This is Solotype's version of a popular mid-nineteenth century style explored by several early foundries. It reads surprisingly well in paragraphs, and is a handy font for work with a Victorian theme.

The Virile and Virile Open fonts are late nineteenth-century typefaces in a rustic style. Use the Virile fonts to add charm to book covers and posters relating to natural history and decorative arts.

PL Davidson Americana is an all-capital typeface based on woodcut designs from the nineteenth century. The PL Davidson Americana font was designed by M. Davison in 1965, during the revival of American headline faces.

PL Davidson Americana is an all-capital typeface based on woodcut designs from the nineteenth century. The PL Davidson Americana font was designed by M. Davison in 1965, during the revival of American headline faces.

Saracen is the Latin (wedge serif) member of The Proteus Project, a collection of four interchangeable type families designed in different nineteenth century styles. The Saracen typeface was designed by Jonathan Hoefler in 1992. Saracen is a design in the ‘latin’ style, characterized by wedge-shaped serifs, a genus of type that emerged in the mid-nineteenth century. A part of The Proteus Project, the typographic theme-and-variations based on related Regency styles, Saracen was created for Rolling Stone, in whose pages the typeface first appeared in 1993 . From the desk of the designer: Though the wedge serif printing type is a nineteenth century innovation, Saracen does not resemble any font from this era. It’s mysterious that typefounders of the Victorian age who sought the extreme and fanciful in their work — exploring all manner of serif treatments, and creating extra-condensed and super-expanded designs — never made a latin font of this straightforward proportion. <

Dave West released the Behemoth Semi-Condensed font in 1960. With nineteenth-century wood-cut influence PL Behemoth Semi-Condensed is an example of the revival of slab serif styles, popular in the sixties and seventies.

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.

A random scan from a late nineteenth-century German type specimen book, encountered on the internet, provided the pattern for this surprisingly contemporary face. Although all of the characters are parallel to the baseline, the unusual dimensional treatment tends to give the impression that they slant upward to the right. Both versions of this font include the complete Unicode 1252 Latin and Unicode 1250 Central European character sets.

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.

Amecane is a mecane. (Mecanes are slab Fonts) inspired by old style typography introduced in the early nineteenth century. Amecane is a slab serif font - designed by Loïc Choquet. The Amecane font family consists of 16 fonts, 2 widths and 8 weights, with italics. Well-suited for editorial projects, logotypes, posters, packaging, etc. The font contains 348 glyphs with a wide range of flexibility for Latin language support for every typographical needs.

Antica has sharp triangular serifs, and in 8 weights with true italics, it forms a family that stylistically finds its origins in Latin styles of the nineteenth century. The font incorporates additional swashes, small caps and stylish alternates that advance the aesthetic from its roots and make it appropriate for modern design. Commonly named ‘Latin types’ did not vary in weight, but we decided to create Antica with a range that goes from thin to black and we also added extra curlicues to the letterforms. Antica borrows from the versatility and freedom granted to type founders of the nineteenth century – a time when the meteoric growth of mass-produced consumer goods led to an increased demand for publicity that needed fresh, attention grabbing typefaces. And as an homage to these Latin types we designed Antica to function well with an array of projects from stylized labels and formal editorial design requiring small type sizes to large-scale posters and billboards. The Antica family supports a wide variety of Latin alphabet-based languages.

Released by the Monotype Corporation around 1932, Inflex Bold is a Scotch Roman fat face design similar to many others popular in the nineteenth century. A high-contrast bold roman, Inflex Bold is good for informal display work when used sparingly.

In the early years of the twentieth century a number of romans with a soft and slightly script like quality were evolved. Although they did not represent the future in terms of the major design influences that were to appear after the First World War, they were a break with the past, and were developed further in the nineteen twenties and thirties. Monotype Bernard Condensed is closely associated with this period, a condensed roman evoking an easy charm. The Monotype Bernard Condensed font offers many display applications where warmth and friendliness is required.

A late nineteenth-century type specimen catalog from Farmer, Little & Co. yielded this droll little typeface, originally called "Arbor". The distinctive decorations of the face suggested a fool's cap, and thus the font got its current name. And don't call me Surely.

The object of Grover was to join two distinctive typeface designs: the basic European gothic of the late nineteenth century and the ‘rounded’ style found in 1960s America. The result is a clear, friendly face with subtle yet unforgettable features. Named after Grover Washington, Jr., the jazz saxophone player, Grover is geometrically constructed and yet very human in appearance. Sans and slab serif variations, true italic weights, as well as small caps afford Grover versatility and unique display characteristics.

The object of Grover was to join two distinctive typeface designs: the basic European gothic of the late nineteenth century and the ‘rounded’ style found in 1960s America. The result is a clear, friendly face with subtle yet unforgettable features. Named after Grover Washington, Jr., the jazz saxophone player, Grover is geometrically constructed and yet very human in appearance. Sans and slab serif variations, true italic weights, as well as small caps afford Grover versatility and unique display characteristics.

Marisco is Portuguese for shellfish. The font arose from the forms of classic tattoo types, especially those of mid-twentieth-century sailors, but it also has something of a nineteenth-century poster type flavor to it. Its main application is display type and poster design.

