Opinion varies regarding the role of Claude Garamond (ca. 1480–1561) in the development of the Old Face font Garamond. What is accepted is the influence this font had on other typeface developments from the time of its creation to the present. Garamond, or Garamont, is related to the alphabet of Claude Garamond (1480–1561) as well as to the work of Jean Jannon (1580–1635 or 1658), much of which was attributed to Garamond. In comparison to the earlier Italian font forms, Garamond has finer serif and a generally more elegant image. The Garamond of Jean Jannon was introduced at the Paris World’s Fair in 1900 as Original Garamond, whereafter many font foundries began to cast similar types. The famous Stempel Garamond interpretation of the 1920s remains true to the original Garamond font with its typical Old Face characteristics. The bold italic was a modern addition at the end of the 1920s and the small caps provided an alternative to the standard capital letters. In the mid 1980s, a light version was added to Stempel Garamond. Since its appearance, Stempel Garamond has been one of the most frequently used text fonts.

Koch Antiqua is based on forms of old Roman writings, chiseled in marble thousands of years ago. This contemporary version is more playful and reminiscent of the Roaring 20s.

Hello there.. Its a nice to present TB Alva Titan, a fresh handwritten font with ending swash and extra underline ready to use for any design needs. And recomended for daily quotes, custom logo, title, poster, headline, social media post, invitation, packaging and other design projects. Your Support - Stipline Studios

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times™, Times™ Europa, and Times New Roman™ are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times™ is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times™ Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times™ Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer. Times™ Europa is the Walter Tracy re-design of 1972, its sturdier characters and open counterspaces maintain readability in rougher printing conditions. Times New Roman™ is the historic font version first drawn by Victor Lardent and Stanley Morison for the Monotype hot metal caster."

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.

Designed by Wilhelm C. Pischner, Neuzeit-Grotesk first appeared in 1928 with the font foundry D. Stempel AG. In 1966, Neuzeit S was introduced by Linotype-Hell AG, intended for large bodies of text and predecessor of Siemens corporate design. Neuzeit S is timeless, combining strength of form and objectivity and legible even on inferior papers.

Complete set of internationally standardized attention graphic symbols in color, meticulously designed for flawless representation. Seamlessly compatible with popular graphic design software such as Illustrator, Photoshop, Pixelmator, and more. Ideal for creating technical documents, product specifications, operating instructions, safety documents, alerts, labels, signage, packaging, and any situation requiring compliant symbols in the correct colors.

Trump Mediaeval is an Old Face font developed by Georg Trump between 1954 and 1962. All cuts have both normal and old style numbers and their robust characters make them suitable even for inferior paper. Light and legible, the open forms of the lower case letters allow this font to be legible in text with as small a point size as 5.

TBS GARTEK CONDENSED is a latin based condensed type of font that has a different characters from the previous TBS GARTEK BLACK font, TBS GARTEK CONDENSED has a strong yet sharp looks character, with a post modernism and semi 90's nostalgic, supported by more than 60± accent languages ranging from West, South East, Central Europe and a bit of Vietnamese. TBS GARTEK CONDENSED is able to complete your current needs who are designing something great. the single DemiBold weight is stunning in Magazine, Posters, Social Media Content, headlines, clothing, large print formats and wherever you want to see it. Inspired by the design styles of post modernism and popular style's nowadays, let's get your project elevate works with TBS GARTEK CONDENSED.

LT DIE-HARD FONT DUO+EXTRAS is a handcrafted typeface, carefully designed to capture the essence of strength and determination. With its horrible and worn strokes, this font transmits a sensation of resistance and solidity, Each letter is made in a unique style, creating a sense of movement and dynamism in the text. DIE-HARD typeface is ideal for projects requiring a strong and determined approach, such as posters, titles, logos...

There are many fonts inspired by Lucian Bernhard. I have always admired his 1906 award-winning poster: ‘Priester’— believed to be the birth of the ‘Sachplakat’ (or Object Poster). I have interpreted the hand lettered “Priester” logo into a formal typeface and only hope I have done it justice. Usage recommendations: Captions, fliers, packaging, cards, posters, ads, book jackets, manuals, bulletins, magazines, greetings, announcements.

