Originally released by the Stephenson Blake foundry in England, Doric is modeled on one of the sans serifs of William Caslon IV, who was the first to interpret sans serif letterforms into a typeface (1816). Doric Bold has large, heavy capitals with uniform letter widths. It is often used for classified advertising in newspapers because these qualities coupled with a large x-height allow greater legibility at small point sizes.

Gibbs is a tough, sophisticated sans, inspired by the unique cast aluminum signs found on board the 1950s luxury liner SS United States and named for its designer, William Francis Gibbs. The design is appropriately transatlantic, somewhere in between industrial American vernacular lettering and English humanist styles. The result is both uniquely stylish and comfortably readable in both text and display sizes. Gibbs received a Type Directors Club award for excellence in 2015.

Amer was originally designed for dry transfer and redrawn and digitized by Adrian Williams. Amer is a modern Arabic headline face, which includes Latin glyphs from Kabel Book, allowing users to set text in both most Western European and Arabic languages without switching between fonts. Amer includes the Basic Latin character set and the Arabic character set, which supports Arabic, Persian, and Urdu. The font also includes tabular and proportional Arabic, Persian, and Urdu numerals, as well as a set of tabular European (Latin) numerals.

The inspiration behind the design of the Verger typeface family (serif & sans version) comes from the classic Golden Type, which was originally crafted by William Morris. Although Verger is inspired by this classic typeface, it has several modern, expressive and distinctive styles of its own, especially in the design of its italic versions. This is the sans version of Verger .

Arcadian was first produced in wood type around 1870 by William H. Page & Company. It is a semi-ornamented face based on a French Clarendon, with dots added to the median and the tops and bottoms of the letters. It has a distinctly “Old West” feel, and was likely used to add a little pizzazz to advertising and broadsides of the time.

These four typefaces, Berlinette NB, Lyonette NB, Marseillette NB and Parisette NB, were designed from the same basic shape, a fanciful geometric form that avoids strict horizontals and uses more offbeat triangular shapes. Berlinette is the medieval Gutenbergian version of the four. It’s like a weird black letter font from the 1930s. It would work well advertising an obscure brand of German beer on the side of a Zeppelin as it circles the soccer stadium during the last match. In a William Burroughs novel.

William Caslon (1692-1766) laid the foundation for English typefounding, when he cut his first roman face in London in 1722. He modeled his designs on late seventeenth-century Dutch types; thus his typefaces are classified as Old Styles. The original Caslon punches have been preserved, enabling a perfect recutting of his faces. Notice the hollow in the apex of A and the two full serifs or beaks in the C. The italic capitals are irregular in their inclination. The Caslon font family is distinctive for use in subheadings or continuous text.

Stiana font is a venetian serif in modern design. The general idea was inspired by beautiful masterpieces of Nicolas Jensen and William Morris. Stiana holds fine, balanced readability of venetian serif, and both 21st century trends. Letterforms are expressive and bold enough to use font as display, but it also fits nicely for text. Stiana supports Western Europe, Cyrillic and Greek languages. Stiana is surely a good choice both for screen applications and print media. Its multipurpose spreads over package design, logos, headlines, body texts, stationary and back labels. Also very good for books and magazines.

Country Western Script is a new font based on the classic William Page font known as Clarendon Ornamented originally designed in 1859 and again in 1877 by Vanderburgh & Wells. This version includes Greek, Cyrillic, Central and Eastern European characters sets. Keeping with the original theme from 1859, Fill fonts are available for the Ornamented and Open faced versions of this font. Greek, Cyrillic, Central and Eastern European characters sets are supported in the Windows TrueType and OpenType formats. The Windows and Mac Type1 versions of this font do not support Greek, Cryillic, Central and Eastern European characters sets.

Based on William Caslon’s design (c1720) which was itself based on Dutch Baroque typefaces. The old saying “when in doubt, use Caslon.” can now be updated ... “use RM Almanack instead!” Includes: Western European, Central European, Baltic & Turkish sets Due to the modular nature of this design there may be a slight lack of smoothness to the curves at very large point sizes (around 100 pt and above).

The three largest sizes of type made by the Caslon foundry are strangely unlike the famously consistent text faces cut by William Caslon. Perhaps they were the work of other hands—or of the master in a funky mood. Caslon’s text types have often been revived, but the display sizes, forceful and a touch eccentric, had no digital version until Matthew Carter’s Big Caslon. With striking Italics and rich design features , this typeface shines at BIG sizes.

