti and Aldo Novarese for Nebiolo in 1952. Those typefaces were based on a stable rectangular shape with rounded corners, denoting the constructivist heritage and technological spirit of '50. We'd intended to review that typographic scenery with our contemporary point of view, aiming to obtain the formal synthesis of the signs and increase its legibility. Dignus fonts support Central, Eastern and Western European languages. Each font comes with full OpenType features like: standard and discretional ligatures, swashes, stylistic alternates, old style numerals, Tabular figures, numerators, denominators, scientific superior - inferiors, Case sensitive forms and vectors. The Dignus fonts include 7 weights, from Thin to ExtraBlack. The family is completed with condensed and expanded version all with their corresponding italics.

Litfass is a revival which follows a turn-of-the-century German Art Nouveau font, once released by the Flinsch Foundry. To get access to all ligatures, it is recommended to activate both Standard and Discretionary Ligatures.

Niederwald is a hand-drawn font based on samples of turn-of-the-century hand lettered signage. It has a fanciful character, but great readability. Excellent for decorative titles or captions. Includes a number of alternate characters.

A revival of one of the popular wooden type fonts of the 19th century, condensed, bold, square serifs, a very useful design for display, upper and lower case, in the antique family but with a squared design.

Vergennes is a decorative script font featuring ornate, calligraphic decorative initials based on 19th century metal type. It has a full character set with lower case and numerals, but the upper case initials are the standout feature

New Renaissance is a modernized old style design based on generous proportions and clean, crisp lines. A 'New Renaissance' for the 21st century, New Renaissance makes for easy reading and looks good in both text and display.

This is a classic design from the beginning of the 20th century. This font can be used in many kinds of books. This font has the modern Hebrew punctuation: Shevana, Kamatz Katan, Dagesh Hazak, and Cholam Chaser.

A revival of one of the popular wooden type fonts of the 19th century, suitable for display, heavy stems, very thin serifs, short descenders. Heavily revised, very much improved, extensive kerning. Now in otf and ttf formats.

Basque is a delicate nineteenth-century upright typeface of angular appearance, reminiscent of Black Letter scripts. The letterforms of the Basque font do not flow, but are made up of straight lines joined to form a rigid shape.

This early 1900s type is from the German foundry of Schelter & Gieseke, and is typical of early twentieth century design. As usual, we have added all the modern necessities, such as monetary signs for the major commercial countries.

All-cap titling typeface, Epos, comes in three widths and includes a range of decorative ligs & alts – as well as both Latin & Cyrillic scripts. It reminds of hand-lettered book covers from the early and mid 20th century.

Originally released as a Type 1 font, Balboa Shaded was refreshed (version2) and re-released as simple Open Type in 2013. Balboa is a contemporary display design. It draws elements and details from 19th-century British san serifs.

Twigglee was inspired by the hand lettering on the plates in a 19th century book on ornaments by Owen Jones. It has no lower-case letters; the upper-case letters are simply repeated on the lower-case keys.

Formal yet light-hearted, Loure is an ideal font for the best of times. Modest Art Deco influences imbue a century of history behind Loure's fresh 2022 gaze, while a few unexpected swoops deliver intrigue alongside clean legibility.

Italian designer Aldo Novarese first created Egizio in 1955. Egizio is a Clarendon-style typeface, based on type fashions that were especially common in Britain during the 19th Century. This font is a popular choice for newspaper headlines.

Bengala is a font based on Calligraphy & Geometry designed by Carlos Fabián Camargo. Its purpose is to be an innovative typographic system combining Script letters with geometric and hard Caps letters. The contradictory styles are ideal for designing covers, posters, branding and packaging. Its smooth calligraphic look meticulously incorporates characters to design logos and phrases that communicate dynamism and strategy. Bengala Script was inspired by Mistral by R. Excoffon. Bengala Script provides violent and unstable lines with generous spacing between the letters and tight horizontal proportions, producing showy upper and lower case italics inspired by French Gothic calligraphy late fifteenth century. For this reason, Bengala Script retains some uninterrupted calligraphic logic, up and down sometimes higher or shorter than the height of the lowercase, creating dynamism through a variable amount of contrast between thick and thin strokes. Bengala Dingbats has 62 drawings designed to accompany the designs. Script and Caps Bengala have different gender and the similar X height produces more visual appeal. This way Bengala Caps - inspired by the Porshe logo, due to its geometric uppercase Roman construction, extended horizontal proportions, light caliber, rounded strokes terminations and generous spacing between letters. Special thanks to John Moore and Manuel Corradine for their help with Open Type.

