Full of texture and regal personality, Bell Martellus was derived from a book published in 1475 by Henricus Martellus entitled “Liber Insularum.” The writing style is based on the Carolingian Script created by the Emperor Charlemagne and his scribe, Alquin of York, in the 9th century A.D. This old world lettering comes with new world OpenType capabilities, including swash caps and small caps. The James Ford Bell Library at the University of Minnesota commissioned Bill Moran to develop this font as a means of introducing their amazing collection of rare books, maps and manuscripts to a wider audience. Once the historic script was fontified by Bill, it was forwarded to Chank Co, where we added some snazzy baubles for the discriminating typographer. Everybody can enjoy the antique genuine nature of Bell Martellus, but advanced OpenType users also get extra features in Adobe CS applications.

Firmin Didot is credited with establishing the Modern genre of serif typefaces, of which Beaux Arts Didots stands as an exemplary model. Like the French neoclassical architecture of its namesake, Beaux Arts has all the hallmarks of the early nineteenth-century style: a clear and confident construction consisting of simple yet strong lines. Use it for elegant and formal settings, or when a direct typographic tone is desired. Mix it with styles of similar sensibilities such as Plinc Hanover and Davison Spencerian. Digitized from the original Photo-Lettering film matrix in 2014 by Jean-Baptiste Levée. BEAUX ARTS DIDOT CREDITS: Typeface Design: Photo-Lettering Staff Typeface Digitization: Jean-Baptiste Levée Typeface Production: Ben Kiel Typeface Direction: Ken Barber Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

HWT Artz is the newest wood type to be cut at Hamilton Wood Type and Printing Museum. It was designed by venerable type designer Erik Spiekermann exclusively for his own print studio (P98a in Berlin), specifically to be cut into large size wood type. The digital version is being offered to the general public with proceeds of sales to benefit the museum's ongoing operations. HWT Artz evokes bold early 20th century European poster lettering. The design itself is intended to minimize hand-finishing and thus production time with rounded corners rather than sharp interior corners that would normally have to be hand-finished. In keeping with the tradition of naming new Hamilton designs after key figures from the living history of Hamilton (and following Spiekermann's tradition of four letter font names), Artz is named after Dave Artz- Hamilton Manufacturing retiree and master type trimmer.

Chamberí is designed to be Vogue España's bestpoke typeface. An ambitious typographic branding project made for one of the most iconic magazine headers of the world, it defines the Spanish edition’s personality through a blending of the functionality of XIX Century Modern Romans (also known as “Scotch" typefaces) and the gestural expressiveness of typographic Baroque. Chamberí is a peculiar combination of the rational and the delicate, the sturdy and the feminine. The family is organised in a broad spectrum of 56 variants in which the transition from the restrained text version to the flamboyant, elegant display is modulated by contrast. The family is organised in seven weights: from Extra Light to Black, plus four optical sizes : Text, Headline, Display and Superdisplay. All this with its own Italics, Small Caps and Old Style Figures, besides the due refinement to resolve any editorial and communicative requirement.

Ganges Slab is a condensed slab serif typeface inspired by Central European advertising typography from late XIX century. It is a perfect match for Ganges Sans. The font has condensed proportions and original letter shapes. Ganges is designed mainly for editorial design, especially for display use, as well as short paragraphs of text. Its narrow proportion makes it very practical to use for posters and magazine covers. Characteristic letter forms fit great for branding, logo and packaging design. It is also a very interesting choice for websites and e-book headlines. Ganges Slab family consist of 27 fonts - 9 weight, 9 italics and 9 obliques. It supports extended set of latin languages, as well as broad number of OpenType features, such as case sensitive forms, standard and dicretionary ligatures, stylistic alternates, contextual alternates, lining, oldstyle and tabular figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols.

The Keiss type family is our interpretation of the popular nineteen century Scotch Roman typefaces. We intended to keep a very classic approach while introducing a couple of new elements that differentiate this type family from it’s ancestors. This design, with short descenders and ascenders, along with three very distinct optical sizes makes this type family well suited for contemporary newspapers. The Title and Big versions range from Thin to Heavy, with matching italics, in order to be used in big sizes and stand out in the design. The Text ranges from Thin to ExtraBold and is a standalone type family for text usage, with narrow proportions and wider and open italics for improved text setting. The Condensed versions, ranging from Thin to Bold, don’t have italics, although they can be matched with the italics of the Title and Big versions, due to the fact they are very condensed.

