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  1. Ames' Roman by Greater Albion Typefounders, $16.00
    Ames’ Roman is a stylish ‘New-Style’ Didone Roman family offered in divers weights and widths. It is designed to embody clarity combined with dramatic contrast between horizontal and vertical strokes. All typefaces include small capital forms, new and old style numerals (and indeed ‘small capital’ numerals for consistency). Ames’ is a Roman with the charm of the past and the spirit of the future! It’s ideal for headings and titles and anywhere else you need text of distinction. Watch out for the forthcoming Ames’ Text…
  2. Águila by Latinotype, $29.00
    Águila design is based on the combination of straight lines, curves and triangular shapes as well as on Didone typefaces. The font also has semi serifs— a notable characteristic that gives it a singular appearance. Águila was specially designed to be used as a display font for editorial design, packaging, branding, broadcasting purposes and for any project that requires a clean, modern font with a strong character. Águila comes with a set of more than 400 characters that support over 200 Latin-based languages.
  3. Bowdon by K-Type, $20.00
    Bowdon is a warm, Bodoni-inspired English Modern, influenced by the 1930s lettering of designer Barnett Freedman. Slightly rounded corners give characters a printed-look softness, and hairlines are thickened a little to increase legibility at smaller sizes, reducing the harshness and dazzle that can afflict Didone typefaces. Bowdon is supplied in three widths – Regular, Wide and Narrow – and each width is accompanied by a utilitarian oblique rather than a fancy italic. Each font includes a full Latin Extended-A character set and additional oldstyle numerals.
  4. Curve by Fontador, $24.99
    Curve is a modern neo-classical typeface family with some features of the Didone genre, but especially designed for contemporary typography. A large x-height not only creates space in the letters for extra-bold styles, but also lends Curve an open and generous character in the more narrow and semi-bold versions. It has 616 glyphs with small caps, numbers and ligatures in 10 weights. Curve is a contemporary serif typeface, special for logos, brands, magazines and editorial and for setting trends in fashion and design.
  5. Jules by DSType, $45.00
    At first glance, Jules, appears to be just one more Didonic variation, but a closer look starts revealing all the extraordinary features of this type family, specially designed for use in extremely big sizes. Jules reflect the last of the late 18th century and was inspired by several plates from a portuguese calligrapher named Antonio Jacintho de Araujo. Available in three different optical sizes: Big, Colossal and Epic, Jules has a plethora of ligatures and stylistic alternates, plus refined Italics and a super elegant Swashes version.
  6. Henrician by Greater Albion Typefounders, $16.50
    Henrician can claim two sources of inspiration. One of these was a set of beautiful capital letterforms seen on the cover of a 19th century album of engravings. The engravings contained therein depicted lovely examples of half-timbered Tudor architecture and there was a clear 'Tudor' intent behind the letterforms. The second source of inspiration is more conceptual-the title lettering of period films from the 30's to the 60's…think if the opening text when Errol Flynn plays Robin Hood, or think of Richard the Lionheart, or even that great comedy Classic 'Carry on Henry', and it's discussion of Sir Thomas de Cobbler….but we digress! Henrician is a set of eight display and text (but perhaps not Body Text) faces in a 'Tudor Revival' spirit. Like any good revival design they are somehow at home with a wide range period themed design work, covering the medieval until, perhaps, the 18th century, just so long as we're more concerned with fun and appearance than strict historical accuracy. The family will be at home in the realms of advertising, posters, cover design and web design. Try Henrician out today!
  7. 1917 Stencil by GLC, $38.00
    We have created this family inspired by the old-fashioned stencil letters like those the French army used during the WWI to write on soldiers' clothes, blankets, signals, ammunition, supplies and so on. This is a Didone-style font. We offer two variants for the same font: monospaced or proportionally spaced. Our Open Type specification allows automatic substitution of letters to avoid repeating the same glyph when a letter is repeated (for example “ee” or “bb”)(Not available with accented characters and a few others like “Q” that are never repeated in common use).
