Camelot was the first of over 100 typefaces designed by Frederic Goudy. The upper case characters were drawn in 1896 for the Dickinson Type Foundry. Goudy was so encouraged by his check for $10 (double what he asked for the drawings), that he spent the next 50 years designing type. The lower case was added by the Dickinson foundry. This Lanston digital release includes a Text version based on the smaller point sizes of the metal type and a Display version based on the larger sizes. The two appear different in size but share the exact same line weight when at the same point size.

Railhead is a revival of an 1870s type style that was originally available from both the Bruce foundry in New York and James Conner's Sons type foundry. The Redux version is the original design but only the uppercase and punctuation were ever created the rest of this font design including numbers, accented characters and lowercase are of my own design. Looking at the original font the inside rails reminded me of a railroad so I created a new version by adding horizontal lines in the lower portion of each letter which resemble railroad ties and Railhead seemed to be the most logical name for this old revival.

The origins of Bookman Old Style lie in the typeface called Oldstyle Antique, designed by A C Phemister circa 1858 for the Miller and Richard foundry in Edinburgh, Scotland. Many American foundries made versions of this type which eventually became known as Bookman. Monotype Bookman Old Style roman is based on earlier Lanston Monotype and ATF models. The italic has been re drawn following the style of the Oldstyle Antique italics of Miller and Richard. Although called “Old Style,” the near vertical stress of the face puts it into the transitional category. The Bookman Old Style font family is a legible and robust text face.

Tripper is a rock-hard display font family. The six styles – from Light to Black – of this robust stencil typeface will assure your text grabs all the attention it can get. Instead of settings large amount of texts, just use this font for a small amount of words. Or even better: just one word. But most importantly: make it really, really, really big. The lightest weight is pretty condensed, and slowly expands when the weight increases. The bridges – essential to a stencil font – have the same width across all styles, so you can safely apply all styles in the same size without the risk of stencils falling apart. Due to the absence of curves throughout the whole family, Tripper is suitable for more limited, industrial applications too. Tripper comes in several flavours. Next to the basic flavour, there is a stencil family which automatically creates borders around every letter, word or line. Then there is Tripper Rough, a textured version with that intelligent random, grungy look. Together with the previously released multi-colour font Tripper Tricolor, the complete family consists of 24 styles. Tripper is equipped with a bunch of OpenType features, like different figure styles, fractions, superiors, etc. But if all the OpenType ding-dong is not enough for you, just try the ornaments. The separate ornament font comes with icons, indicators, manicules, banderoles and patterns.

Agatized Formal is a chunky stencil typeface with slightly condensed letterforms and tight spacing. Designed primarily for display use, it’s ideal for posters, logos, advertising, book cover designs or small chunks of text such as pull-out quotes. It exudes authority without taking itself seriously, like a plump jolly uncle in charge of a brass band. Agatized Formal is a big, bold typeface with a charismatic presence that commands attention – in a friendly way, of course. But what really makes this typeface come alive is its arsenal of alternative characters and ligatures. There is a saying: Use sparingly. Whoa! Not here, no, no, no. Make your Glyphs palette earn its money. Flex your OpenType muscles: get stylized, contextualized, indulge in some ligaddiction. This typeface is a peacock that likes to put on a show, spread its plumage and strut around in all its blazing glory. Agatized, according to Wiktionary, means: A living thing converted into the form of agate; fossilized. I felt the name suited the solid, almost rock-like letterforms, but most of all I just wanted a typeface name that began with the letter A. Although Agatized Formal is a single-weight typeface it has a sibling, Agatized Informal, an older, more casual brother, rougher round the edges with craggy good looks and an altogether more jaunty style.

Darby came about while playing with a loaded round-tipped brush. The letters remind me a bit of signage I remember seeing at county fairs in my youth. It's a casual comfortable font that lends itself well to outlining and drop shadows for emphasis. Not intended for long copy, it would work well in headlines or in signage where one is wishing to attract attention.

Inspired by the shape of a 3.25" floppy disk this unicase font was designed from the combination of three square modules. Made in 1998 Disquete is one of the first projects of Buggy, founder of the Brazilian type foundry Tipos do aCASO.

Syntax was developed by Hans Eduard Meier in 1968 and presented by the font foundry D. Stempel AG. Its figures are based on Old Face characters but have a distinctive, modern design. The inclination to the right lends the font a dynamic feel.

The 1918 specimen book of the Miller and Richard Type Foundry of London and Edinburgh featured this endearing typeface. Both versions of this font include the complete Latin 1252 and Central European 1250 character sets, as well as a very tasty f_f_i ligature.

An eccentric chamfered sans serif wood type design with a right side engraving line from the 1800s was found within the pages of the Thorowgood foundry of London, England. This font is now available as Chamfer Engraved JNL in regular and oblique versions.

Page Printer JNL was inspired by “Skeleton”, from the William H. Page Wood Type Foundry circa 1848. Its name is a play on both Page’s surname as well as contemporary desktop printers. Page Printer JNL is available in both regular and oblique versions.

This began life as a European font that was copied in the United States by Bruce's Type Foundry in 1885. It was caps only and had a fine line "three-D" shadow. We scrapped the shadow, added a lower case, and voila!

Larque is a slab serif text typeface. The tall x-height and the open counters makes the font very legible at small sizes. Larque includes extended latin characters, ligatures, oldstyle figures and Open Type features. It is available in roman and medium weight.

This is a friendly display typeface with large ink inlets that make it look like the counters have been eaten away from the inside out by hydrochloric acid. It's legible at small sizes, but at large sizes the nice details make themselves apparent.

