Roxborough CF is a dramatic serif, influenced by calligraphy and hand lettering. Built around a distinctive single-storey 'a' and full of rich detail, Roxborough pairs well with its expressive italics, lending an artful touch to text across print and digital. Roxborough CF pairs nicely with simple, bold headline typefaces, like Greycliff CF and Articulat CF. All typefaces from Connary Fagen include free updates, including new features, and free technical support.

RNS Miles font family combines geometric shapes, open forms and grotesk mood for achieve a harmonic, neutral and low contrast shapes. Clearly influenced by Modernism it’s designed specially for headlines, titles and subtitles. The family consist of 7 weights ramping from thin to black, each weight having a matching italic. Take advantage of Mile’s extended OpenType features, including alternate glyphs, fractions, arrows, oldstyle figures, numerator / denominators and a variety of symbols.

Laureen zaza is an Arabic typeface that has a very particular appearance. It combines the characteristics of different genres; most notably the contrast of serif faces. While its design is influenced by Kufic and the Naskh style. Laureen zaza consists of two typefaces, text and display, and 4-weights. It’s a perfect choice for bold headlines, oversize typography, fashion logos, branding, identity, website design, album art, covers, posters, advertising, etc.

This book and newspaper font was designed by Francesco Simoncini in 1958. After the Second World War brought type design to a standstill, the years of reconstruction meant a reconsideration of old values in the typographical world as well as in Europe in general. Aster is the result of this movement, displaying instead of Modern Face influence, a tendency toward Transitional characteristics and giving text a light feel.

Odyssey Pro is an elegant and majestic face well suited for display work in books, magazines, posters, invitations, and more. Featuring an abundance of ligatures and alternates, as well as swash capitals. Its design was inspired by the letterforms of classical Roman inscriptions in stone but also strongly influenced by later calligraphic forms. The result is a chiseled authority and dignity tempered by a refined warmth and flow.

On occasion, when seeking retro source material for font designs, one can unearth interesting examples of typography that bridges decades with its ahead-of-its-time style. The songwriter credits on one particular piece of vintage sheet music had both the Art Deco influence but took on more of a techno look that was popularized in the 1980s. This hybrid of generations is the basis for Deco of Tomorrow JNL.

Univerza Sans was developed to mark the hundredth anniversery of University of Ljubljana. The style is influenced by the combination of Slovenian avantgarde with some recognizable forms that are known for Slovenian typography. Multifunctional use for identity system, formal communication, wayfinding, academic and scientific articles in order to share the institution’s spirit of knowledge, creativity, diversity and belonging. It speaks Central European languages, feels official but looks attractive and recognizable.

The first photo-typesetting machine in operation, the Uhertype, was introduced in 1925. It was a combination of manual phototypesetting machine and make-up machine. The machine’s typefaces were designed by Jan Tschichold. The patents on Uhertype were bought up at the time to prevent the invention of filmsetting spreading. Jan Tschichold has been very influenced by Gill Sans (1928) for this humanistic sans serif drawn in 1933/36 for Uhertype.

Bambino Font Family is a typography project by Milos Mitrovic and affiliates. Bambino has an influence of 1920s Futura-like fonts and art deco look and feel. Combining its vintage character with clean geometric form and organic flow, Bambino is shaped to fit modern aesthetics. There are 12 fonts (six weights with italics) included in the family. Bambino weight range spreads from almost hairline lightness to extreme bold style.

Donatello is a classically proportioned design with subtly tapered strokes, inspired by the lettering on the fifteenth century cantoria by Luca della Robbia in the Museum of the Duomo, in Florence. The design, consisting of caps and small caps, also includes Donatello Alternates -- a compatible set of wider characters. It was designed by Paul Shaw and Garrett Boge in 1997. Donatello is part of the LetterPerfect Florentine Set.

Here’s the follow-up to my Route 66 series, patterned after the typeface used on signage on the U.S. interstate highway system for fifty years. The numbers and uppercase letters are true to the original, while a number of the lowercase letters show the influence of the new Clearview type. Both versions of the font include 1252 Latin and 1250 CE (with localization for Romanian and Moldovan) character sets.

ITC Blaze was designed by Patty King in 1995. It is a typeface which looks as though it were written by hand with a broad tipped pen on rough paper. The pointed ends of the characters and the leaning to the right give the font a dynamic, energetic feel. Blaze shows the influence of the late 1940s and is best suited for headlines and short to middle length texts.

This sans-serif type family of two weights plus matching italics. Influenced by the geometric-style sans serif faces that were popular during the 1920s and 30s, the fonts are based on geometric forms that have been optically corrected for better legibility. Vitage has a functional look with a warm touch. It is manually hinted and optimized for screens, so it will be a good choice for Websites, eBooks or Apps.