Carmensin is a beautiful humanist serif typeface created by Rafael Jordán. Designed in the 21st Century with all the flavor of the Renaissance. The conclusion of a story that began in Type@Paris program in June, 2015 & ended at February, 2020. Inspired by historical models, its classic conventional appearance with small details, smooth curves, large x-height and open counters made of Carmensin a great, efficient and solid typeface for long text settings. Also, its bigger sizes styles show the beautiful shapes and contrast, exhibiting its exuberance. Carmensin has a great collection of OpenType features that will satisfy any typographic necessity as ornaments, ligatures, stylistic sets, small caps, automatic fractions and more options along 3 optical styles (Text, Headline and Display) plus a fancy Stencil style. With an extensive Latin character set, Carmensin covers a wide amount of Latin-based languages, including Latin Plus encoding.

The Keiss type family is our interpretation of the popular nineteen century Scotch Roman typefaces. We intended to keep a very classic approach while introducing a couple of new elements that differentiate this type family from it’s ancestors. This design, with short descenders and ascenders, along with three very distinct optical sizes makes this type family well suited for contemporary newspapers. The Title and Big versions range from Thin to Heavy, with matching italics, in order to be used in big sizes and stand out in the design. The Text ranges from Thin to ExtraBold and is a standalone type family for text usage, with narrow proportions and wider and open italics for improved text setting. The Condensed versions, ranging from Thin to Bold, don’t have italics, although they can be matched with the italics of the Title and Big versions, due to the fact they are very condensed.

Here's a posh serif typeface and its matching italic. Glowing with elegance, Cosmetiqa can go head to head with classic evergreens like Bodoni, Didot, or Century. And just like those go-to favorites, Cosmetiqa really shines at the huge, layout-dominating sizes which have been a staple of top-shelf fashion branding and magazine design since at least the mid-1980s. You'll also find this font to be a great workhorse at much smaller sizes and in extended text passages, as the hairline serifs don't disappear in the smaller size ranges. As its title suggests, Cosmetiqa's unique look works perfectly in cosmetics and fashion branding, but also try it with 1990s-style message forward ad headline applications if you're after a retro look with a hint of a modern twist. The semi-condensed proportions and tall x-height make it great for pull quotes, page banners, and logo design.

An experimental font designed by Viktor Kharyk in Op Art style. UniOpt is based on free brush technique similar to experimental lettering of the early decades of the 20th century; for instance to ‘Graficheskaya Azbuka’ (‘Graphic ABC’) by Peter Miturich and works by Victor Vasareli. The face is legible even at small sizes and quite useful to an original display matter, initials and logos. The rigid double-wide structure allows to create complicated decorative works using vertical composition. Interesting that diacritical marks are also placed inside of character square fields and don’t destroy geometrical order. The decorative abilities of the font are increased by inverted versions of characters that may be used in different combinations including in color. The character set contains expanded Latin, Greek and Cyrillic ranges. UniOpt was awarded for type design excellence at TypeArt’05 Contest in Moscow. Licensed by ParaType in 2006.

Nami, the Japanese word for wave," is the latest collaboration between Adrian Frutiger and Linotype's Type Director, Akira Kobayashi. This typeface family is the most humanistic sans serif design ever to come from Adrian Frutiger, and it has an interesting twist: lapidar alternates that may be surfed through with the help of OpenType-savy applications. Adrian Frutiger began the design that would blossom into Nami during the 1980s. Although it would not be produced during the 20th century, it was quite forward thinking. The typeface included several seemingly avant garde alternates; these were "lapidary" versions of common letterforms. Revisiting the project in 2006, Akira Kobayashi reworked the concept into a working family of three typefaces. Each font contains 483 glyphs, including 11 alternates-two extra forms of the lowercase g, as well as new forms for a, e, h, l, m, n, r, t, and u."

Handcrafted signs line the stoned walkways of old Italy. Some a century old, these often forgotten works of unknown artists remain etched across cities and villages. But now, they make their inviting impressions once again as the inspiration for insigne design’s Gineso Soft typeface. Gineso Soft absorbs the personality of northern Italian posters, headlines and logotypes, providing a type especially nice for signs and titling with its condensed qualities. The font contains matching italics for the the eight weights and three widths. We’ve also included small features along with fractions and superior / inferior characters to broaden your options. Even more, Gineso Soft is ready for all applications and features a large character set for the languages ​​and literature of Europe. So add a soft touch the next time you’re in a tight spot. Add Gineso Soft and make your project a work to be remembered.

