Here's my new experiment, Second Song. This font breaks the boundaries even more. Now the inscription looks as authentic as possible. Includes: Regular Script Uppercase and lowercase Numbers and punctuation Foreign language support Ligatures

Chyletoon, a hand crafted cartoon font consisting of 24 styles. Crafted from childish mind, the cartoonish characters of this font are suitable for many uses, the limit being the boundaries of your own imagination.

Franklin Gothic SG is part of the Scangraphic Collection and designed 1902 by Morris Fuller Benton. Franklin Gothic is a trademark or registered trademark of Kingsley/ATF American Type Founders or its legal successors.

Sardis is based on a family of wood type called "Lydian," designed for American Type Founders Company by Warren Chappell in 1938. The strokes have angled ends, referencing the use of a calligraphy nib.

Art Gothic was attributed to the Central Type Foundry of St. Louis, Missouri, USA by Henry Lewis Bullen, writing in INLAND PRINTER in 1907, with a reproduction shown in Kelly’s American Wood Type. The typeface appears on the cover of an issue of “The Superior Printer” pictured in Typology by Heller and Fili dated in the 1870s. Art Gothic was designed in 1884 by Gustav Schroeder and proved to be one of the more popular and enduring of the American-designed Victorian display faces of the period, appearing frequently in ads in various publications. The Hamilton Mfg. Co showed a very similar wood type, No. 232, with a modified and rather heavy-handed upper case in 1892. As late as 1897, it may be found in the advertising section of The Ivy of Trinity College of Hartford, Connecticut and was included in the Norwood Press 1902 Specimen Book. Our font includes a complement of five upper case and four lower case alternatives as follows: 123=C, 125=E, 135=H, 137=S, 172=c, 175=e, 215=m and 247=s. Great for period pieces. ART GOTHIC HIH is clean, readable, and surprisingly modern-looking; unlike so many overly complex Victorian display fonts, it can be used in text sizes.

Architype Crouwel is a collection of typefaces created in collaboration with Wim Crouwel, following his agreement with The Foundry, to recreate his experimental alphabets as digital fonts. Crouwel's most recognized work was for the Van Abbe and Stedelijk museums (1954 –72) where he established his reputation for radical, grid-based design. Architype Catalogue originates from Wim Crouwel’s Stedelijk Museum exhibition catalogue for sculptor Claes Oldenburg, 1970. The cover’s soft ‘padded’ letterforms evoke the artist’s work. Oldenburg was so taken with the design, that he asked Crouwel to complete the alphabet.

Fette Deutsche Schrift also known as Koch-Fraktur or Kochschrift was created by Rudolf Koch for Klingspor foundry between 1908 and 1910. The basis of this font is a publication in the magazine “Das Plakat” of September 1921. The font contains swash capitals to use as dropcaps, contextual alternates, glyphs for line endings, ligatures, discretional ligatures for use in German, ornaments and other OpenType features. It supports all the European languages using Latin alphabets (including slashed S and slashed long s used in Latvian old orthography till 1930s).

Naïve Line Sans is an unusual handwritten sans serif font designed by Fanny Coulez and Julien Saurin in Paris. Our goal was to draw a font with finely irregular lines that give a human and whimsical feeling. We designed five weights, finely balanced, to assure a good readability whatever the size. This font is part of our Naïve superfamily that contains lot of variations: Line, Inline, Serif, Sans Serif, and a special Art Deco one. Just click on our foundry name to see them all! We hope you will enjoy our work. Merci beaucoup!

Radar is a revival of the sans serif typeface “Grotesca Radio”, from the Spanish foundry Richard Gans, which existed from 1888 to 1975. His authorship is attributed to the German type designer and master punchcutter Carl Winkow. Although the new version of this font has always tried to keep accurate similarities with the original typeface, Radar is not intended as a strict revival, but as a contemporary interpretation. In this new version the user can find some alternate characters that give the typeface a more art-déco or neutral flair.