  8. Afish by Borutta Group, $29.00
    AFISH was born out of the need to create a variable serif display typeface – so that any headline on the poster would easily fit. The form of the letters comes naturally from Didone style typefaces, while many of the characters have an experimental form that will not leave the audience indifferent. AFISH will be ideal for posters and strong headline and branding use. The entire family consists of one weight and five widths. Karol Mularczyk and Małgorzata Bartosik worked on the project under the creative direction of Mateusz Machalski.
  9. Burdigala Semi Serif by Asgeir Pedersen, $19.99
    Burdigala is a clean-cut, modern yet classic typeface inspired by Didones and Aicher’s Rotis family. The Semi Serif is ideal for larger amounts of (printed) texts in brochures, magazines and books. It is slighty narrow in order to conserve space, but spacious enough to faciliate reading and overall clarity. The expanded versions of the semi serif, being wider and more open, works equally well in media intended both for print and on-screen reading, e.g. in Pdf-documents etc. Burdigala is the ancient Roman name of the city of Bordeaux France.
  10. Gradiyla by Ahmad Type, $12.00
    Gradiyla is a luxurious display serif font with unique character by combining geometric shapes with organic curvy details. It is a unique typeface for your individual personality. Inspired by old-style serif and contemporary serif fonts. The extreme contrast between thick and thin strokes gives a harmonic and stylish look. Elegant and sensuality didone serif enhanced by ligatures. Perfect for a wide range of uses. From greeting cards to magazines, wedding invitations, logos to websites, etc. This font is PUA encoded which means you can access all of the amazing glyphs and ligatures with ease!
  11. Balerno Serif by My Creative Land, $29.99
    Balerno is a modern (yet vintage) multilingual elegant Didone serif enhanced by ligatures, alternates and swashes. Balerno is a very versatile font family - with it's classic forms and modern features it covers a wide range of design projects starting from greeting cards to magazines, wedding invitations to websites etc. The amount of alternates is tremendous, from simple stylistic alternates to swashes, ligatures and their alternates. Languages supported: English, German, French, Italian, Spanish, Swedish, Portuguese, Irish, Norwegian, Luxembourgish, Basque, Breton, Corsican, Faroese, Galician, Icelandic. Free fonts contain basic latin characters set, numbers, punctuation and symbols.
  12. Povetarac Display by Tour De Force, $25.00
    Povetarac Display font family is part of Povetarac Superfamily together with Povetarac Sans and Povetarac Didone. Available in 6 weights and one variable font file, Povetarac Display relays on lively uppercase proportions that took inspiration from vintage typefaces. It is well balanced, elegant and fully recognizable high contrasted sans serif family. One of its characteristics are straight and wide terminals. With sharp overhang, Povetarac Display works pretty well in all situations – from editorial use to branding, websites or just titles. Comes with 3 Stylistic Sets, SmallCaps and Fractions and extended Latin character map.
  13. Fiorina by Mint Type, $39.00
    Fiorina is a modern Didone-style serif typeface of 72 fonts. It comes in 4 optical sizes, ranging from Text with moderate contrast to super-contrasted Grande. Each cut comes in 9 weights with corresponding sophisticated italics. The overall variety of styles makes Fiorina the ultimate magazine typeface. The glyph set supports all European Latin-based languages, as well as all major languages that use Cyrillic script. The type family also suppors numerous OpenType features, including 6 sets of digits, small caps, fractions, superscript and subscripts, ordinals, and more.
  14. Kimberlie Display by Attract Studio, $23.00
    Kimberlie is a luxurious display serif font with unique character by combining geometric shapes with organic curvy details. It is a unique typeface for your individual personality. Inspired by old-style serif and contemporary serif fonts. The extreme contrast between thick and thin strokes gives a harmonic and stylish look. Elegant and sensuality didone serif enhanced by ligatures, alternates and swashes. Kimberlie features OpenType with 1025+ glyphs, 210 Stylistic Alternates, 486 Ligatures. Perfect for a wide range of uses. From greeting cards to magazines, wedding invitations, logos to website etc.
  15. Aardvark Dreams by Hanoded, $15.00
    Aardvark Dreams… Yes, I guess this is the first font ever to have an aardvark in its name! Aardvark Dreams is a bit of an unusual font. It is didone-ish in style, but the glyphs are slightly warped, giving them an almost liquid appearance. The Vark is a cute font for children’s books, games, posters and artwork. It could also work on psychedelic record-sleeves, but I guess they don’t make ‘em no more. Aardvark Dreams comes with a bunch of ligatures and a whole lotta diacritics!