Antoinette Monogrammes is a monogram font based on old embroideries in the early 20th century by Janon Co. This font includes Upright script capitals and Normal slanted script capitals and 24 fancy frames. By combining each letters and frames, you can make your own monogram. And Every letters and frames were added handwritten effect to make warm and handcrafted impression. How about making monogram for wedding card, scrap book, stamp, logo? Upright script capitals can be accessed by typing Uppercase keys(A, B, C ....) and Slanted script capitals by lowercase key(a, b, c ...). Frames are 0-9 and exclamation mark(!), at mark(@), number sign(#), dollar($), percent(%), ascii circumflex(^), ampersand(&), asterisk(*), left and right brackets(()), period(.), comma(,), less and greater(). You need to arrange and set the position manually to finish making monograms. Please use graphic applications such as adobe illustrator or photoshop but not microsoft word.

Eirinn was designed by Norbert Reiners for Linotype in 1994. Its forms are based on those of Irish scripts of the 7th and 8th centuries, an example of which can be found in the Book of Kells in Dublin. Characteristic of this style are for example the lower case f with its short cross stroke on the base line and long cross stroke above, the unusual form of the g, and the t, whose form is almost like that of a c. This style consisted of a mixture of lower case and capital letters at the time of its conception, but Eirinn has a full set of both lower case and capital alphabets. At first glance the viewer is reminded of ancient and indecipherable writings of the Celts before the forms of our contemporary letters and words become evident. Eirinn will lend a touch of mysticism and secrecy to any text.

Behance presentation https://www.behance.net/gallery/51305239/Geometrica Geometrica is a low contrast rounded geometric Sans with a mid 19th/early 20th century simplicity air yet modern and minimalist. The font was inspired by the idea of creating a typeface with uppercase/lowercase characters and small caps having the same proportion. The result is a font with a moderate width, generous x-height, and short ascenders and descenders, giving it a compact and clean look. Geometrica comes in 10 weights plus italics—each variant with 589 glyphs—and contains a number of OpenType features that allow you to create very ‘good looking’ designs. Geometrica provides a wide range of choices for any design project and it is especially recommended for UI/UX and app design, branding and corporate design, in 2017 it was selected as one of the 10 best Sans of the year by FontShop.

The Keiss type family is our interpretation of the popular nineteen century Scotch Roman typefaces. We intended to keep a very classic approach while introducing a couple of new elements that differentiate this type family from it’s ancestors. This design, with short descenders and ascenders, along with three very distinct optical sizes makes this type family well suited for contemporary newspapers. The Title and Big versions range from Thin to Heavy, with matching italics, in order to be used in big sizes and stand out in the design. The Text ranges from Thin to ExtraBold and is a standalone type family for text usage, with narrow proportions and wider and open italics for improved text setting. The Condensed versions, ranging from Thin to Bold, don’t have italics, although they can be matched with the italics of the Title and Big versions, due to the fact they are very condensed.

Kashi is the Persian word for tile. This font is inspired from building decorations of 16th and 17th centuries in Iran. It is extremely legible even in very small size. Kasha design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Nima’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Kasha was developed for multiple languages and writing conventions. Kashi supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

The main inspiration is from Art Nouveau which flourished in Europe at the end of the 19th and beginning of the 20th centuries. This design included furniture (Majorelle, Lalique) and architecture (Victor Horta, Henry Van de Velde, Gaudi, Alfons Mucha). But Hector Guimard remains the favorite for all aspects of its art and, of course, its typefaces used on the Parisian Metropolitan posters. In particular, the various kerning of the various letters he used to make the poster a whole design from singular designs, leading to numerous variations. As a designer, I initially worked a first version, called Metro New One, which is more geometric and traditional. This design "Two" has more flexible shapes and long vertical hooks. It can be used to enhance specific parts in letters and books in the context of Art, specially Art Nouveau and Art Deco of course, posters of any kind.

I am a HUGE fan of Bernard Cornwell’s ‘The Saxon Stories’. Ever since a television series has been made, the series of books is also know as ‘The Last Kingdom’. I have read them all, at break-neck speed and I can’t wait for the next book!! Wintanceastre (Winchester) is based on a 10th century Latin manuscript. I have tried to stay close to the original letters, but since Latin does not have all modern glyphs, I found myself designing the missing ones. So, before you scold me for having made a font that is historically inaccurate: it was never meant to be an exact replica, nor would anyone want an exact replica, as it would be useless for modern texts and designs. Wintanceastre comes with a whole bunch of ligatures and alternate glyphs. Use it for any design that needs a little ‘Dark Ages’ look!