Tecnica Slab font family has been designed for Graviton Font Foundry by Pablo Balcells. It is a modular, geometric, slab serif typeface with a slightly condensed design and subtle rounded angles. It has been conceived to be most suitable for all sized headlines, as well as short and middle length text blocks. The standard styles give texts a classic appearence while alternate styles give texts a playfull one. Tecnica Slab consists of 4 styles, 2 weights plus alternates, each containing small caps and glyph coverage for several languages.

Emporia JNL is a wonderfully decorative and vintage wood type named for a city in Kansas, and modeled from just a dozen images of individual type blocks spotted for auction online. The release of this typeface is also a milestone for Jeff Levine Fonts. The foundry started in January, 2006 with only ten releases, and has now grown to be an impressive library of unique lettering designs from the past. The collection also contains numerous original and novelty creations. Emporia JNL is proudly released as the 500th font design to join this extensive library.

The first Antique Olive fonts were produced by the French type foundry Olive, in 1962-1966 and designed by poster designer Roger Excoffon (1910-1983). All Excoffons fonts are flamboyant, elegant and highly stylistic. They include the Banco, Mistral, and Calypso fonts. Antique Olive was launched to rival Helvetica and Univers, but the shapes it took were totally refreshing. Antique Olive is probably the most striking Sans Serif since Futura and Gill, and more refined than either. It is perfect for posters and display material as it works well in larger sizes.

The Ehrhardt name indicates that this typeface is derived from the roman and italic typefaces of stout Dutch character that the Ehrhardt foundry in Leipzig showed in a late-seventeenth-century specimen book. The designer is unknown, although some historians believe it was the Hungarian Nicholas Kis. Monotype recut the typeface for modern publishers in 1937 to 1938. Ehrhardt has a clean regularity and smooth finish that promote readability, as well as a slight degree of condensation, especially in the italic, that conserves space. Ehrhardt is a fine text face, especially for books.

Aldus was designed by Hermann Zapf and appeared with the font foundry D. Stempel AG in Frankfurt am Main in 1954. Zapf named this font after the famous Venetian printer Aldus Manutius, whose work is among the most important of the Renaissance period as well as Zapf’s inspiration for Aldus. Linotype Aldus was introduced by Linotype Library as a text font lighter than Palatino. Zapf’s goal with his Palatino and Aldus was to create a new form of Old Face typeface. This font gives text the feeling of elegance which was typical of the Renaissance.

Ballpoint font family was designed by David Fox in 2021 for the FontJuice™ foundry. A rounded sans serif style, Ballpoint has a simplicity which does not reject traditional forms . It is non ornamental and non emotional, just clearly presentable. This font is suitable for logotype, brand, packaging, quotes, music poster, t-shirt, cover book and more custom design. More specifically, whilst the heavier weights are best used for display in advertising, the lighter weights remain readable in text. Ballpoint features uppercase, lowercase, numeral, punctuation & symbol, multilingual support.

A book in the library of University of Wisconsin caught David Berlow’s attention. It was set in a clear text face - a predecessor of Bookman, cast by the Western Type Foundry who called it Custer. Upon noting how well the typeface worked in 6 and 7 points, he developed it into a member of the Reading Edge series specifically designed for small text on screen. Custer RE was a broad and approachable typeface drawn large on the body with a tall x-height to maximize its size when set very small.

Multilayer Roman font with 8 levels, inspired on ’70-80s, it wears sharp edges and compact proportions, with a way fresh contemporary retro volumetric style, ideal for branding & packaging, logotype, headlines, covers, sign letters, label, ticket design, and even 3D lettering. It contains a variety of design resources like stylistic alternates, sensitive case adaptations, old-style numbers, fractions, ordinals, ligatures, localized forms, all of them are accessible via character set panel. Design period: 2019 & 2021. Release: 2021 Graphic interpretation: Pedro González Concept: Bruno Jara Development: Peggo Fonts Foundry.

Freak was originally released by The Great Western Type Foundry in 1889. According to Maurice Annenberg, Great Western became Barnhart Brothers & Spindler when the Barnhart brothers bought out the Toepfer family in 1868.The plant superintendent, Charles Spindler, became Secretary of the new firm. Specimen books as late as 1899 show the name Great Western alongside the BB&S name. At some point, prior to 1925, Freak was renamed “Bamboo” by BB&S. It was delisted when BB&S was absorbed by ATF in 1929. Listed in McGrew under “Bamboo”.