The Bitstream version of Caslon Bold of the American Type Founders, 1905. Based on William Caslon I’s first English Old Style typefaces of 1725. Caslon modeled his designs based on late 17th century Dutch types, but his artistic skills enabled him to improve those models, bringing a variety of forms and subtlety of details. Strokes in Caslon fonts are somewhat heavier than in earlier Old Style fonts, serifs are thicker and a bit stubby. Italic letters have uneven slope. A text set in Caslon looks legible and aesthetically appealing. Caslon is a favorite font of English printers for setting of classical literature. Cyrillic version was developed for ParaType in 2002 by Isay Slutsker and Manvel Shmavonyan.

The Bitstream version of Caslon 540 of the American Type Founders, 1902. Based on William Caslon I's first English Old Style typefaces of 1725. Caslon modeled his designs based on late 17th century Dutch types, but his artistic skills enabled him to improve those models, bringing a variety of forms and subtlety of details. Strokes in Caslon fonts are somewhat heavier than in earlier Old Style fonts, serifs are thicker and a bit stubby. Italic letters have uneven slope. A text set in Caslon looks legible and aesthetically appealing. Caslon is a favorite font of English printers for setting of classical literature. Cyrillic version was developed for ParaType in 2002 by Isay Slutsker and Manvel Shmavonyan.

The typeface was designed at the Polygraphmash type design bureau in 1940-56 (project headed by Anatoly Shchukin) based on Erbar-Grotesk typeface of Ludwig & Mayer company, 1929 by Jakob Erbar, and on Metro typeface of Mergenthaler Linotype, 1929 by William A. Dwiggins. A sans serif of geometric style. For use for text and display typography. In 2014 designer Olexa Volochay made some corrections in original digital data and extended character set. The family was rereleased in ParaType in 2014.

Figgins and Caslon may be names familiar to many as Type Founders. Indeed they are, but they are perhaps less well known for the emergence of Sans Serif type styles which have become part of our lives since 1889. The first hundred years of this style is celebrated with this design by Adrian Williams, completed in 1989. It echoes many features of the Gothic, Grotesque and Sans Serif models of the period, based particularly on the 1870 Figgins.

Figgins and Caslon may be names familiar to many as Type Founders. Indeed they are, but they are perhaps less well known for the emergence of Sans Serif type styles which have become part of our lives since 1889. The first hundred years of this style is celebrated with this design by Adrian Williams, completed in 1989. It echoes many features of the Gothic, Grotesque and Sans Serif models of the period, based particularly on the 1870 Figgins.

This family was inspired by the two fonts used by the famous William Caxton in Westminster (UK) in the late 1400s. There is only one (Normal) style. We have added the accented characters and others not in use in the early time of printing, but the ligatures and the few abbreviations for the Old English language and Latin were present in the original fonts. The original cap height is about five to seven millimeters. Decorated letters like 1495 Lombardes, 1512 Initials, 1550 Arabesques, 1565 Venetian, and 1584 Rinceau can be used in complement with this font without anachronism.

Binny Old Style is based on type designs originally cut in Scotland about 1863. Binny Old Style shows the influence of the types cut by William Caslon but was an attempt to make a modernized version by eliminating some of Caslon's more archaic features. It was cut by some American foundries at the end of the nineteenth century and by Lanston Monotype for mechanical composition, in 1908. Binny Old Style was named after Archibald Binny, a Scotsman who established a type foundry in Philadelphia in 1796. The Binny Old Style font is ideal for small point size settings in newspaper advertisements, catalogues etc.

Cradley™, a CastleType original, was inspired by the work of William Caslon, considered by some to be the finest type designer of the Baroque era. With its classic proportions, beautifully bracketed serifs, and high contrast, Cradley is a contemporary design with a Baroque spirit. The family of three beautifully crafted fonts support most European languages, including modern Greek and many languages that use the Cyrillic alphabet. Includes over 30 "flowers" (as Caslon called them), useful for creating borders or adding an accent. Спасибо / thanks to Alexei Elfimov for his suggestions for improving the Cyrillic, and to Max Fernandes for his helpful feedback and overall enthusiasm for this design.

Tuscan X Condensed (whose actual name is Gothic Concave Tuscan Extra Condensed) was first produced in wood type by William H. Page & Company around 1872. The design is derived from a Gothic Condensed typeface, but with vertical stokes bowing inwards at the center. We modified the weight of the uppercase characters (since the original wood type has a lowercase much thinner than the caps) to harmonize with the lowercase when used digitally.

