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.

MVB Gryphius is a digitization of uncommon type from an era normally associated with the work of Nicolas Jenson. Produced by Otto Trace, the fonts come from types used by Sebastian Gryphius in Lyon in the early 16th century. The italic appears in a book from 1524 and the roman and small caps appear with the same italic in another book printed by Gryphius in 1541. Retaining the rough contours and uneven texture of its source, MVB Gryphius is best used at text sizes from 12- to 15-point, but its old world character can work in display settings too.

Deconstructed JNL is another set of rubber stamp alphabet letters and numbers from a 1930s toy printing set. The original typeface of this set is Cheltenham Open. The stamps were printed out and scanned, creating this limited-character font with dual characteristics. At small point sizes it replicates inked rubber stamp impressions, but in larger format it shows angular lines and erratic character shapes as if made from cut paper or lettering that was intentionally made to look damaged.

Cern is a family of20 weights of neutral, yet formally nuanced grotesk typefaces that takes inspiration from the original metal types from Switzerland, yet had a slightly larger x-height for more pronounced legibility. Cern is designed to be highly readable in print and on-screen. The italic variations are true italics and have been designed for smooth, fluid reading and text-setting. The Cern family works equally well for text typesetting and for display design work.

Eterea is a formal font inspired in the monumental inscriptions of classic Rome, but not strictly sticking to the ancient roman typographic characteristics. Its unique look is the result of mixing diverse typographic styles, but mostly having traces from the 16th century transitional style. It bears a big difference of proportion between upper and lower case, additionally to the upper case having much more ornamental traces. Eterea has four different flavors of capitals which change very slightly in the cursive versions. In the italic versions, the lower case (actually small capitals) changes substantially its characters to make its reading more flowing and is not simply an inclined version of the letters. Eterea is a very expressive font, ideal for titles and short texts of sober and elegant appearance.

Scottish typefounders exerted a strong influence on the development of "transitional" typefaces, the bridge from "oldstyle" (Jenson, Garamond) to "modern" (Bodoni, Didot) designs. Scotch Roman designs were first cut by Englishman Richard Austin and cast by the Scottish typefounder Alexander Wilson and Son in Glasgow. Scotch Roman font has wide proportions, short descenders, bracketed serifs, and large, strong capitals. Its subtle charm makes it suitable for any text setting, particularly books and magazines.

Designed by Cosimo Lorenzo Pancini and Andrea Tartarelli with Maria Chiara Fantini, Lovelace is Zetafonts homage to the tradition of nineteenth century “Old Style” typography - a revival of Renaissance hand-lettered shapes driven by the desire to create a less formal and more friendly alternative to Bodonian serifs. While taking inspiration from the letter shapes created by Pheimester or Alexander Kay - with their calligraphic curves and heavy angled serifs that influenced Benguiat and Goudy’s typefaces in the 70s - we also tried to add elegance and contrast by following another 19th century revival style: the Elzevir. This digital homage to victorian typography, aptly named after the algorist daughter of lord Byron, is developed in two optical sizes, both in a six weights range from extralight to extrabold. The text variant offers maximum readability thanks to the generous x-height and screen-friendly design, while the display variant excels in the sharp contrast and thin details needed for editorial and large-size titling use. The italics, strongly influenced by calligraphy, have been complemented with a display script family, including luscious swashes and connected lowercase letters, lovingly designed by Zetafont in-house calligrapher. All the thirty weights of Lovelace cover over 200 languages that use latin, cyrillic and greek alphabets, and include advanced Open Type features as Stylistic Alternates, Standard and Discretionary Ligatures, Positional Numerals, Small Caps and Case Sensitive Forms.

Many blackletter and calligraphic typefaces are elegant and can be used for items like invitations and liturgical or religious texts. Rankensteen is probably not one of them. It is crude and bizarre and with a somewhat menacing appearance. It seems more appropriate for a letter from a pirate than for a formal invitation.

This “Anglican” style typeface is based on an 1880s release from St. Louis’ Central Type Foundry originally named Euclid. It’s amazingly versatile, easily at home in both formal and fun settings. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

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.

The inflatable font you never knew you always wanted! With its two axes you can literally blow this variable display font up and watch it float away… Uppercase display font built on OC Format Sans Print Bd Support for 84 languages 6 preset static Inflate styles gradually inflate and stay on the baseline. 6 preset static Float styles gradually inflate and rise from the baseline. Baseline punctuation and certain symbols don’t float to provide a grounded context. Various un-inflatable symbols carry over from Format Print Bd because they might come in handy as is. With a complete alternate set and double number ligatures years and zip codes don’t look repetitive (think 1991 – 10022 that sort of thing) Double letter ligatures prevent visual repetition in words like “balloon” and “coffee”.

