Norwich Aldine Reverse is a font of "streamer type" (reversed out type used for banners or streamers) originally designed around 1872. Norwich Aldine is slightly lighter and more open than Aldine. It features medium stroke contrast, heavy serifs, and large rounded bracketing (where the stems meet the serifs). Our version is based on wood type of unknown origin. We created dozens of special ligatures to reduce problematic kerning encountered with a monospaced reversed type.

Norwich Aldine Reverse is a font of “streamer type” (type reversed out of a solid) originally designed around 1872. Norwich Aldine is slightly lighter and more open than Aldine. It features medium stroke contrast, heavy serifs, and large rounded bracketing where the stems meet the serifs. Our version is based on wood type of unknown origin. We created dozens of special ligatures to reduce problematic kerning encountered with a monospaced reversed type.

Proudly present Straight Forward - Mixed Type, created by ikiiko. Straight Forward is a mixed sans serif font type, with wide to condensed characters. Straight Forward has 3 alternative letter shapes that have been mixed and can be played by changing the alternate types. This font is available in 2 types of color for Uppercase and outline for Lowercase. This type is very suitable for making a streetwear brand, poster or magazine layout, fashion design, quotes, or simply as a stylish text overlay to any background image. What's Included? All Caps Glyphs 2 Styles (Color & Outline) Number & Punctuation 3 Type Alternates + Bonus Ligature Multilingual Support Works on PC & Mac Enjoy our font and if you have any questions, you can contact us by email : ikiikowrk@gmail.com

A very unusual type based on wooden type designs of the 19th century, lacking lower case which may not have been designed for this font.

If you require an authentic wood type era typeface, Wooddale is your match. This face was revived with care from samples in antique type specimen books.

Trade Gothic inline is a quirky display companion for Trade Gothic Next, offering five different voices, and a whole lot of personality. The lighter weights are graceful and elegant, embracing negative space to give the sense that the letters are halfway to disappearing. Designer Lynne Yun has incised the darker weights with a super thin inline that emphasises the heaviness of the letters, and creates a reassuring chunkiness. “If I kept the inlines the same, it created a lot of visual noise,” explains Yun. “I wanted each weight to be different enough, so in the end the weight and width of the letters was increasing and decreasing in size, and the inlines were too. The black is almost like an extra black, because the inline is smaller. It's about trying to have different voices for each weight.” Trade Gothic Inline is available in five weights, from light to black.

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.

Sunshine is the unlikely alphabet collision of Gobbler and Liquorstore. Chank's napkin scrawl smashed into the letters commonly found on signage at the neighborhood liquor store. Gobbler's blotchy textures fragmented Liquorstore's uniform stroke. It began as a hideous lumpy thing with random vector points everywhere. Chank came to the rescue with his Alphabetician's first aid kit. He smoothed the blunt corners with a few hammer blows. He wrapped the font in extra strokes, in a sans serif Roman style, to increase its contrast. His industrial influence helped stabilize Gobbler's gloppy qualities and his grunge aesthetic softened Liquor store's checkerboard rigidity. The end result is a font with a solid structure and a painterly wiggle that creates a dirty display or a slightly clumsy text face. Because of its many detailed strokes, it tends to look a little better in print than on the web. All organic. Earthy.

Thunderblack is a type of display letter that is made with firm lines and angles. This font is very suitable when combined with various types of typography.

In 2002 Matthew Carter was commissioned to create a new design to be cut in wood by the then nascent Hamilton Wood Type Museum. This was significant in that this was the one format for which Carter had not yet designed type. The new design emerged as a two-part chromatic type to be cut specifically in wood. Originally called Carter Latin, the font was renamed Van Lanen after one of the Museum's founders. The first cutting and printing of the type took place in late 2009 and although it has been available through the Museum, contemporary wood-type production is expensive and few have acquired this font in wood. The digital version of the pair of Van Lanen fonts is now available. The design recalls Antique Latin wood type, but with a refined sensibility and intentional quirks (like the sideways ampersand). It is a wonderful addition to Carter's oeuvre, and to the ongoing history of wood type.