  16. VVDS La Truffe by Vintage Voyage Design Supply, $15.00
    Introduce you a new one - La Truffe. A super stylish Didone font. Comes with two styles - Regular and Italic. High contrast strokes gives a refinement into your project. Access your OpenType features to access the large selection of alternate letters and some ligatures. Calligraphic Italic can play with Regular in pair or can be used as independent mainline typeface. More than 480 glyphs total. La Truffe is a versatile font, which can be used in you branding ads, magazine headlines, posters, wedding invitations, product packaging, business cards etc.
  17. Crayond by Dora Typefoundry, $15.00
    - Elegan / Bergaya / Modern - Introducing a beautiful and classy Crayond modern san serif typeface with lots of alternative styles to choose from, planting it firmly in a modern design. It is a careful collaboration between beauty and function. The beautiful modern Crayond sans serif is available in 3 regular and Italic weights including Light, Regular, and Bold. The style of the font family stems from the classic Didone, but makes steps to simplify and modernize some letterforms and make Didone feel more contemporary. If you want to get that classic Haute Couture look - Crayond Sans is a great choice. It is the perfect choice for fashion logos, headlines, short text, magazines, because its simplicity looks great in big typography, branding, identity, website design, album art, covers, posters, advertisements, etc. This purchase includes: Crayond - San serif typeface containing upper and lowercase characters, numbers 0-9, as well as a series of punctuation marks and symbols as well as an alternative style. If you have trouble finding a certain character, you can access it via the glyph panel. You can see all the characters available in the screenshot above, and you can try the font below. Please let me know if you have any questions, leave a comment!
  18. Posh by Lián Types, $49.00
    I've always been in love with fat didones. That’s the reason of Posh. In search of something unique, I started this family back in 2013 with the aim of creating the fattest yet readable bodonian typeface in the market: It was a challenge, because roman fonts need generous counters (or what some call white spaces) and taking them to the extreme of inexistence attempted against the construction of many glyphs. Ears, dots, terminals and serifs always need some extra space so I had to find the exact point of boldness to make characters which have those attributes work well in the middle of those which haven't. (1) After a while, I felt I was again ‘in my element’: Big contrasted letters, sexy and elegant curves, and that Lubalinesque feeling that characterise my fonts. (2) Words written with Posh are a explosion of elegance and sensuality due to the fact that its didone attributes were exaggerated. Since it’s full of alternate glyphs, one can change and choose them until a nice block of ‘‘black’’ is achieved. (3) To accompany the regular style, I designed Posh Inline, a font with the same quantity of glyphs than the regular one; an all caps style called Posh Capitals, and also a really playful Italic version. I hope you find this one delicious like I do! This font is dedicated to all who understand letters are not just meant to be read, but also to be appreciated in group and individually. Enjoy it. NOTES (1) In example, it can be easy to design a fat letter ‘n’ with almost no counter, but really tough to make a satisfactory letter ‘s’ with serifs to match that ‘n’. (2) Also, it wasn't my first attempt in fat didones. Take a look at my font Reina, made in 2012. (3) Posters above show many words with ball terminals that seem to dance above and below the words in order to fill those “undesired” blank spaces.