Poplar is an Adobe Originals typeface designed by Barbara Lind in 1990 for the Adobe Wood Type series. Poplar, a Gothic condensed, was designed from photographs taken by Rob Roy Kelly of the one surviving copy of an 1830 William Leavenworth type specimen book. Leavenworth possessed unusual artistic abilities, and his treatment of the letterform counters as narrow slits made it the only wood type of its kind displayed during the nineteenth century. Poplar is an excellent display face, its simplicity making it useful for a broad range of work.

Jenson Oldstyle was designed by J. W. Phinney of the Dickinson Type Foundry in 1893. Jenson is based on the 'Golden Type' designed by William Morris in 1890 for his private press editions under the imprint of the Kelmscott Press. The original digital Lanston version of this face included a companion Oblique. This remastered set instead features a true italic based on the 1893 ATF italic version as well as a newly digitized Jenson Heavyface based on Phinney's design of 1899. Jenson Italic Pro features alternate lowercase forms based on ATFs then contemporary Cushing Oldstyle Italic.

A 1918 lettering instruction book by William Hugh Gordon presented a number of lettering styles that were geared toward sign and show card painters along with tips and tricks regarding the correct construction of such signs for maximum effect. One pen lettered Roman alphabet with a beautiful set of numerals has been recreated digitally as Pen Elegant JNL, which is available in both regular and oblique versions. To note, Gordon was the co-inventor of the Speedball lettering pen with Ross F. George in 1915.

Thorowgood was originally released by the Stephenson Blake typefoundry in the UK. The types were first cut by the English typefounder Robert Thorne, predecessor of William Thorowgood, and first shown in his specimen books in the early nineteenth century. The fat face was revived in roman (1953) and italic. The S and the C appear to be smaller than the other capitals. Most serifs are flat and thin horizontals. In the italic the main strokes of h, k, m, n, and r are curved inwards at the foot.

Country Western is a revival of the classic William Page font known as Clarendon Ornamented originally designed in 1859 and again in 1877 by Vanderburgh & Wells. This version combines the best of both versions and adds something new. New to this font are the lowercase, italic, swash and script versions plus Greek and Cyrillic character sets. Keeping with the original theme from 1859 Fill fonts are available for the Ornamented and Open faced versions of this font. Greek, Cyrillic, Central and Eastern European characters sets are supported in the Windows TrueType and OpenType formats. The Windows and Mac PostScript Type1 versions of this font, however, do not support Greek, Cyrillic, Central and Eastern European characters sets.

Country Western is a revival of the classic William Page font known as Clarendon Ornamented originally designed in 1859 and again in 1877 by Vanderburgh & Wells. This version combines the best of both versions and adds something new. New to this font are the lowercase, italic, swash and script versions plus Greek and Cyrillic character sets. Keeping with the original theme from 1859 Fill fonts are available for the Ornamented and Open faced versions of this font. Greek, Cyrillic, Central and Eastern European characters sets are supported in the Windows TrueType and OpenType formats. The Windows and Mac PostScript Type1 versions of this font, however, do not support Greek, Cyrillic, Central and Eastern European characters sets.

Veranda Poster was derived from a European art supply manufacturer’s logotype done in the Vienna (Wien) Austria style. This distinctive classic style was used by artists such as Julius Klinger and Willy Willrab in the 1920s. Two new faces have been added to the original version - Veranda Poster Small Caps and Veranda Poster Alternates. Here is an extensive collection of capital and small cap alternates plus a wide selection of figures for almost any use. The contemporary alternate additions have a slightly Russian flavor. The combination of all three styles makes for striking logo and display settings. All three styles are now available in the OpenType Std format. Some additional characters have been added to this OpenType version as stylistic alternates. This advanced feature works in current versions of Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Congress from Adrian Williams was shown for the first time at the Association Typographique International Congress, which proved to be so popular in 1980 at Kiel; designed to present a style equally appealling in European languages. Many characters are more condensed than is usual, while others have had certain elements exagerated, bringing notice to new elements of certain letters. The concept being to bring an equality of importance to the whole, producing a collection of International characters working together in harmony on the page -- a common aim that Europeans wish of any Congress.