John Baskerville (1706-1775) was an accomplished writing master and printer from Birmingham, England. He was the designer of several types, punchcut by John Handy, which are the basis for the fonts that bear the name Baskerville today. The excellent quality of his printing influenced such famous printers as Didot in France and Bodoni in Italy. Though he was known internationally as an innovator of technique and style, his high standards for paper and ink quality made it difficult for him to compete with local commercial printers. However, his fellow Englishmen imitated his types, and in 1768, Isaac Moore punchcut a version of Baskerville's letterforms for the Fry Foundry. Baskerville produced a masterpiece folio Bible for Cambridge University, and today, his types are considered to be fine representations of eighteenth century rationalism and neoclassicism. Legible and eminently dignified, Baskerville makes an excellent text typeface; and its sharp, high-contrast forms make it suitable for elegant advertising pieces as well. The Linotype portfolio offers many versions of this design: ITC New Baskerville® was designed by John Quaranda in 1978. Baskerville Cyrillic was designed by the Linotype Design Studio. Baskerville Greek was designed by Matthew Carter in 1978. Baskerville™ Classico was designed by Franko Luin in 1995."

Introducing "LT Hakuna Matata" font collection, inspired by The Classic Movie Lion King. Styles: Normal, Outline, Shadow, Ink. Captures Timon and Pumbaa's essence. Normal exudes joy, Outline adds an artistic touch. Shadow creates depth, Ink offers handcrafted charm. Experience African savannah's energy in typography.- Where typography meets the magic of The Lion King. Enjoy! Thank's for Support!

F .H. Ernst Schneidler, type designer and teacher, originally designed Schneidler Old Style in 1936 for the Bauer foundry. Stempel Schneidler is based on the typefaces of Venetian printers from the Renaissance period and possesses their grace, beauty, and classical proportions. The Stempel Schneidler, a completely reworked and tuned font family made by D. Stempel AG in Frankfurt, is a fine, legible text font that also works well in display. One of Schneidler's more unique features is its question marks.

In 1894, Linn Boyd Benton finished a commission for a new text typeface with the American periodical, Century magazine. Century is typical of the neorenaissance movement in typography at the end of the 19th century. Morris Fuller Benton drew a number of versions of the font for the font foundry, American Typefounders, and Century was later taken up by the firms Linotype, Intertype and Monotype.

Cloister Open Face was designed in 1929 by Morris Fuller Benton as one weight of the Cloister Old Style family. Cloister itself appeared from 1897 with American Type Founders, and later for the typesetting machines of the Linotype, Intertype and Monotype companies. At that time, it was the truest modern industrial revival of the Jensonian Roman. Benton stayed close to the style of his model in both design and spacing. Cloister Open Face has an old-world elegance, and it works well for titling in books and magazines. In 1458, Charles VII sent the Frenchman Nicolas Jenson to learn the craft of movable type in Mainz, the city where Gutenberg was working. Jenson was supposed to return to France with his newly learned skills, but instead he traveled to Italy, as did other itinerant printers of the time. From 1468 on, he was in Venice, where he flourished as a punchcutter, printer and publisher. He was probably the first non-German printer of movable type, and he produced about 150 editions. Though his punches have vanished, his books have not, and those produced from about 1470 until his death in 1480 have served as a source of inspiration for type designers over centuries. His Roman type is often called the first true Roman." Notable in almost all Jensonian Romans is the angled crossbar on the lowercase e, which is known as the "Venetian Oldstyle e.""

Under the commission of the American Century Magazine"", Linn Boyd Benton designed a new text typeface in 1894 with a design typical of the Neorenaissance movement in typography. Morris Fuller Benton produced various interpretations of this font for American Typefounders and the companies Linotype, Intertype and Monotype quickly took up the typeface. New Century Schoolbook font is a very legible font, fairly narrow and with relatively little stroke contrast. This font is from Morris F. Benton and appeared in 1915.

Franklin Gothic was designed between 1903 and 1912 by Morris Fuller Benton for the American Type Founders Company. The font serves as the American Grotesk prototype. It was named after Benjamin Franklin. Even today, Franklin Gothic remains one of the most widely used sans serif typefaces. The robust character of the font gives text a modern feel. It is widely used in newspapers and advertising and is frequently seen in posters, placards and other material where space is restricted. Featured in: Best Fonts for Tattoos

HK Nova is a geometric sans inspired by the Century Gothic and Futura. It formalizes Century Gothic and softens Futura.