Our first font of Grecian was so old that it had been cast in a hand mold. Extremely popular face in the nineteenth century, made by many foundries and wood type makers in various widths. Lowercase was added by some foundries in later years.

One in the series of fonts called Whiz-Bang Wood Type, intended to be set large and tight. Ouachita Way is an ultrabold and boxy caps and small caps font, especially well-suited for commadning headlines. Based on nineteenth-century “Grecian” fonts, the name comes from a forest and a river in Arkansas. Both versions of this font contain the Unicode 1252 Latin and Unicode 1250 Central European character sets, with localization for Romanian and Moldovan.

Headline Bold is a sans serif face in the nineteenth century English Grotesque tradition. The Headline Bold font is based on types from the Stephenson Blake type foundry called Grotesque no. 9. A bold and compact font, its name gives a strong indication of its primary use.

This font provides a variety of symbols for decorating maps simulating those of the sixteenth to nineteenth centuries. For fans of piracy, there is a range of skull and crossbones imagery. The font also includes cartouches, scrolls and symbols for mountains, hills and castles of various sizes.

Artistik, a late nineteenth-century face, is reminiscent of Asian calligraphy, and has the appeal of the turn-of-the-century Art Nouveau are. Based on brush-drawn letters, the Artistik font looks good in many display situations. Use the Artistik font on packaging, posters and signs.

This is a simplified Tuscan, free from excessive ruffles and flourishes. Types of this general design began to appear in profusion in the 1830, and continued as a popular form until the end of the nineteenth century. We added the lowercase to this one for increased usefulness.

The extra bold version of R. Hunter Middleton's "Karnak" (produced in 1936 for Ludlow) served as the model for Bookkeeping JNL and is a companion to Bookkeeper JNL (the light weight version of this type design). Middleton based his "Karnak" family of typefaces on the geometric slab-serif "Memphis", which was designed in 1929 by Dr. Rudolf Wolf and released originally by the Stempel Type Foundry of Germany. According to Wikipedia, "Karnak" "was named after the Karnak Temple Complex in Egypt, in reference to the fact that early slab serifs were often called 'Egyptians' as an exoticism by nineteenth-century type founders." Bookkeeping JNL is available in both regular and oblique versions.

»Supra-condensed« – designed by Gert Wiescher in 2013 – is the condensed version to this new sans typeface family of eight weights with matching italics. The condensed version is designed for space-saving typography but with high legibility in mind. The light and normal weights and the dominant x-height with its high ascenders make for easy reading of long copy. The heavy and x-light weights are great for elegant headlines. Supra is an OpenType family.

The four weight semi-condensed Bartholemé family came into existence as a family expansion based on the designer's earlier concept, Bartholemé Open. This hybrid family was inspired by and loosely based on a number of contemporary mid-twentieth century type concepts having Old Face or Modern influence. Those inspirational type designs were primarily designed for various proprietary photolettering technologies of the time. The award-winning* Bartholemé Open and its companion design Bartholemé small capital open were inspired by various Shaded, Inline and Handtooled type models from the nineteenth and twentieth centuries. Most of those inspirational type designs were designed as titling fonts with all capital sets only. To set it apart from the earlier models, Bartholemé Open is semi-condensed intentionally designed with a lowercase. Design qualities include a large x- height, tightly curved ample counters, crisp serifs and tight bracketing. The overall plan of the family was originally intended for display usage in titling and short passages of text. At higher output resolutions all fonts read well at smaller point sizes. The Bartholemé family works well on its own, but also is compatible with type styles possessing qualities that complement or enhance its own. The Bartholemé family consists of a Regular weight complementing a Bold weight, along with Medium complementing an Extra Bold weight. The companion true-drawn italics are based on the Bartholemé roman design. * Award for Design Excellence bukva: raz! Type Design Competition of the Association Typographique Internationale, 2001

Dark, spicy & distinctive display typefaces from the nineteenth century I had in mind when creating this font family. Extreme contrasts and sharp endings may remotely remind some blackletters, especially in narrowed styles. The range of interpolated widths is useful for designing a provoking poster, magazine, music or book cover.

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.

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.

When it comes to poster design, the line between wild west and psychedelic can be surprisingly fine. Dave West combined both typographic genres to create his refreshing Banjo. Developed in the late 1960s for Photo-Lettering, Inc., this curvaceous high-contrast sort-of serif might have been born on the nineteenth-century frontier, but it was raised in the counterculture of the mid-twentieth century. Use it wherever the conventional and uncommon collide. Vectorized by Mitja Miklavčič in 2017. 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.

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.

This quintessential nineteenth-century offering is based on a typeface from the 1912 American Type Founders catalog called Lining Central Antique. Quaint, yet crisp and clean, it is equally suitable for headlines or body copy. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

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.

Type that preserves the over- and under-inked textures of true old-fashioned wood faces, now available without ink on your fingers straight from your keyboard. Based on samples taken from early and mid Nineteenth century Clarendons, the font carefully preserves all the battered idiosyncracies of vintage print shop type.

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.