Hebden is a ‘Northern’ font. Inspired by the town Hebden Bridge in Yorkshire, the family is a mix of a grotesque and an incised serif. The grot is based on Victorian train station signage and the serif is style that can be spotted in and around the Yorkshire Dales region. Hebden has a nostalgic twist and is ideal for labelling, signage and memorable messages. The grotesque face with its robust angles and warm circular curves recalls the style of traditional English sans-serifs like Caslon’s 2-Line Egyptian. The incised face has strong but sophisticated and natural forms and is based on a wood carved style popular in the early 20th century. The weight of the two faces are are drawn to complement each other creating an evenly balanced combination. Both faces come with caps, lower caps across letters and numerals, and have Western, Central and Eastern European language support.

P22 Curwen was originally designed by an unknown designer. This version was created by Colin Kahn. P22 Curwen Poster is a digitized version of a rare wood type used by the Curwen Press in England in the early 20th Century for poster work. The font was known to have been cut in 6 sizes—from 3-line (3/4 inch) to 16-line (3 inch) in height. The font was based from impressions made of the 6-line type. P22 Curwen Maxima is a hyper-stylized re-interpretation of Curwen Poster by Colin Kahn. As a post-modern poster type, it evokes an organic nature within a novel maximalist framework. It is reminiscent of early phototype display faces with an illogical three-dimensionality which serves to give the font continuity. The capitals are buried beneath stylistic wood shavings complementing the sculpture like quality of the lowercase. Perfect for (almost) any project.

The Keiss type family is our interpretation of the popular nineteen century Scotch Roman typefaces. We intended to keep a very classic approach while introducing a couple of new elements that differentiate this type family from it’s ancestors. This design, with short descenders and ascenders, along with three very distinct optical sizes makes this type family well suited for contemporary newspapers. The Title and Big versions range from Thin to Heavy, with matching italics, in order to be used in big sizes and stand out in the design. The Text ranges from Thin to ExtraBold and is a standalone type family for text usage, with narrow proportions and wider and open italics for improved text setting. The Condensed versions, ranging from Thin to Bold, don’t have italics, although they can be matched with the italics of the Title and Big versions, due to the fact they are very condensed.

George Ryan's ITC Migrate is a highly condensed sans serif display face that effectively complements ITC Adderville. Migrate represents what Ryan calls a “more highly evolved version” of a typeface he designed for Bitstream in 1991 called Oz Handicraft. “Both faces,“ says Ryan, “are based on designs of the popular early 20th-century type designer Oswald Cooper.” His inspiration came from drawing samples found in the Book of Oz Cooper, published in 1949 by the Society of Typographic Arts in Chicago. “Oz worked extensively with the sans serif form long before it became popular in the States, eschewing a popular belief of the time that sans serifs were only skeletons of letters.” Where Oz Handicraft was informal and quirky, ITC Migrate has a more restrained feel. “The uppercase characters and figures, in particular, have been reworked,” says Ryan, ”resulting in a more formal and traditional, compressed sans serif typeface.”

No word describes this font better than STYLE... TypeSetIt has taken things just a step further. It takes the look and simplicity of 1950s and 60s advertising and combines it with up to date design characteristics. With three main styles, Plain, Script and Formal, StylePro transforms the Retro look into a versatile, and powerful font that can be used for nostalgic work, or 21st Century design. Style Script is a beautiful upright script with looks that vary from Casual to Formal in appearance. If you're a professional graphic designer, use Adobe Illustrator®, or InDesign®, to access Style Script Pro’s Opentype features. With over 1275 Glyphs, the OTF programming gives a powerful solution to the needs of design professionals. Special thanks to Maximiliano Sproviero (my good friend) for his keen eye and design suggestions, and a note of appreciation to Mark Simonson for helping with technical issues. :)

Braga Huis typeface is a font family that is inspired by the famous street in Bandung that was made to embodies the atmosphere and the environment of Netherland-Indie city at its golden time, whereby all the elements were designed to give the impression of structural, artistic, and advance. Braga Huis typeface has a strong Art Deco character, where the impression is depicted from the strong lines, curvy passion so it is very appropriate to describing the future atmosphere from the perspective of the 19th century. Braga Huis typeface has 3 font styles consisting of uppercase, lowercase and various alternative options that can be customize to your taste, poster is one of the media form of presentation that we believe is very appropriate for this type of font. But whatever the medium is, honestly we say; using Braga Huis typeface will make your artwork will never be cracked by time.

Galena Pro is an extended version of Galena, a typeface published for Bayer Corporation in 1996. Galena Pro is based on the open and organic forms imagined by the writers of humanist Italy, who designed the first so-called Roman characters. Humanist style fonts have moderate stroke contrast, uneven widths, and a classic, but soft and easy-to-read appearance. Galena Pro gives a new birth to the 15th century incunabula, a typographic drawing where the gestures of this standardized handwriting are not mechanical, but more fluid. The Galena Pro series can provide professional typography with OpenType features such as alternative sets of numbers, fractions and an extended character set to support Central and Eastern European as well as Western European Languages. The different styles of the Galena Pro are enriched with a condensed variant to meet the need for space savings in titles and texts.