Kautiva is a comprehensive modern sans serif family that includes true italics, small caps, and unicase variations. Kautiva was developed to be efficient in both text and display environments. Kautiva serves as a refreshing middle ground between serious geometric and overly humanistic design. This gives it a balance, allowing significantly more flexibility than is normally expected from a sans serif typeface. Versatile in its functionality, Kautiva is also extensive in its features. The OpenType format Kautiva Pro family is available for layout architects who want to take advantage of the numerous features of the format: from true small caps to a variety of ligatures and stylistic alternates, through proportional and tabular figures and complete support for a multitude of Latin-based languages, as well as Cyrillic and Greek scripts.

Kautiva is a comprehensive modern sans serif family that includes true italics, small caps, and unicase variations. Kautiva was developed to be efficient in both text and display environments. Kautiva serves as a refreshing middle ground between serious geometric and overly humanistic design. This gives it a balance, allowing significantly more flexibility than is normally expected from a sans serif typeface. Versatile in its functionality, Kautiva is also extensive in its features. The OpenType format Kautiva Pro family is available for layout architects who want to take advantage of the numerous features of the format: from true small caps to a variety of ligatures and stylistic alternates, through proportional and tabular figures and complete support for a multitude of Latin-based languages, as well as Cyrillic and Greek scripts.

The inspiration source for Peony Monogram was a unique stackable monogram design with floral accents from a vintage embroidery publication. Originally intended to adorn handkerchiefs, this simple pattern has so many design possibilities, from colorizing to formatting options. You can really play around with this monogram font! Peony Monogram can create one, two, or three letter monograms, even basic titling due to its unique design. Because of Peony's unique stackable monogram formatting, make certain that the point size of the font is the same as the leading being applied to the font in order to minimize gapping between stacked forms. While we've adjusted this within the font, your program may override these settings. Download and view the MFC Peony Monogram Guidebook if you would like to learn a little more.

The inspiration source for MFC Falconer Monogram is an unusual hand-drawn design from a vintage embroidery publication which relies on rigid geometric letterforms to create an upward stepping framework. This monogram which evokes visions of it embossed or printed on antique baking tins was originally intended to adorn handkerchiefs, but the possibilities of its use are up to your imagination. This is one of many monogram designs from the early 1900’s which fall into a two letter format that is either adorned or interwoven decorative elements. Download and view the MFC Falconer Guidebook if you would like to learn a little more. MFC Falconer Monogram comes complete with Pro format fonts. You will require with programs that can take advantage of OpenType features contained within the Pro fonts.

Sweetpea is a new OpenType font by Andrew Harper that includes a ton of features: contextual alternates, stylistic variations, regular/discretionary ligatures, fractions, ordinals, and swashes. Over 600 glyphs to choose from, including fractions, Greek symbols, music accidentals, Roman numerals, arrows, and mathematical notation.

Although a sans serif, Colosseum owes its style to the original Trajan Roman form. Borrowing some characteristics from Friz Quadrata, in its san serif form it is more adaptable to text usage whilst still having a modern and original look which works well in headlines.

The range of subtle differences in the many different sized lettering stencils of the 1940s and 1950s allows for a wonderful library of authentic-looking stencil fonts. Storage JNL is another Roman (serif) type design by Jeff Levine and modeled from a 1950s stencil set.

My latest typeface is a formal, copperplate script named Glade. Beginning as a project for a client who wanted several widths of a formal script style, the project never saw fruition. However, it did get me excited about the idea of a width family of steel nib scripts, ranging from extra narrow to extra wide, and the result is the Glade family. To give Glade a minor modern makeover from the original intent, the lowercase has been scaled up, and the Capitals scaled down for a more friendly personality. The character set has been expanded, and OpenType support has been added for unlimited fractions, ordinals, superiors and inferiors. So if you have the need for a formal connecting script, but are short on space, try Glade Narrow or Glade Extra Narrow. If space is not an issue, then the Regular, Wide or the generously gracious Extra Wide should do nicely. And if you get the whole family, well then you are set for anything that comes your way.