Rundfunk-Antiqua was originally designed as a font for small point size and shorter texts. It was presented 1933/35 by Linotype Designstudio but unfortunately never developed as a font family, including only Antiqua roman and sans-serif bold. Such an unusual combination resulted from the font combinations common during that time. The font’s basic forms tend toward the Transitional style but its details come from the influence of Jugendstil.

Inspired by a retro Art Deco poster as well as many of the true classic Art Deco type designs of the 1930s and 1940s, Deco Revisited JNL is a bold, black, stencil-influenced design with no counters. Although being a contemporary design, its use in any retro project will truly evoke a feeling for the “streamline” era. Deco Revisited JNL is available in both regular and oblique versions.

Colón Mono is a monospaced slab serif type family of eight styles. The typeface design was influenced by the nostalgia for the aesthetic of a typewriter. Colón Mono is a counterpart to Colón sub-family and consists of two weights of roman and alternative styles and matching italics respectably. Colón Mono is released in OpenType format with extended support for most Latin languages, and includes some opentype features.

Here’s a not-often-seen variation of Milton Glaser’s 1968 creation Baby Teeth, distributed by Photo-Lettering Inc. as Baby Teeth Baroque. Actually, the sinuous swirls suggest, rather, an Art Nouveau influence, which is why this version has its name. Well, that, and the original design didn’t need any fixing. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

Carole is an interpretation by Matz Gasser of the old-style serif model. It explores the early serif typefaces and how handwriting still had a significant influence on the shapes. The result is a dynamic serif text font to use in small sizes and make reading comfortable. It was designed to work for text sizes, but you might find it in packaging or food brands because of its robust design features.

Tuff began with Magma. Set as text, they appear to be similar and are quite comfortable as typographic companions. The child-safe softness of Tuff owes something to the letterforms of the earliest extant Greek Manuscript, The Persae by Timotheos in the 4th Century BC. It is beholden to Morris Fuller Benton's original Souvenir, and its revival by Ed Benguiat. My own Stone Informal was also an influence.

Aysiano Regular and Italic is a casual sans serif typeface with its influence originating from Eastern broad brush style calligraphy. It includes selected swash caps to vary the settings where required. With a slick, fresh feel, capturing the spontaneity of brushed hand lettering, it will be suited to many applications especially as a display font although it can also be used in larger text sizes with great legibility.

Geryline simplifies elegance into one truly outstanding handwritten font. It maintains its classy calligraphic influences while feeling contemporary and fresh. This versatility will appeal to a wide range of crafty ideas, from letterheads and titles, to stationery. 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.

Carole is an interpretation by Matz Gasser of the old-style serif model. It explores the early serif typefaces and how handwriting still had a significant influence on the shapes. The result is a dynamic serif text font to use in small sizes and make reading comfortable. It was designed to work for text sizes, but you might find it in packaging or food brands because of its robust design features.

Uplink is decorative upright lettering with heavy calligraphic influences and clear friendly forms. Alternate forms with artificial "tail" connections, swashing their way from one letter across the vertical stroke of the next, add an unusual yet distinctly human detail to the forms that shape the words. Uplink's reserved humor can be a little tolerant of mechanical abuses like shearing or stretching, which makes it ideal for food product packaging design.

Velocity Vipers Brush Font, a modern and stylish font style influenced by urban style and branded goods that can be used in a wide variety of ways by Lettercorner Studio Velocity Vipers font is ideal for branding, photo overlays, watermark, typography, greeting cards, posters, business card, branding projects, social media posts, magazines, book covers, invitations, weddings, photography, fashion, apparel, letter, stationery, or any tasks that need a signature taste.

Canadian Serge Pichii was inspired by decorative lettering produced during the early 1920s by Jan Tschichold to create Ironwork. Similarly, his ITC Ancestor family was influenced by early work, but in this case, much earlier work: the characters carved by native British Columbian people on solid rock. He worked with anthropologists and linguists to produce a series of books dedicated to the history and culture of the people.

The result of reducing elements of letterforms to only its necessity in lowercase is mostly influenced by the ideal of Aerodynamics. The true intention behind the design of Cobe is to construct a fluid typeface while maintaining a strong structure of uppercase that possessed distict forms, shapes and corners, resulting in an eye-pleasing texture when forming a sentence. Cobe comes in 9 consecutive weights with italics and standard features.