Iconic Conjuring memories of chunky typefaces from the late-60s and early-70s, and named after the world’s greatest footballer of that and probably any other era, FS Pele is one of a set of Fontsmith fonts designed specifically for headlines and other prominent applications. “We wanted to create fonts that could be integral to the design of posters, album covers and magazines,” says Jason Smith. Welcome to FS Pele, iconic, like its namesake (though, perhaps, a little less nimble). Big Pele, little Pele There was only one Pele. But there are two sizes of FS Pele. FS Pele One, with the finer counters and details, adds considerable weight and style at large sizes, especially in big block headlines on posters. FS Pele Two’s thicker “slots” make it a better choice for smaller-sized text. A load of blocks FS Pele began as an exercise by Phil Garnham in turning squares into legible letters, via the least means necessary. The idea extended his ideas about logo-making, and the search for a stamp-like brand mark that lends authority, stability and instant identification. “The thought that the type was a 2D/3D jigsaw of slotted, architectural pieces was almost an after-thought. I wanted to create a strong, stacking, block aesthetic for the most contemporary poster design. “At the time there were a lot of designers creating their own versions of the same thing but I wanted to take the blocker forms to the next step, and infer a more legible text without sacrificing the idea.”

Iconic Conjuring memories of chunky typefaces from the late-60s and early-70s, and named after the world’s greatest footballer of that and probably any other era, FS Pele is one of a set of Fontsmith fonts designed specifically for headlines and other prominent applications. “We wanted to create fonts that could be integral to the design of posters, album covers and magazines,” says Jason Smith. Welcome to FS Pele, iconic, like its namesake (though, perhaps, a little less nimble). Big Pele, little Pele There was only one Pele. But there are two sizes of FS Pele. FS Pele One, with the finer counters and details, adds considerable weight and style at large sizes, especially in big block headlines on posters. FS Pele Two’s thicker “slots” make it a better choice for smaller-sized text. A load of blocks FS Pele began as an exercise by Phil Garnham in turning squares into legible letters, via the least means necessary. The idea extended his ideas about logo-making, and the search for a stamp-like brand mark that lends authority, stability and instant identification. “The thought that the type was a 2D/3D jigsaw of slotted, architectural pieces was almost an after-thought. I wanted to create a strong, stacking, block aesthetic for the most contemporary poster design. “At the time there were a lot of designers creating their own versions of the same thing but I wanted to take the blocker forms to the next step, and infer a more legible text without sacrificing the idea.”

Poster type faces from the twenties and thirties are enjoying a new wave of popularity. The summary, even rather hard principle of the sign is required for a view from a distance. The information appearing on the poster must be readable even from the opposite pavement. And, as is often the case with monumental type faces, these type faces are legible even in small sizes. The name Bahnhof suggests the hypothetical use of the type face on railway station buildings.

wood type heritage

Type 3D letterforms.

Curlicues galore on this modern version of a mid-victorian display type. We started with the caps from a type called Cellini, altered them considerably, and added a lowercase.

The versatile neo-grotesk typefamily, inspired by the swiss academia with a contemporary mood. The shape of the letters are more pliable compered to classic grotesk typefaces. The Expanded series enlarges horizons... and type! -- Taking inspirations from classic grotesk letterforms, both from the European tradition (specifically the Swiss school) and the American tradition, HypeType's Arcadia Grotesk is modernized with its shorter ascenders and descenders to give more compact blocks of text and with more contemporary and dynamic forms. -- hype-type.com // kidstudio.it