In The Sun is a SVG font made from pencil handwriting and doodles. The SVG format allows for the texture of the pencil to be captured in a realistic way. In The Sun looks best at smaller sizes and will also look great in all caps texts. Use In The Sun in designs such as postcards and notes, posters, logotypes, social media posts, branding and packaging. In The Sun includes: In The Sun handwritten font In The Sun Extras font, with underlines, circles, arrows, and small floral illustrations in: SVG format and Vector format, with the texture preserved Software requirements for the SVG font: Photoshop CC2017+ // Illustrator CC2018+ No SVG support? No problem! I have also included a OTF vector version of the font

“Macaw” is a welcome addition to our library, a modern serif typeface with roots in classical typography. Its forms are sober and delicate in its lightest weights and as the width increases to the boldest, it unleashes a powerful and distinctive emphasis on your project. Developed in a range of four weights with a matching set of true italics, the design of Macaw takes its inspiration from the Italian newspaper market at the beginning of last the century, a time where roman typography was predominant. In fact, the main purpose of this typeface is to preserve versatility and legibility, to prescind from any text size. A multilanguage serif family with a unique fluidity to modern and classic projects. Particularly useful for any editorial need and seamlessly adaptable to any destination of use such as corporate identity, web design, and social feeds. Specifications: - Files included: Macaw Light, Macaw Regular, Macaw Medium, Macaw Bold with corresponding italics - Formats:.otf - Multi-language support (Central, Eastern, Western European languages) Thanks for viewing, Unio.

Kade is a display/semi display sans family of fonts based on vernacular lettering photographed over the last ten years in and around the harbors of Amsterdam and Rotterdam. Hence the name Kade that translates into English as ‘quay’, also the name of its designer. Kade grew slowly from many different ideas and elements. The letters reflects the industrial method in which they are cut for the side of ships from large steel plates. Frequently subtleties of curves are compromised due to the cutting tools and the fact engineers are in control. Kade’s italics have an experimental character and were produced in an unorthodox manner by rotating 8 degrees, rather than slanting the roman characters, a method sometimes employed in shipyards. Kade constructed character is ideal for contemporary editorial works, architecture magazines, museums communication and posters. The six distinct styles are published in OpenType format, featuring small caps and four sets of numbers (proportional old style, tabular old style, proportional lining and tabular lining), as well as matching currency symbols and a complete set of fractions.

Relato has a low contrast and “a muscular” structure that makes it useful for setting longer text. In display sizes it has a variety of details that lends it a unique and personal expression. The formal principle of the serif, the variety of terminal strokes and the combination of curves and semi-straight lines gives the Relato a more “human” flavor. The inspiration for the design comes from different traditional calligraphic styles. The upper case letter, for example, is based on roman capitals from the Rennaissance, whereas the lower case relates to humanist handwriting. Even so, Relato is a decidedly contemporary typeface, proposing individual ideas on the design of type. The italic has a distinct typographic color thanks to the construction principle of broken lines. The bold weights have an increased contrast in the union of the strokes which helps improve legibility in small sizes and reinforce their personality in display sizes. The family consists of a Regular version, Italic, Small caps, Semibold and Bold. For a sans serif version of Relato, please see Relato Sans.

Rusticana is a part of the 1990 program Type before Gutenberg, which included the work of twelve contemporary font designers and represented styles from across the ages. Linotype offers a package including all these fonts on its web page, www.fonts.de. Rusticana was designed by Adrian Frutiger and appeared with Linotype in 1993. Its historical roots go back to the Roman Capitalis, the all caps engraved writing of ancient Rome which reached its peak in the first century. From this style evolved other Roman forms, and one, Rustica, proved particularly good for text on bronze, as opposed to in stone. The Rusticana of Frutiger has open, seemingly irregular forms which lend a distinctive rhythm to text.

This modernized rustic Baroque Roman face paraphrases freely its model from the first half of the 18th century. The shape of the letters has been cleared from all unevenness and softness, but has retained its lively expression. It is deliberately rather cooler than the reverently digitized Baroque Roman type faces, since it was necessary to adjust it with regard to the visual experience of the contemporary reader. In addition, it has bold designs and aligning figures, which also considerably extends the range of its application. It is an entirely reliable text type face for the most demanding extensive works. Thanks to its calm expression and excellent legibility it is widely used when printing series of professional literature.

Pasquinade is a blackletter/roman hybrid. The general look, feel and graphical styling of Pasquinade is that of a blackletter font, however, the underlying letter construction is of a traditional serifed roman. This produces a font with that familiar 'gothic' feel but has the inherent legibility of a roman, due, in part, to the discrete openness of the characters. The presence of roman serifs also lends to this legibility without detracting from the blackletter appearence because of their particular construction. When used in a text setting the font produces an eminently readable, even texture. However, it is when used as a titling font, that the letters reveal themselves to have a contemporary, geometrically calligraphic, blackletter appearance that makes it suitable for any and all uses.