Introducing Luckystrikes, a handwritten script-font inspired by a poor amount of characters in the 1950-style advertising of the well-known American cigarettes. Kustomtype redrew this font with a very clear and cool old-script style. This font is great for all your creative projects. Luckystrikes comes with uppercase, lowercase, numerals, punctuations in script so you can use it to customize all your designs. Perfect to use for Logos, Letterhead, Poster, Apparel Design, Package design, Label design etc. Luckystrikes is designed by Coert De Decker in 2018 and published by Kustomtype Font Foundry.

PT Reforma Grotesk was designed for ParaType in 1999 by Albert Kapitonov based on the letterforms of Russian pre-revolutionary hand composition typefaces: Uzky Tonky Grotesk («Condensed Thin Sans»), Poluzhirny Knizhny Grotesk («Semibold Book Sans») and Reforma, of H. Berthold and O. Lehmann foundries (St.- Petersburg). This extra compressed sans serif with distinctive letter shapes is typical for display fonts of the late 19th and early 20th centuries. For use in advertising and display typography. The face got 'Galina' prize at Kirillitsa'99 International Type Design Competition in Moscow.

New Alphabet was created as a four weight family in close collaboration with Wim Crouwel. His response in the late 1960s to the first device for electronic typesetting was a radical experiment designed to follow the underlying dot-matrix system. With his strong interest in grids, Crouwel worked within the constraints of existing electronic technology, to produce characters that worked with the mechanical means that conveyed them. His original New Alphabet experiments have now been further developed by The Foundry into a typeface family that also includes the dot version.

P22 Civilite is a historic font revival. The font is a non-connecting upright handwriting script based on 16th century sources with a lineage going back to Robert Granjon in France and from early Dutch type specimens from the Enschede and Sons Foundry. The P22 Civilite suite of fonts includes the 6 basic Dutch versions of Civilite in both "historical" and "modern" styles in basic OpenType format and Pro versions that combine the historical, modern & sorts into one OpenType font with alternates, expanded language coverage and pro features.

The specimen book Alphabete: ein Schriftatlas von A bis Z identified the pattern for this typeface as Stymie Black Flair. Although neither the designer nor the original foundry is identified, it bears a strong resemblance to the work of Dave West for Photolettering in the 60s and 70s. Big, beautiful and bodacious, it’s a natural choice for attention-grabbing headlines. Many alternate characters available: see the full character map. The PC PostScript, TrueType and OpenType versions contain the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

The design of this display face is based on the hot metal typeface Acropolis, issued by the German type foundry Ludwig Wagner in Leipzig in 1940. To further increase its usefulness a Cyrillic was added to it: URW Akropolis, redrawn and digitally remastered by Coen Hofmann for the URW Font Forum, is a true display design that should not be set below 48 point if you want to preserve it's fine details like the open triangular sections, e.g. in L, G, S, T etc. and gain the full typographic splendidness of this beautiful typeface.

Eurostile, created in 1962 by Aldo Novarese for the Nebbiolo type foundry, is one of the most popular sans serif fonts of all, and has been for about 50 years. Originally designed as a screen font it was very popular from the beginning, even though it is only a slightly modified version of the 10-year-older Microgramma, but completed with lower case characters. On public demand, URW++ has expanded its range of Eurostile with Eurostile Round with 19 additional styles. Quite like Futura Round by URW++, Eurostile Round works perfectly well as webfont.

Architype Crouwel is a collection of typefaces created in collaboration with Wim Crouwel, following his agreement with The Foundry, to recreate his experimental alphabets as digital fonts. Crouwel's most recognized work was for the Van Abbe and Stedelijk museums (1954 –72) where he established his reputation for radical, grid-based design. Architype Vierkant was developed from the few letterforms that Crouwel created for an opening spread in a 1972 Drupa catalogue, on the theme ‘typo vision international’ – this single reference showed an interesting interplay of the experimental ideas underpinning his controversial ‘new alphabet’ and Fodor.