You might call this a Bodoni Ornate font that Bodoni never made, close examination of this old 1800s font and it's plain to see that the top half of the letters is very Bodoni in appearance. Apple Pie is a revival of and old font from the William Hagar Type Foundry, which I've been able to date back to 1850. The William Hagar type specimen book from the 1850s only shows this font as a caps only typeface plus numbers, later in 1869 MacKellar Smiths and Jordan offered this font with a lowercase. Over a two year period I was able to collect enough letters to begin production of this old decorative font, the type specimen books only showed a small line of text for this font so I would search through old documents on eBay and also shows relating to Ephemera. I could have easily developed a new font based on a very small sample of letters but I wanted to wait and find as many letters as possible, I was unable to find the Q, X, Z and ten lowercase letters so those missing letters are of my own design. New to this font is the addition of an all Caps Greek character set, accented letters for Eastern Central and Western European countries is also within this font. Fill fonts are available for the Apple Pie font, you will need an application that works in layers such as Adobe Photoshop, Adobe Illustrator or Corel Graphics in order to use the Fill fonts. Some Fill fonts may be used as stand alone fonts but the versions for Apple Pie look best when layered behind the parent or main Apple Pie fonts. Be sure to check out the left and right hands located on the Less Than and Greater Than keys.

JMTF Robin is a new post-modernist typeface in the spirit of Art & Crafts, born as a concept of a reformulation of a Gothic traditional building structure. Interestingly medieval structural architectural rescue form is for creating a font of traits absolutely contemporary without losing its artisan flavor. JMTF Robin is then a modular typography with very specific characteristics that provides an innovative texts while an appearance of great personality. Early versions of Robin was winners in Letras Latinas 2006. JMTF Robin representing a before and after in terms of contemporary texts composition. JMTF Robin is a typeface family that is presented in a wide variety of forms, from JMTF Robin in condensed forms to other roman proportions like Robin9, ideal for text, also JMTF Robin comes in Shadow and Double Outline. I dedicate this letter to creative genius William Morris father of modernism.

Early Texas patriots had fascinating penmanship. In researching Texas Hero years ago, I had occasion to pore over copies of letters by the likes of Stephen F. Austin, William B. Travis, Thomas J. Rusk, and others. Austin's hand was pretty messy. Young, brave Travis wrote his last during the Alamo siege. Rusk's suited my original task. But a couple other styles caught my eye -- among them the bold yet graceful strokes of Sam Houston, the prototypical Texas Hero. Houston Pen has a complete character set.

William Morris (1834-1896) was probably the most influential figure in the decorative arts and private press movements of the late 19th and early 20th century. In reaction to the increasing lack of quality that the industrial revolution brought on, Morris sought a return to the ideals of the medieval craftsman. Dissatisfied with the commercially available typefaces of the day, he undertook the design of the fonts for his books himself. The P22 Morris font set features new versions of Morris's famous type designs for his Kelmscott Press. The two main fonts include full international character sets for Western European languages. P22 created MORRIS GOLDEN with a rough edge to simulate the look of printing on handmade paper. There is a more "refined" recent version of Golden, but its sterile digitization does not approach the effect that Morris achieved in his Kelmscott books. You'll notice the handmade effect less in the smaller sizes but will find it quite decorative in the larger sizes. (Morris cut his Golden type in only one size for the Kelmscott Press, approximately equal to 14 points.) P22's version of MORRIS TROY is more smooth than Morris Golden and is true to the original Morris design. It is based on the Kelmscott Troy type (an 18 point font) and its smaller counterpart, the Chaucer type (a 12 point font). American Type Founders made an unauthorized version of Troy, "Satanick," 189?, contrary to Morris's wish that it not be made available commercially.(Legend has it that the naming of Satanick comes from William Morris telling the agent inquiring about making copies of his fonts available to go to hell) Several digital versions of Troy (and Satanick) have appeared over the years. The P22 version offers a much more accurate rendering than any previous version. Morris designed the original Troy font to be spaced very tightly; our version reflects and honors his intention. The MORRIS ORNAMENTS are based on those Morris designed and used in his Kelmscott Press books. Characters in the positions of the letters A to Z are decorative drop cap initials. Characters in the number key positions reproduce other Morris embellishments. (See the accompanying key chart.) As with all headline fonts and complex dingbats characters, this font is best used at larger point sizes (e.g., 48, 72, 120). Use in body text or at small point sizes on-screen may not achieve desired results. P22 is grateful to William S. Peterson, Steven O. Saxe and the Lightsey-Offutt Library who gave invaluable research assistance to this project.