Let these Mesozoic dinosaurs adorn all your documents! This series contains an assortment of 52 dinosaurs, flying reptiles and birds from each period ranging from the vicious carnivores like Tyrannosaurus Rex and Velociraptor to giant sauropods like Brontosaurus, to heavy Ceratopsians like the Triceratops, and Pterosaurs like the giant Quetzalcoatlus. In addition, you'll find 10 extra characters that feature trackprints, skulls and talons to help put all your imagework in perspective. NOTE: bundle comes with a comprehensive interpretation guide in pdf format.

Agile Sans is a contemporary humanist font family with classicist roots. Hence its name, Agile Sans suits many occasions from branding to publications, web and applications. From formal to casual, bold to refined, this font covers it all. Agile Sans comes with nine weights with corresponding true-italics. Built-in small capitals and several numeral styles are included as well. If you’re seeking for an alternative to more common humanist sans serifs, look no further and grab a future classic.

Rhaetic or Raetic (/ˈriːtɪk/), also known as Rhaetian, was a Tyrsenian language spoken in the ancient region of Rhaetia in the eastern Alps in pre-Roman and Roman times. It is documented by around 280 texts dated from the 5th up until the 1st century BC, which were found through northern Italy, southern Germany, eastern Switzerland, Slovenia and western Austria, in two variants of the Old Italic scripts. Rhaetic is largely accepted as being closely related to Etruscan.

This Albert Auspurg offering from 1915 for the German foundry Schelter & Giesecke was originally called Kolibri, or Hummingbird. The design combines formal elegance with a carefree, wide stance, making it a perfect choice for inviting headlines. Both versions of this font include the complete Unicode Latin 1252, Central European 1250 and Turkish 1254 character sets.

Mansel – an exquisite sans serif font that takes inspiration from retro design. Boasting an impressive range of weights, widths, and italic angles in both classic and variable formats, Mansel offers unparalleled flexibility for creating stunning visual compositions. With support for most Latin-based languages, this versatile font is perfect for professional projects with global reach.

OMG it's got a smiley face underscoring the exclamation point! What a sweet, charming handwriting font from the wrist of an 18-year-old Norwegian girl. A sassy skip and a flowery flair lift this particular marker font up a notch above the rest. Now available in OpenType format for your Personal or Commercial Use.

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.

Bonlivet is an all capitals display face, which starts from Roman letter forms and pushes them into wild decorative extravagance. There is a somewhat early 20th century feel to this, but really it’s just a bit of good fun, with a hint of elegance thrown in.

Inspired by 15th century Venetian italic book texts and based on examples from volumes on the history of type. Fourteen64 has a rugged charm and lots of character featuring 'Roman' capitals with italic lowercase. Includes alternate characters, extra ligatures and a small selection of medieval ornaments.

Zephyr is a sinuous Roman font available in both Regular and Openface (inline) versions. This classically inspired font set conjures up a gentle, relaxing breeze from the West and Southwest. Subtle and not-so-subtle variations offer a refreshingly modern take on these age-old letterforms.

Elysium is the work of Michael Gills who was in turn influenced by Czechoslovakian designer Oldrich Menhart. The typeface is an old style roman font whose refreshing quality comes from the designer's love of calligraphy. Elysium has a crisp appearance coupled with creative and unique letterforms.

The original release notes from England’s Stephenson Blake Type Foundry say it all: “a type of some waywardness in design, judged from any typographical standard…a type that seems unable to decide whether to be a roman or a script." Stephenson Blake called their release "Recherché"— sought after or in great demand, which seems quite appropriate. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Calligra is a single weight display font derived from a serif roman. It works well for headlines and can be used also well in text. It supports English, Spanish, French, German, Extended Latin, Greek and more. The name Calligra came from calligraphy which was the main style we followed during creating this font. Main Features: • 813 glyphs • 622 ligatures • 29 “Number” ligatures • Support for many languages • Perfect for logos and headlines • Latin support expanded

Cronos is the work of Robert Slimbach, a sans serif typeface family that embodies the warmth and readability of Oldstyle Roman typefaces. It derives much of its appearance from the calligraphically inspired type of the Italian Renaissance. Its almost handwritten appearance sets it apart from most other sans serif designs and makes it an effective choice for text composition. The Italic design was inspired by early Chancery style Italics and is both elegant and distinguished.