Emmy is the second family from this up and coming foundry. A versatile font, Emmy has many different styles to suit your needs. Easy to read and fun to use...it's perfect for a children's book, logo or other cool design project!

Here's another collection of ornate border elements gleaned from the 1888 specimen books of James Conner's Sons United States Type Foundry in New York City. Refer to the PDF guide for detailed, yet simple, instructions for constructing nine delightfully different border patterns.

Here's an unusual take on a "modern" typeface, based on a 1936 release from England's Stephenson, Blake foundry, which serves well for interesting headlines. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Introducing by Qwrtype Foundry Proudly Present, Spearmint Spearmint is a Brush Handwritten Font Spearmint is perfect for product packaging, branding project, megazine, social media, wedding, or just used to express words above the background. Spearmint also come with multilingual support. Thank you!

George Bruce's New York foundry had a remarkable number of decorative types, most of which were lost or destroyed when the firm was taken over by the American Type Founders Co. and closed down in 1906. Bruce catalogs are prized among collectors.

FDI Triumph revives Albert Auspurg’s “Triumph” typeface originally released in 1929 by the type foundry Ludwig Wagner in Leipzig. The forgotten design was carefully digitized from the original wood type font and extended to cover the Western codepages Win 1252 and Mac Roman.

“Corbitt” is one of the many designs found within the pages of the 1907 Inland Type Foundry specimen book. A bold spurred serif with Art Nouveau influences, it is now available digitally as River Terrace JNL in both regular and oblique versions.

Truncheon is a grunge font with hair on its chest. Like its namesake it beats you over the head with enough attitude to leaves you confused and spinning. Upper and Lower case characters have variations like filled counters to keep things random.

Coen Hofmann revives an original design by Germany type foundry Schriftguss from 1940: His digital Admira is expanded with an extensive open type character set and even provides full Cyrillic. The face is set to best use at point sizes above 24.

“More is better” may have been the motto of Richard Austin of Austin and Son’s Imperial Letter-Foundry on Worship Street at Finsbury Square in London when he designed and cut his Antique typeface. The year it was created is uncertain, but it is known to have appeared in a specimen book produced in 1827. At first glance, the upper case letters of Austin Antique look very much like Figgins Antique. But, upon examination, one will note that the Austin face is much darker. In general, the letters designed and cut by Richard Austin have fatter strokes, larger serifs and smaller counters -- more metal and less daylight. The premise was that the darker the letter, the more attention an ad using the typeface would receive. In old pictures of London and Paris one may see walls crowded with posters and “bills” -- competing for the attention of the passerby. Morris and Updike aside, the early nineteenth century marked the beginning of a commercial as well as industrial revolution. Patterns of commerce were changing. With new methods of marketing came the need for new typefaces to support the new methods. Foundries found the display types were very profitable and competed most energetically and creatively for the trade. There was a lot of trial-and-error. Some ideas faded away. Others, like the Antiques or Egyptians, were refined and developed. From them came the Clarendons that were to prove both popular and long lasting -- because they worked. Their job was to sell goods, not please the aesthetic sensibilities of the critics. They did their job well. Austin Antique has a full Western European character set, plus the following ligatures: ct, st, fi, fl, ff, ffi and ffl. Tabular numbers. Surprisingly readable.

Rauda font family has been designed for Graviton Font Foundry by Pablo Balcells in 2017. It is a display, sans serif, geometric typeface, with sharp angles that provides a strong and solid appearence. Rauda consists of 8 styles. Each containing glyph coverage for several languages.

P22 Nebiornaments contains over 100 ornaments based on the Italian Nebiolo Type Foundry designs of the 1950s. Many of these ornaments are designed to create complex patterns and continuous borders. The simple geometric shapes allow for endless combinations for a wide variety of uses.

Originally issued as Palm from the A. D. Farmer Foundry in New York, about 1887. This is a good early example of the transition from the ruffles and fluorishes of Victorian fonts to the more restrained decoration that came to be called Art Nouveau.

Originally called Bohemian in the 1918 specimen book of the Miller and Richard Type Foundry of London and Edinburgh, this Jugendstil typeface still retains its freshness and quaint charm. Both versions of this font include the complete Latin 1252 and Central European 1250 character sets.

This was originally brought out as a caps-only font, but later the foundry scrounged up a lowercase that wasn't our idea of a very good match. So we cleaned up the caps and made them a bit bolder, then drew a harmonizing lowercase.

Freight Display kicks it up another notch from the Freight Text family with more open counters and a bit more contrast. Those warmer proportions give balance for easily read headlines, running heads, and subheads while still standing tall if reversed-out at smaller sizes.

A very heavy headline only typeface which should be typeset at rather large type sizes due to its fine counters. It’s the ideal typeface for building a brick-wall out of letters. Surprise is in the details, so play it loud and big! It’s fun.

This was a patented design, so we know who designed it and when. August Will was a type cutter who sold his work to a number of foundries. We worked over this design to open up the space between the strokes to accompdate smaller sizes.

News Gothic was created by Morris Fuller Benton in 1908 and presented by the American font foundry American Typefounders. Despite, or perhaps because of, the font’s unconventional relationships in proportion and form, News Gothic has long been a popular typeface for almost any use.

This childish script by Monotype designer Steve Matteson strikes a great balance between informality and legibility. The TrueType versions have been extensively tuned (hinted) for high legibility at small sizes on screen at a quality level termed ESQ (enhanced screen quality) by the foundry.

Albany, from Monotype Imaging, is a typeface family whose fonts have the same metrics as Arial. However, in contrast to Arial or Helvetica, Albany's letterforms are more open, with more generous apertures and counters. Also, punctuation is not square, as in Arial, but round