  19. AW Conqueror Std Inline by Typofonderie, $59.00
    30s inspired geometric inline display typeface Several titling typefaces made their appearance at the start of the 20th century, notably Acier and Bifur, both created by French poster artist Cassandre. Later, in the Netherlands, S.H. de Roos designed a version of Inline for its Nobel family called, naturally, Nobel Inline. AW Conqueror Inline pays homage to this beautiful version. AW Conqueror superfamily AW Conqueror Didot is part of a larger family, who include 4 others subfamilies with great potential: They’re but based on same structure, with some connection between them (width for example), to offer a great & easy titling toolbox to any designers, from skillful to beginner. Each of the members try their best to be different from the others because of their features. They should work harmoniously in contrast. Club des directeurs artistiques Prix 2010 European Design Awards 2011
  20. Otama by Tim Donaldson, $49.00
    From the dainty light weight through to the striking UltraBold, Otama raises the bar to a new level of dangerous sophistication. Although easily classified alongside Modern typefaces such as Didot and Bodoni, Otama was purposely developed with minimum reference to these two visual heavy weights. In search of something more than a mere historical revival, Otama instead draws proportional reference from popular 20th century Transitional and Garalde typefaces with visual inspiration coming from calligraphic studies. Many characteristics from Tim Donaldson’s 2010 display face Pyes Pa were directly passed on in execution of Otama — The shoelaced k, e and a being the most obvious examples of this family relation. Refined over 2 years with well over 8,000 characters over 28 styles, Otama certainly deserves its place as a comprehensive and versatile typeface in any designer’s font library.
  21. Worthe Numerals by House Industries, $33.00
    Worthe Numerals come out of a time-tested development cycle where House Industries employees ask “What if this could be just a little more…”. After pushing traditional didot forms to the limit, these digits were originally applied to a set of wood blocks. But, who says replenishable Michigan-grown basswood should have all the fun? So we added everything one needs to stylishly set their current currency and credit default swap hedges, while also being able to set the appropriate fractional take from their blog’s micropayment structure. Made to be large, attract attention, and —when needed— drop a shadow, Worthe Numerals brighten the daily drumbeat of numerical gloom. Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.
  22. Prillwitz Pro by preussTYPE, $49.00
    Johann Carl Ludwig Prillwitz, the German punch cutter and type founder, cut the first classic Didot letters even earlier than Walbaum. The earliest proof of so-called Prillwitz letters is dated 12 April 1790. Inspired by the big discoveries of archaeology and through the translations of classical authors, the bourgeoisie was enthused about the Greek and Roman ideal of aesthetics. The enthusiasm for the Greek and Roman experienced a revival and was also shared by Goethe and contemporaries. »Seeking the country of Greece with one’s soul«. All Literates who are considered nowadays as German Classics of that time kept coming back to the Greek topics, thinking of Schiller and Wieland. The works of Wieland were published in Leipzig by Göschen. Göschen used typefaces which had been produced by until then unknown punch cutter. This punch cutter from Jena created with these typefaces master works of classicist German typography. They can stand without any exaggeration on the same level as that of Didot and Bodoni. This unknown gentleman was known as Johann Carl Ludwig Prillwitz. Prillwitz published his typefaces on 12th April 1790 for the first time. This date is significant because this happened ten years before Walbaum. Prillwitz was an owner of a very successful foundry. When the last of his 7 children died shortly before reaching adulthood his hope of his works was destroyed, Prillwitz lost his will to live. He died six months later. His wife followed him shortly after. The typeface Prillwitz as a digital font was created in three optical styles (Normal, Book and Display). The typeface Prillwitz Press was created especially for a printing in small sizes for newspapers. »Prillwitz Press« combines aesthetic and functional attributes which make written text highly readable. It was originally designed for a newspaper with medium contrast to withstand harsh printing conditions. Its structure is quite narrow which makes this typeface ideal for body text and headlines where space is at premium. For the Normal – even more for the Book – a soft and reader-friendly outline was created through a so-called »Schmitz« and optimized in numerous test prints. The arris character and the common maximal stroke width contrast of the known classicist typefaces (Didot/Bodoni) were edited by the study of the original prints. This was also done in order to reach a very good readability in small type sizes. This typeface is perfectly suited to scientific and belletristic works. Accordingly it has three styles: Regular, Bold and Italic as Highlighting (1). The typeface Prillwitz is a complete new interpretation and continuing development of the conservated originals from 1790. They have been kept in the German Library in Leipzig. It was always given the priority to keep the strong roughness and at the same time optimizing the readability of this striking font. The type family has all important characters for an efficient and typographic high quality work. ----------- (1) Accentuation of particular words or word orders (e.g. proper names, terms etc.). Typographic means for Highlighting could be Italic, SmallCaps or semi-bold.