In the course of the re-vitalization of its Typoart typeface inventory, Elsner+Flake decided in 2006 to offer the “Kis Antiqua” by Hildegard Korger, in a re-worked form and with an extended sortiment, as an OpenType Pro-version. After consultation with Hildegard Korger, Elsner+Flake tasked the Leipzig type designer Erhard Kaiser with the execution of the re-design and expansion of the sortiment. Detlef Schäfer writes in “Fotosatzschriften Type-Design+Schrifthersteller”, VEB Fachbuchverlag Leipzig, 1989: No other printing type has ever generated as far-reaching a controversy as this typeface which Jan Tschichold called the most beautiful of all the old Antiqua types. For a long time, it was thought to have been designed by Anton Janson. In 1720 a large number of the original types were displayed in the catalog of the „Ehrhardische Gycery“ (Ehrhardt Typefoundry) in Leipzig. Recently, thanks to the research performed by Beatrice Warde and especially György Haimann, it has been proven unambiguously that the originator of this typeface was Miklós (Nicholas) Tótfalusi Kis (pronounced „Kisch“) who was born in 1650 in the Hungarian town of Tótfal. His calvinistic church had sent him to the Netherlands to oversee the printing of a Hungarian language bible. He studied printing and punch cutting and earned special recognition for his Armenian and Hebrew types. Upon his return to Hungary, an emergency situation forced him to sell several of his matrice sets to the Ehrhardt Typefoundry in Leipzig. In Hungary he printed from his own typefaces, but religious tensions arose between him and one of his church elders. He died at an early age in 1702. The significant characteristics of the “Dutch Antiqua” by Kis are the larger body size, relatively small lower case letters and strong upper case letters, which show clearly defined contrasts in the stroke widths. The “Kis Antiqua” is less elegant than the Garamond, rather somewhat austere in a calvinistic way, but its expression is unique and full of tension. The upper and lower case serifs are only slightly concave, and the upper case O as well as the lower case o have, for the first time, a vertical axis. In the replica, sensitively and respectfully (responsibly) drawn by Hildegard Korger, these characteristics of this pleasantly readable and beautiful face have been well met. For Typoart it was clear that this typeface has to appear under its only true name “Kis Antiqua.” It will be used primarily in book design. Elsner+Flake added two headline weights, which are available as a separate font family Kis Antiqua Now TH Pro Designer: Miklós (Nicholas) Tótfalusi Kis, 1686 Hildegard Korger, 1986-1988 Erhard Kaiser, 2008

Guapa was first born from a personal experiment: transforming a geometric sans serif 'à la Futura' into a charming postmodern deco design. It was applied in a poster specially designed for a typography exhibition called 'Pimp the type'. Later it became a well-suited typeface for the word: from titles for magazines to book & record covers and packaging. The family consists in one single weight, which is provided with Discretionary ligatures, Alternative characters, Swashes forms, Initials and some Stylistic Sets. The Ornaments Series will be designed in the future, as well as a Cyrillic update. Guapa is fancy, delicious & fresh!

Plak is a typeface originally created by famous German designer Paul Renner in 1930. Paul Renner is also the designer of the Futura typefaces. Like Futura, Plak is a sans serif design. But its unique qualities include its heaviness, and its un-geometric lowercase a.""

A version of Futura, but very bold, ideal for modern advertising.

In 1929 Chauncey Griffith at Mergenthaler commissioned W.A. Dwiggins to design a warmer and less mechanical Geometric Sanserif to compete with Futura. Dwiggins’ best efforts proved that human warmth had little to do with cool geometry; for twelve years, until the introduction of Spartan, Mergenthaler lost ground to Intertype’s licensed version of Futura.

Futuramano was the kind of typeface we scribbled in those old days, when I was an art-director in advertising agencies. We used it to simulate the headlines and the subheads, so the client could read what the copywriters had in mind. As Futura was the font of choice in those days (as it still is), our scribbled typeface looked much like Futura. The second half of the name “mano” means hand, so that is what it is, kind of a handwritten Futura. Futuramano is very practical if you want to have that unfinished touch! Yours very nostalgic Gert Wiescher

Display Board JNL is based on Futura Display, which was designed in 1932 by Paul Renner as an extension of his original (1927) Futura family of typefaces. According to Wikipedia, the font was developed as a typeface by the Bauer Type Foundry, in competition with Ludwig & Mayer's seminal Erbar typeface of 1926 Display Board JNL is available in both regular and oblique versions.

A simple, modern sans serif; clean and elegant, just like its inspiration. The name is a play on Futura.