This is Alter Littera’s first original design. The font has been created by attempting not to reproduce any historical typeface in particular, but only to re-create the overall forms and style of classic black-letters from different time periods and places. Two specific sources must be acknowledeged nonetheless: (1) the “Black” type from William Caslon’s A Specimen of Printing Types (1785), and (2) the “Caslon Gotisch” type by D. Stempel A.G. (1926). In addition to the usual standard characters for typesetting in modern Western languages, the font includes a comprehensive set of special characters, alternates and ligatures, plus Opentype features, that can be used for typesetting as in antique writings and printings. The glyphs are clean, smooth and definitely readable, so the font will be suitable not only for large titles and headings, but also for full text pages. Specimen, detailed character map, OpenType features, and font samples available at Alter Littera’s The Oldtype “Alter Gotisch” Font Page.

A poster for a Dutch stage revue from the nineteen-teens, designed by Willy Sluiter, provided the template for this warm, wavy and whimsical headline font. The Opentype version of this font supports Unicode 1250 (Central European) languages, as well as Unicode 1252 (Latin) languages.

This workmanlike typeface is based on the Metro series, designed by William Addison Dwiggins in the 1930s for the Mergenthaler Linotype Company. Its clean lines and balanced color make it suitable for text and headline work alike. Available in three weights, plus italics. All versions of this font contain the complete Unicode Latin A character complement, with support for the Afrikaans, Albanian, Basque, Bosnian, Breton, Catalan, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Finnish, Flemish, French, Frisian, German, Greenlandic, Hawaiian, Hungarian, Icelandic, Indonesian, Irish, Italian, Latin, Latvian, Lithuanian, Malay, Maltese, Maori, Moldavan, Norwegian, Polish, Portuguese, Provençal, Rhaeto-Romanic, Romanian, Romany, Sámi, Samoan, Scottish Gaelic, Serbian, Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish and Welsh languages, as well as discretionary ligatures and extended fractions.

“Loyolliams” is my first designed Latin typeface which has special meanings and unforgettable memories for me. The font's name, Loyolliams, consists of two mixed syllables stand for two different names. The first syllable is derived from the name “Loyola” and the second syllable is derived from the last five letters of the name “Williams.” These two names are related to “Concordia University”—located in Montreal in Canada—where I studied at a short academic term and spent in a very special period of my life in the late 2005. This renowned Canadian academic institution was created following the 1974 merger of “Loyola College” (1896) and “Sir George Williams University” (1926). This conglomeration formed “Concordia University” and the name Concordia itself was taken from the motto of the city of Montreal, Concordia salus (meaning ‘well-being through harmony’). This font comes in two different weights; light and regular. “Loyolliams” is a square, geometric, techno, and modern font. It is suitable for T-shirts, books' covers, websites’ addresses, advertisement light boards, and titles in technical, artistic, and other types of magazines and signboards. “Loyolliams” can be used also in posters, surfaces of electrical and electronic tools, digital devices and chips, geometrical machines, trucks, tractors, calculators, mobile phones, watches, laptops, personal computers, power equipments, digital cameras, technical magazines, and other digital and electronic tools. This fonts can be effectively used in titles especially when its uppercase and lowercase letters are mixed together and when it is used in its italic mode. "Loyolliams" is suitable for writing and printing small textual paragraphs in cards, magazines advertisements, and also posters. The main characteristic of "Loyolliams" Typeface is its non-curve style in most of its alphanumeric letters. The characters are deliberately designed to have only angular and square shapes.

Angustina is an elegant display typeface, it takes inspiration from classic letter styles. I chose the font name after reading the classic Italian novel “The Tartar Steppe”. I was inspired by the sickly, stoic and mysterious man who differs for his willingness to stay at Fort Bastiani. Angustina conveys distress and stinging sensation with extreme contrasts between thick and thin strokes and exasperated serifs. The alternate of hairline and bracketed serifs gives Angustina a modern and military appearance.

Giacinta is developed as a fresh alternate take on the traditional black-letter style. Rather than simply reproducing the standard uncial or Old English style, Luke William Turvey followed the tradition of Bastarda, making up his own scripted style with the Latin standards in mind. This style was conjured purely from imagination, so while it bares a resemblance to the standards, keeps its own original flavor. Giacinta is extended, containing the full West European diacritics & a full set of ligatures, making it suitable for multilingual environments & publications. Use Giacinta for medieval themed projects, certificates, awards, diplomas, anything that you want to look old fashioned and stately.