The Keiss type family is our interpretation of the popular nineteen century Scotch Roman typefaces. We intended to keep a very classic approach while introducing a couple of new elements that differentiate this type family from it’s ancestors. This design, with short descenders and ascenders, along with three very distinct optical sizes makes this type family well suited for contemporary newspapers. The Title and Big versions range from Thin to Heavy, with matching italics, in order to be used in big sizes and stand out in the design. The Text ranges from Thin to ExtraBold and is a standalone type family for text usage, with narrow proportions and wider and open italics for improved text setting. The Condensed versions, ranging from Thin to Bold, don’t have italics, although they can be matched with the italics of the Title and Big versions, due to the fact they are very condensed.

Gainsborough - a clean-cut display pack. Gainsborough is a display combo pack of three styles and extra swooshes. Gainsborough fonts are straightforward with characteristic clarity. All the three fonts are designed to play together. Gainsborough is very easy to use. Gainsborough Pen is a clear script inspired by handwriting with pigment pen but polished clean to be legible and inviting. It’s equipped with Contextual Alternates and Standard Ligatures for smooth flow and connections between letters. In addition there’s Stylistic and Swash Alternates for standard characters. Gainsborough Sans is a sturdy street-sans ready for action. It’s has zero contrast and angular geometric shapes. It’s great for bold headlines. Gainsborough Serif follows pretty much the same proportions but with the serifs and a little bit of contrast and round shapes. Try combining Gainsborough Swooshes with Gainsborough Pen - type one character with Swooshes in the end of a word typed with Pen and you’ll have an ending swash reaching below the word. There’s different shapes and length swooshes + a couple of center balanced ornaments.

Jh Fares is a modern / simple Kufic style font. The user may notice plenty of white space around the text leading to a highly readable font. The Kufic script is one of the oldest Arabic Handwriting, first appeared in el Koufa - Iraq. The original calligraphy was derived from the Aramaic letters; later it went thru lots of enhancements. Its typical uses include decorative writings for Mosques / palaces, Magazines / Newspapers / Books titles and Greetings.

Espect Retro beckons to the discerning eye with its harmonious blend of the modern and the classic. Its wide, yet hairline-thin structure gracefully extends into elongated serifs, giving it a poised and elegant stance. The extended x-height isn't just noticeable; it's a celebration of design that evokes charm and cuteness in every curve and counter. Espect Retro's lightness radiates a fashion-style sophistication, making it a go-to for classy projects.

Spooky Party is a unique and very unique display font. Add to your creative ideas and notice how they make them stand out! This will take all crafts to the next level! Spooky Feast is perfect for logos, quotes, posters, clothing, and any other design that requires a strong and unique touch. To stay up-to-date on my latest work, follow me and let's be friends because there will be many promos.

Dilan Whemsy is a delicate, elegant and flowing handwritten font. It has beautiful and well balanced characters and as a result, it matches a wide pool of designs. Add it to your most creative ideas and notice how it makes them come alive! This font is PUA encoded which means you can access all of the cute glyphs and swashes with ease! It also features a wealth of special features including alternate glyphs and ligatures.

Spooky Frights celebrates all things scary: It’s the ideal display typeface for any spooky Halloween-themed creative project. Add it to your most creative ideas and notice how it makes them come alive. This is an installable font that will work great with your Halloween party invitations, web graphics, and other halloween decor. This font is cuttable! what’s inside : Uppercase & Lowercase Numerals and Punctuations (OpenType Standard) Accents (Multilingual Characters) PUA encoded Ligatures

The cool, the sans and the light: Mudstone fonts are proudly packed with nice oddities and quirks. These are definitely fonts for getting noticed, in an affirmative, authentic way. Mudstone fonts are all caps, each with at least 2 sets of uppercase letters that will cycle at the command of the contextual alternates feature. There are also stylistic alternates in each font, for that extra something. Critically cool, seriously creative, dangerously unique. Definitely trying? Cool!!

Enstars Is Beautifull Handwritten Font that has a distinctive character that is very thick and elegant to use Enstars is a relaxed and flowing handwritten script font. Incredibly versatile, this font fits a wide pool of designs, elevating them to the highest levels. Add this font to your favorite creative ideas and notice how it makes them come alive! Feature A-Z Character Set Numerals & Punctuations (OpenType Standard) Stylistic Alternates Multilingual Ligatures