Bixa is a chromatic typeface designed for display use. Bixa comes in 13 different layers containing 11 weights for beautiful color combinations. Bixa was originally designed for the Typewood project in 2015. Read more about this project here. In 2016 we launched the chromatic web version of Bixa. More information about Bixa Color here. Bixa was awarded by the Type Directors Club New York and the European Design Awards in 2016. Bixa is designed by Novo Typo in 2015. Youtube

Steve Jackaman. In the early 1980's, Steve worked at Typographic House in Boston, Massachusetts. At the time, 'Typo' House, as it was affectionately known, was the largest type house in New England. This font was designed and produced during his tenure. The design was so popular that it became available commercially through VGC, and was known as TH Alphabet Soup. Completely redrawn and remastered, Alphabet Soup Pro contains all the high-end features expected in a quality OpenType Pro font.

-OC Revolt is a variable display font made for the protest graphics of the NYC based T*#@p Brexit era Non-Complicit project who initially made guerrilla type with masking tape applied directly in situ or to silk screens. An uppercase only font there are alternate versions of each character on the lowercase keyboard. Double letter ligatures are used to prevent direct mechanical repetition of letters in the static styles and the Shift axis can be used to make each letter variably unique.

The font DXOldStandard Condensed No2 was revival on the basis of the Antiqua Condensed type, which was issued by type foundry of Russian from the beginning of the 20th century.

HT Neon shines as if to invite us.This rounded and monoline font is very striking. But it is readable because the characters are arranged naturally when they are typed. HT Neon is great to use on your design projects such as Shop Sign,Packaging, Logotype and more.When you type the character “µ”, it becomes a electrical cord! Holiday Type Project offers retro hand drawing scripts. Inspired by retro script on shopfront lettering, wall paint advertisements in Italy around 1950s. Check out the script fonts from Holiday Type!

A collection of fonts by the type foundry Intellecta Design. Distressed and antique, use these fonts in display purposes for a stylized type design. Contains a limited amount of letter designs.

Based on the classic “Columbian” from the William H. Page Wood Type Company (circa 1870), Cherrywood JNL is a bold slab serif type design available in both regular and oblique versions.

Based on a revival of one of the popular wooden type fonts of the 19th century, suitable for display, lower case missing but not always designed for this type of face.

A collection of fonts by the type foundry Intellecta Design. Distressed and antique, use these fonts in display purposes for a stylized type design. Contains a limited amount of letter designs.

A collection of fonts by the type foundry Intellecta Design. Distressed and antique, use these fonts in display purposes for a stylized type design. Contains a limited amount of letter designs.

HWT Brylski is a typeface by Nick Sherman, named for retired wood type cutter Norb Brylski and designed to be cut as wood type at the Hamilton Wood Type & Printing Museum. This font is the digital counterpart to the wood type made as part of the Hamilton Legacy Project . It incorporates several themes that were common in 19th-century type design, including split tuscan serifs with angled mansard-style sides, heavy weight placement at the top and bottom of letters (traditionally referred to as French or Italian/Italienne, regardless of any actual relation to those countries), and an extended overall width. This digital version contains over 400 glyphs for full European language coverage.

The design of the first "Fat Face" is credited to Robert Thorne just after 1800 in England. It is considered to be the first type style designed specifically for display or jobbing, rather than for book work. The first instance of Fat Face in wood type is found in the first wood type specimen book ever produced: Darius Wells, Letter Cutter 1828. This style was produced by all early wood type manufacturers. The style is derived from the high contrast, thick and thin Modern style of Bodoni and Didot developed only decades previously. The extended variation makes the face even more of a display type and not at all suitable for text. This type of display type was used to compete with the new Lithographic process which allowed for the development of the poster as an artform unto itself. This new digitization by Jim Lyles most closely follows the Wm Page cut. The crisp outlines hold up at the largest point sizes you can imagine. This font contains a full CE character set.

Deco Geometric Stencil JNL was inspired by an example of a vintage Art Deco stencil type design seen in the Steven Heller-Louise Fili book "Stencil Type" (published by Thames and Hudson).