  23. FP København by Fontpartners, $35.00
    Copenhagen has been in need of a typeface that unites the city’s many visual expressions. The three designers Morten Rostgaard Olsen, Henrik Birkvig and Ole Søndergaard have designed and developed the typeface FP København. Now available from MyFonts in 20 styles: Uprights & Italics, small caps, pictos-characters, stencils, sprayed style, OT-features, ligatures, contextual alternates etc. The shapes of the letters are inspired by the city’s culture and the visual environment and design in Denmark in the 20th century. It is relatively low and wide as the city itself and with rounded corners that give it a warm visual mood. “You can find examples of the use of a typeface with the same purpose in other parts of the world, for example, to identify local areas or urban tourism materials. FP København is our take on that kind of typeface” the designers add.
  24. Ephemera Kingsford by Ephemera Fonts, $39.00
    A new vintage display typeface by Ilham Herry. Started from the passion of collecting the old tin packaging with classic labels on it, the layout and composition make Ilham pretty inspired and the urge of crafting the letters is getting bigger since that day. That's what comes first as a motivation in making this Ephemera Kingsford typeface.Adapted and referencing from the real physical collectible old tins and cans to a single pack of digital fonts asset. Packed up with 9 layered fonts, 1 font as a pair, and of course ornaments and vintage panels as a vector file.Perfectly fit for display printing, handcrafted product, screen printing industry such as apparel, packaging, labels, and also sign painting, scrapbook, glass gilding, et cetera. Not every visual can go vintage but if you want to, there's no other choice, oldsport. check Ephemera Kingsford type specimen here
  25. Mogguine Asturias by Delaga Studio, $15.00
    Mogguine Asturias is a modern serif with a lot of styles. A high-contrast version of the famous Didot look that has been synonymous with fashion for decades. This font has over 100 glyphs with multilingual fonts included. This font is modern and nostalgic and is perfect for logos, mastheads, and quotes. It pairs beautifully with minimal sans serif or light script fonts. Features: All caps Stylistic Alternates & Ligatures Numerals & Punctuation Accented characters Multiple Languages Supported PUA Encoded HOW TO ACCESS ALTERNATE CHARACTERS Open glyphs panel: In Adobe Photoshop go to Window - glyphs In Adobe Illustrator go to Type - glyphs Follow my shop for upcoming updates including additional glyphs and language support. And please message me if you want your language included or If there are any features or glyph requests, feel free to send me a message, I would like to update it.
  26. Cosmetiqa by Mysterylab, $15.00
    Here's a posh serif typeface and its matching italic. Glowing with elegance, Cosmetiqa can go head to head with classic evergreens like Bodoni, Didot, or Century. And just like those go-to favorites, Cosmetiqa really shines at the huge, layout-dominating sizes which have been a staple of top-shelf fashion branding and magazine design since at least the mid-1980s. You'll also find this font to be a great workhorse at much smaller sizes and in extended text passages, as the hairline serifs don't disappear in the smaller size ranges. As its title suggests, Cosmetiqa's unique look works perfectly in cosmetics and fashion branding, but also try it with 1990s-style message forward ad headline applications if you're after a retro look with a hint of a modern twist. The semi-condensed proportions and tall x-height make it great for pull quotes, page banners, and logo design.
  27. Modesta by OhType!, $25.00
    Modesta Sans is a Neo Grotesque sans serif typefamily of seven weights plus matching italics. Inspired by Didone serif fonts and the first Sans serif types from the late 19th century and early 20th century, It reduces many of the eccentricities in order to make them more suitable to modern tastes. Every weight has more than 220 characters and includes uppercase, lowercase, numbers, special characters and a powerful opentype features. Perfectly suited for graphic design, headlines, advertisements, and any display use. It could easily work for editorial design, corporate, web, signage and many other uses in print and digital media.