Atonement is a splattery, scratchy font. I made it with a steel nibbed pen, a brush and some Chinese ink. I based it on my fonts Ravenheart, Qilin and American Grunge - mostly because I really like them. Of course, all of these fonts are influenced by the work of the great Ralph Steadman - someone I greatly admire. Atonement comes with ligatures for double letter combinations and a stash of diacritics.

Mario De Libero designed Swanstone while investigating XIX Century Old Style typefaces. Designs like Theophile Beaudoire’s Romana (1860) or Miller & Richard’s Modernized Old Style, that re-imagined the classical “Venetian” letterforms adding flared serifs and early Art Nouveau influences. In Italy, one of these fonts was Raffaello Bertieri’s Raffaello, which De Libero used as the starting point of his research in a contemporary retelling of these exuberant and sexily unsettling letterforms.

Quiche Sans is a high-contrast, sans serif with monoline stroke endings, angled stems, and geometric proportions. A sibling to the Quiche family, with the ball terminal endings removed. The design is influenced by the serif didone genre, characterized by its elegance and extreme thick/thins, but it removes the serifs for a unique and modern expression and tapers out the stroke endings for a sophisticated monoline appearance.

Aspidistra is a modern vintage typeface; which is to say a Studio K original with a period feel: it has a strong Art Nouveau influence (a distant cousin of Arnold Bocklin). Why Aspidistra? In the first half of the last century an Aspidistra was a must have accessory of the aspiring middle classes (see George Orwell's Keep the Aspidistra Flying), and to my mind this font evokes the chintzy charm of that era.

Laureen pro typeface Laureen pro is an Arabic typeface that has a very particular appearance. It combines the characteristics of different genres; most notably the contrast of serif faces. While its design is influenced by Kufic and the Naskh style. Laureen pro consists of two typefaces, text and display, and 4-weights. It’s a perfect choice for bold headlines, oversize typography, fashion logos, branding, identity, website design, album art, covers, posters, advertising, etc.

Roosk is a round, reverse-contrast serif designed for display usages. It bears a 70s influence as well as a subtle western vibe, although it’s more rounded and chunky. The font is a single weight, Caps only and sports a set of 450+ glyphs and some cute symbols such as hearts and floral hearts. Roosk has Cyrillic and All European Languages Support and is best suited for posters, headlines, editorial, merchandise and packaging.

Built in 1928 in Wichita, Kansas, the Uptown Theater started out as a movie house, but today still exists as a dinner theater. Online images of this vintage venue’s perpendicular wall sign show the theater’s name in an Art Nouveau influenced angular style with rounded terminals – similar to that of pen drawn sign lettering of the era. Adapted as a digital type font, Silent Film JNL is available in both regular and oblique versions.

The Tempo font family was designed by R. Hunter Middleton and released between 1930 and 1931. The instant success of Futura in 1927 led to many similar designs, and Tempo is the version produced by the Ludlow foundry for large headlines in newpapers. Like Futura, Tempo font is basically geometric, but shows some humanistic influence. Tempo is popular for newspaper and commercial printing, and the heavy condensed font is excellent for headlines.

Sorren is a definitive bold condensed sans influenced by neo-grotesque designs. A relatively low stroke contrast complimented with sharp, horizontal stroke ends lend an unyielding appearance, while it’s rounded forms and refined curves juxtapose its inherent strength with grace. Stylistically, Sorren has a classic, timeless feel with a contemporary finish and attention to detail. It is characteristically more elegant and considerably sturdier than the typical condensed sans, lending to its singular disposition.

Shabaq is a heavy, ultra black Arabic font. It is suitable for 'Display' and large print use cases, especially billboards and advertisement. It also performs well as a title and header font. Shabaq is a geometrical font based on the charactristics of the traditional Naskh typeface with a perfectly fresh and modern appearance. Shabaq is super-black, dazzles the eyes of the beholder and leaves them deeply influenced. Shabaq supports Arabic, Persian and Kurdish languages.

Hawkins is a rounded serif combined with small hints of Art Nouveau influence and remarkably high x-height. Hawkins takes a lot of space and is a well suited display typeface for any use from print to online and from advertising to book cover or from product design to digital posters. Hawkins is packed with a few OpenType features -Standard Ligatures and plenty of Swash Alternates, as well as few Titling and Stylistic Alternates.

Two pieces of vintage sheet music (“Honeymoon Hotel” and “By a Waterfall”) from Warner Brothers' 1933 musical “Footlight Parade” featured a hand-lettered bold alphabet with a touch of the 1930s Art Deco influence. These song sheets served as the basis for Pocomoke JNL. As informal and casual as the design is, its strength is in the boldness of the letter forms (which showcases the era of pen-and-ink display lettering).