Naïve Line is an unusual handwritten serif font designed by Fanny Coulez and Julien Saurin in Paris. Our goal was to draw a font with finely irregular lines that give a human and whimsical feeling. We designed five weights, finely balanced, to assure a good readability whatever the size. This font is part of our Naïve superfamily that contains lot of variations: Line, Inline, Serif, Sans Serif, and a special Art Deco one. Just click on our foundry name to see them all! We hope you will enjoy our work. Merci beaucoup!

Fisionada font family has been designed for Graviton Font Foundry by Pablo Balcells in 2023. It is a condensed sans serif typeface with sharp edges and a very technical aesthetics. Its condensed design makes it very effective for space economizing and its geometric features make it a very attractive choice for display usages such as futuristics logos, video games and sci-fi content. It has been conceived to be most suitable for headlines and short length text blocks. Fisionada consists of 8 styles. Each containing small caps and glyph coverage for several languages.

Georges Peignot designed Cochin based on copper engravings of the 18th century and Charles Malin cut the typeface in 1912 for the Paris foundry Deberny & Peignot. The font is named after the French engraver Charles Nicolas Cochin (1715–1790) although its style had little to do with that of the copper artist’s. The font displays a curious mix of style elements and could be placed as a part of the typographical Neorenaissance movement. Cochin is especially large and wide and was very popular at the beginning of the 20th century.

Say hello to a new Typoforge member! Nisse is a display font family that consists of 4 styles (including italics). The regular and rough versions differ in the amount of wear. It’s inspired by Rex typeface first published by „The Jan Idzikowski and Co. Foundry“ in 1930. Nisse has a high amount of detail making it ideal for large prints and poster design. It is specified by a huge amount of automatic alternates. Each basic latin letter has five versions, the numbers have thee versions and extended latin letters have two versions.

Van Wyck JNL was inspired by some old printing found in a catalog.

Petrarka may be described as a Condensed, Sans-Serif, Semi-Fatface Roman. Huh? Bear with me on this. The Fatface is a name given to the popular nineteenth-century romans that where characterized by an extremity of contrast between the thick and thin stroke. The earliest example that is generally familiar is Thorowgood, believed to have been designed by Robert Thorne and released by Thorowgood Foundry in 1820 as "Five-line Pica No. 5." Copied by many foundries, it became one of the more popular advertising types of the day. Later, in the period from about 1890 to 1950, you find a number of typeface designs with the thin stroke beefed up a bit, not quite so extreme. What you might call Semi-Fatfaced Romans begin to replace the extreme Fatfaces. Serifed designs like Bauer’s Bernard Roman Extra Bold and ATF’s Bold Antique appear. In addition, we see the development of semi-fatface lineals or Sans-Serif Semi-Fatfaces. Examples include Britannic (Stephenson Blake), Chambord Bold (Olive), Koloss (Ludwig & Mayer), Matthews (ATF) and Radiant Heavy (Ludlow). Petrarka has much in common with this latter group, but is distinguished by two salient features: it is condensed and it shows a strong blackletter influence, as seen in the ‘H’ particularly. Petrark was released about 1900 by the German foundry of Schelter & Giesecke of Leipzig and is one of the designs of the period that attempts to reconcile roman and blackletter traditions. Making a cameo appearance in this Multi-Lingual font is the Anglo-Saxon letter yogh (#729), which, along with the thorn and the eth, is always useful for preparing flyers in Old English. There are still pockets of resistance to the Norman French influence that washed up on England’s shores in 1066. This font stands with King Canute, seeking to hold back the tide (ignoring the fact that Canute was a Dane). Support the fight to preserve Anglo-Saxon culture. Buy Petrarka ML today. Petrarka Initials brings together the Petrarka upper case letters with a very sympatico Art Nouveau rendering of a female face.

Introducing Khat Jannah, a captivating and unique font that breaks away from traditional design conventions. This exceptional typeface pushes the boundaries of Arabic typography, offering a distinct and visually striking display font unlike any other.