  28. Ragiel by Greentrik6789, $16.00
    Ragiel is an elegant and classy serif font, inspired by a didone-style font with high contrast and upright axes. With high contrast it will be very suitable for display needs such as posters, advertisements, logos, billboards, covers, labels, and various types of display designs. Ragiel is equipped with uppercase and lowercase characters that support multi-language, and comes in 3 styles and 3 weights in each style to add aesthetics to your artwork. We hope you enjoy this font, and don't hesitate to leave a comment or message if you have problems or questions. Thank you :)
  29. Gabriela Stencil by Latinotype, $29.00
    Gabriela Stencil is a classic font family with a unique character designed by Antonio Mejía Lechuga in collaboration with Latinotype Team. This font, well-suited for headlines, has features that emphasise its modern and elegant personality, inspired by the style of the 19th-century Didone typefaces. The x-height—sized at 50% of the cap height —and short ascenders and descenders make Gabriela Stencil a highly readable font and ideal for headlines, short text, branding and publishing projects. The family comes in 6 styles, from Thin to Black, plus matching italics and contains a 433-character set that supports 206 different languages.
  30. Boutique by Milieu Grotesque, $99.00
    Boutique is a reinterpretation of Modern typefaces that posits an alternative present for the genre. Our initial version of Boutique explored the relationship between Modern typefaces and Modernism. Built upon a Didone Skeleton, we amplified its geometric character and stripped away ornament to create an elegant sans-serif with an idiosyncratic edge. We have since overhauled Boutique to create a comprehensive family. Adding a serif and italic in three optical variations for small (S), medium (M), and large (L) applications. The updated Boutique features additional and refined glyphs, styles, and weights to create a freely interchangeable typographic system.
  31. Mixta Essential by Latinotype, $20.00
    Mixta Essential is a contemporary sans-serif typeface with characteristic and defined features. This font was inspired by the idea of mixing different types of terminals in order to give the font a singular appearance. Its design is composed of diverse styles such as Didone and classic typefaces as well as current font trends. This new essential version of Mixta does not include Cyrillic support, alternate styles or OpenType features. Mixta Essential, with a basic language support, has been adapted for optimal use on macOS and Windows environments. Mixta Essential was specially designed for branding, advertising, Tv and social media.
  32. Ingeborg by Typejockeys, $70.00
    The Ingeborg family was designed with the intent of producing a readable modern face. Its roots might well be historic, but its approach is very contemporary. Ingeborg’s Text Weights are functional and discreet. This was achieved without losing the classic characteristics of a Didone typeface, which are the vertical stress and the high contrast. The Display Weights on the other hand are designed to fulfil their job and catch the reader’s eye by individual form language and a whole lot of ink on the paper. Nevertheless both are of one origin and work together in harmony.
  33. Heartsome by Hanoded, $15.00
    Heartsome is a ‘forgotten’ word. It was mostly used in Scotland and it means: ‘giving cheer, spirit or courage’. I had never heard of it, but I thought it deserved a second chance, so I named this font Heartsome! Heartsome is a handmade Didone; I used a brand new bottle of Chinese ink and a brand new synthetic pencil to paint the glyphs. Brand new, because all of my drawing materials seem to have evaporated when we moved into our new house… A synthetic brush, because I don’t want animals to suffer because I feel the need to create fonts.
  34. Hoban by District, $40.00
    The light and the bold. The thick and the thin. Laverne and the Shirley. Peanut Butter and the Jelly. Hoban is about contrast. Hoban wants to be noticed, but only after a second glance. A friend of a friend to the didones, it has smaller, tapering serifs, slightly calligraphic traits, and spindly little terminals that go where they please. It’s a headline face. Period. Set it big and bold. Or light and airy. But preferably next to something with flair. Cuff links, canapés, or corvettes–it’s up to you. Distinct ligatures, ornaments, and swashy alternates provide plenty of character to tailor your style.