»XPress-Rounded« is my new addition to »XPress«, my Sans-Serif that impresses – especially in small sizes – with its outstanding readability. »XPress-Rounded« looks very different, almost like a completely new font. But the rounded version has the same seven precisely calibrated weights from »Thin« to »Heavy« and its corresponding italics make this font-family universally usable. The »XPress« fonts got their bearings from the fabulous American »Gothic« fonts of the twenties of last century. Modern, present day elements, high lowercase letters and infinitesimal elegant slight curves in start- and end strokes make the font family not only great for body copy, but also very useful in advertising. Enjoy! »XPress-Rounded« ist meine neue Erweiterung zur »XPress« Familie, die durch aussergewöhnliche Lesbarkeit auffällt. »XPress-Rounded« sieht jedoch vollkommen anders aus als sein älterer Bruder. »XPress-Rounded« hat jedoch die selben sieben präzise aufeinander abgestimmten Schnitte von »Thin« bis »Heavy« und die dazu passenden Kursiven. Das macht die Schriftfamilie vielseitig einsatzfähig. Die »XPress« Schriften basieren auf der Formensprache der grossen amerikanischen Groteskschriften der zwanziger Jahre des letzten Jahrhunderts. Durch moderne Formelemente, große Mittellängen und unendlich leichte, elegante An- und Abstriche ist die Schrift jedoch nicht nur als Textschrift, sondern auch im gesamten Bereich der Werbung vielseitig einsetzbar. Viel Erfolg!

We produce original printing press letter fonts, for example from the journal Southern Literary Messenger (circa 1830 - 1870). The only one in the world. What makes our fonts so attractive to the eye, are the myriad imperfections. It's not an approximation to the printing-press letters--- these are the actual letters, complete with all their manifold differences. If you look closely you will notice that the letter 'e' say, each time it is printed, is slightly different. These differences arise from the mechanical action of the inked-wooden press on the paper, and cannot be faked by artificial means. The eye subconsciously picks up this text as the actual printing press letters. Edgar Allan Poe published many of his great works in the Southern Literary Messenger, as did many other great nineteenth century writers, ie. Henry Wadsworth Longfellow, Nathaniel Hawthorne &c.

Hand selected from multiple sources, the 60+ glyphs of Antique Borders & Corners 2 can be mixed and matched to make authentic 18th and 19th century borders of any length. Flip the orientation for 'bottom' borders with the shift key.

Pullman is based on turn-of-the-century lettering reminiscent of the signage on some luxury Pullman-style train cars of that period. It is a heavy script font with a lot of character and an authoritative, elegant look.

The Circularis family includes 8 styles and weights - eight uprights with eight italics. Circularis is characterized by the nice and smooth unordinary circle geometric contruction inspired at last century, nice readability, low price and finaly many variation of useful.

Based on some script in the 19th century. Inky texture gives realistic handwriting appearance. Smooth writing feeling creates antiqued and nostalgic atmosphere. There are two other script designed by in the same concept. -Daisy Lau -Lily Wang -Pansy Bo

The old characters of the 8th century are the inspiration for this font. Specifically those used during a remote time of the Basque Country - or waskonia as the Franks would call it - in the old gravestones and doors entryways.

Hand selected from multiple sources, the 60+ glyphs of Antique Borders & Corners 1 can be mixed and matched to make authentic 18th and 19th century borders of any length. Flip the orientation for 'bottom' borders with the shift key.

Chamfer, released by Barhart Brothers & Spindler in the late nineteenth century, provided the pattern for this simple, elegant headline face. Both flavors of this font feature the 1252 Latin, 1250 Central European, 1254 Turkish and 1257 Baltic character sets.

Yasashii is an art deco font based on Japanese designs for cosmetic packaging and posters used from the end of the 19th century to the early 20th. When you prefer more geometric letter form, please try our Diamond Ring.

Some pleasant Art Nouveau spurred serif hand lettering was found on the cover of a 1902 issue of “The Century Magazine”. This is now the digital typeface Nouveau Heading JNL, and is available in both regular and oblique versions.