  35. Revista by Latinotype, $29.00
    Revista is a typographic system that brings together all the features to undertake any fashion magazine-oriented project. The font harmoniously blends different styles into a single big family, which consists of a Didone uppercase and small caps family—including 4 variants ranging from a monolinear Thin to Black with matching italics—and an Inline Black variant that works as a decorative alternative to the Didone fonts. Revista Stencil, one of its versions, comes with the same number of variants. Revista also comes with a Script Family that includes 5 weights, ranging from Thin (monolinear) to Black, contrasting in a tidily untidy way with many ligatures and alternates. You can choose between using stylistic alternates—if you want to give your designs a different untidy look, in the style of the modern calligraphy—or switching between different options if you are looking for a hand-written style. We highly recommend using the default contextual alternates and discretionary ligatures in order to take more advantage of this great font family. Revista includes 2 sets of dingbats, varying from zodiac signs symbols to technology symbols, and complementary ornaments in 3 different weights: Thin (monolinear), Regular and Black. All these features make Revista an ideal typeface for users to design to their liking! Photo by Fervent-adepte-de-la-mode
  36. Vena Amoris by Delve Fonts, $49.00
    New Orleans, June 25, 1895 My dear Edmond, I found upon my return home to dinner yesterday, your letter informing me of your affection for Annie and asking that we confide her future happiness to your keeping... This excerpt was taken from a letter written by designer Kathryn Podorsky’s great-great-grandfather, Lucien Doize, in response to Edmond’s request to marry his daughter, Annie. The letter was not only beautiful contextually, but exquisitely penned and epitomized the delightful charm of the New Orleans people of the time. Vena Amoris, or “Vein of Love” refers to a phrase coined by Henry Swinburne in his A Treatise of Espousal published in 1686. Vena Amoris also refers to the fourth finger on the left hand which was traditionally believed to contain a vein running directly to the heart, hence “the ring finger.” As a digital font, Vena Amoris boasts an extensive Latin-based character set that supports 51 languages. Also included are stylistic and contextual alternates, ligatures, swash variants, oldstyle figures, and roman numerals and calligraphic words that will undoubtedly bring a dynamic quality to any setting. All of those extras are driven by cleverly applied OpenType features allowing you to add harmony and calligraphic beauty to your layout.
  37. Art Gothic HiH by HiH, $10.00
    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.
  38. Glaw by Flavortype, $15.00
    Meets Glaw, A new carefully crafted Fonts from Ilham Herry to bring a new heavy look of Psychedelic Theme. The Ideas of this fonts are from 70s, Psychedelic, Funk, Hippie, Party, Music and Etc. Even though it’s a specific theme for this fonts. It doesn’t ruled out the possibility of creating a new style or themes. Glaw Created with a 3 Weight on the traditional OTF, Condensed, Regular and Expanded. Not Just that, If your software are support for Variable Fonts like Adobe Illustrator or Photoshop, The Weight are going to 100 Weight!. Glaw Best used for a Large Text such as Headline, Poster, Branding, Logos, Concert, Branding and Any other use that needs a Heavy looks for the Title. Our creation on the display to give you a reference what it looks like on your project. It shows that how Glaw will look on your design style.
  39. Bodoni by Linotype, $29.99
    Giambattista Bodoni (1740–1813) was called the King of Printers and the Bodoni font owes its creation in 1767 to his masterful cutting techniques. Predecessors in a similar style were the typefaces of Pierre Simon Fournier (1712–1768) and the Didot family (1689-1836). The Bodoni font distinguishes itself through the strength of its characters and embodies the rational thinking of the Enlightenment. The new typefaces displaced the Old Face and Transitional styles and was the most popular typeface until the mid-19th century. Bodoni’s influence on typography was dominant until the end of the 19th century and, even today, inspires new creations. Working with this font requires care, as the strong emphasis of the vertical strokes and the marked contrast between the fine and thick lines lessens Bodoni’s legibility, and the font is therefore better in larger print with generous spacing. The Bodoni of Morris F. Benton appeared in 1911 with American Type Founders.
  40. AW Conqueror Std Slab by Typofonderie, $59.00
    Slab serif with a 70’s aesthetic A version of AW Conqueror Sans, AW Conqueror Slab draws inspiration from geometrical slab serifs of the 1930s, of which Rockwell is a perfect example. Lubalin Graph, a reworking of the genre, came out in the wake of the Avant Garde wave of the early 70s. In recent years, ‘slabs’ have made a comeback in the graphic design world. AW Conqueror Slab advances the cause quite happily. AW Conqueror superfamily AW Conqueror Didot is part of a larger family, who include 4 others subfamilies with great potential: They’re but based on same structure, with some connection between them (width for example), to offer a great & easy titling toolbox to any designers, from skillful to beginner. Each of the members try their best to be different from the others because of their features. They should work harmoniously in contrast. Club des directeurs artistiques Prix 2010 European Design Awards 2011
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