French Script font is based on script handwriting and engraving used in formal announcements and invitations in general, and specifically on a 1905 ATF face named Typo Upright," by Morris Fuller Benton. French Script lends itself to typesetting in which an elegant mood is desired. French Script is an upright script font with an engraved appearance and decorative capitals. "

Designed by Morris Fuller Benton 1913-15, this Oldstyle family was digitized by Jim Rimmer in the early 2000's. It is a roman face closely styled to that of Nicholas Jensen's with a companion italic in the style of Aldus Manutius. Benton considered Cloister the ideal typeface and it does indeed lend itself to many uses.

Eastport JNL is the interpretation by Jeff Levine Fonts’ of the classic Stymie Extra Bold (a/k/a Stymie Black), designed in 1931 for American Type Founders by Morris Fuller Benton. Stymie and the somewhat similar Beton were both derivations of the popular European typeface Memphis. Eastport JNL is available in both regular and oblique versions.

Here's a stencil version of another Nick's Fonts typeface based on Chic, a Morris Fuller Benton creation for American Type Founders from the 1920s. Stylish and sophisticated as always, and now with an arts-and-crafts flair. Both versions of this font include the Unicode Latin 1252 and 1250 Central European character sets, with localization for Moldovan and Romanian.

The British Vogue commissioned this typeface for their magazine re-design in 2001. After studying the originals of Morris Fuller Benton and the existing versions, this font was designed with all new thin weights. Just when the family was finished, Vogue informed that they had decided to use American Typewriter instead. Bastards. But here is a true classic typeface with a facelift. The pun intended. Tee Franklin has seven weights with obliques, the Heavy being just slightly heavier than the existing versions from Adobe and ITC, and moving down to totally new Ultra Light, using Luc(as) de Groot's formula to keep the weights optically correct. The glyphs are the same as the Morris Fuller Benton's original from 1902, except for the upper case Q, which was re-designed with a loop in the counter for added differentiation.

Grave is a Intellecta's best seller, a classic font design remastered, distressed and antique, merging the bodonian style with tendrils and victorian ornaments. Ideal to use in in display purposes for a stylized type design. Its family of fonts has too Grave Ornaments , a dingbat/decorative display font featuring many different styles of flourishes and ornaments, great for a vintage antique feel. Completes the collection Grave Plus , where six different fonts has different styles of victorian fleurons and ornaments merging with a bodonian shaded typeface in great style. A beautiful and big family, available single or in pack with an attractive price.

Get to know Norman Fat a new version of our best seller Norman, elegant and fashion forward. This new condensed high contrast and heavy weight serif font is based on expansion giving a sense of self confidence. The oblique ax was specially added to get a contemporary and innovative sense. Norman Fat is young and idealist, he has a distinctive sense of style. A complete set of ligatures and stylistic alternates is included, this will help the designer to customize and give a special look to any layout. We recommend to use it for big title, magazine, editorial purposes and display.

Grave is a Intellecta's best seller, a classic font design remastered, distressed and antique, merging the bodonian style with tendrils and victorian ornaments. Ideal to use in in display purposes for a stylized type design. Its family of fonts has too Grave Ornaments, a dingbat/decorative display font featuring many different styles of flourishes and ornaments, great for a vintage antique feel. Completes the collection Grave Plus, where six different fonts has different styles of victorian fleurons and ornaments merging with a bodonian shaded typeface in great style. A beautiful and big family, available single or in pack with an attractive price.

I love blueberries. When my brother and I were young, we used to pick them in the forest by the bucket. Afterwards, we’d always look like victims of a serial killer, but it was all worth it, as nothing quite tastes likes homemade blueberry jam. I don’t know why I named this cute little font Blueberry Jam. Maybe I was craving some… Blueberry Jam is a highly legible, extremely cute and very handmade font. It would look good on just anything, but book covers, product packaging and homemade jam labels come to mind. Blueberry Jam comes with a bucketload of diacritics.

Grave is a Intellecta's best seller, a classic font design remastered, distressed and antique, merging the bodonian style with tendrils and victorian ornaments. Ideal to use in in display purposes for a stylized type design. Its family of fonts has too Grave Ornaments, a dingbat/decorative display font featuring many different styles of flourishes and ornaments, great for a vintage antique feel. Completes the collection Grave Plus, where six different fonts has different styles of victorian fleurons and ornaments merging with a bodonian shaded typeface in great style. A beautiful and big family, available single or in pack with an attractive price.

Oblogram JNL was built on the structure of Yorso Square JNL, but takes on the appearance Of a "techno" design as if drawn by a child's imagination. Unbalanced stroke weights give the appearance of a makeshift design, and can even double as "Modern Grunge" in its own right because of its willingness to break all typographic rules.

Sheepman inspired by and based on retro William Page’s No.506 typeface which is popular wooden type fonts of the 19th century. To make soft and natural impressions, the original polygonal design was changed to rounded design. All glyphs had been designed carefully to be retro-looking of the old time and to fill all with nostalgia. This modern wood type includes 3 weights and their matching slanted style and all style have sprayed ends(beginning) alternates for F, H, L, M, N, P, U, f, h, j, m, n, p, q, and u which can be accessed by using OpenType Stylistic alternates or swash alts. Sheepman will be the best solution for posters, titles and anywhere you need vintage lettering.

The Parliament typeface was designed by Jonathan Hoefler beginning in 1995. A burlesque typeface in the Regency Blackletter style, Parliament was inspired by the ‘Four-line Pica Black No. 1’ typeface of William Caslon Jr (1821), whose enigmatic design for the letters E, G, I, N, V and Y hinted at a broader ambition to modernize the arcane shapes of the gothic alphabet’s capital letters. Parliament completes this project for the first time by including two sets of alphabets, one archaic and one modern, along with a third set of ‘small caps’ that restores to the blackletter the versatility of Roman type. Parliament was first used for the 1998 ATypI Conference in Lyon, and was published by Hoefler&Co in 2022.

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

Vinque is an interpretation of a nineteenth century Arts & Crafts revival of medieval lettering. British type designer William Morris completed Troy in 1891—a splendid blackletter typeface in the medieval style. It’s beautiful but some modern uses like UI and video game text require a less ornate gothic appearance. Vinque is simple. It avoids strong vertical blackletter strokes which can present problems for contemporary readers. The end result is an uncomplicated, crisp typeface that successfully conveys medievalness to the reader. Vinque was released in 2002 in one style: Regular. In 2019, Vinque was expanded to seven weights and italics. Language support was bolstered to support most current Latin based languages as well as Greek and Cyrillic. OpenType fractions, f-ligatures and old-style numerals are supported.

Here's an Art Deco classic with a bit of an edge. This typeface is based on a somewhat less refined but more energetic version of Broadway, designed by Morris Fuller Benton for ATF in 1928, originally named Broadway Poster. Both versions of this font contain the complete Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

In 1931, Morris Fuller Benton created the Stymie typeface for the American Type Founders (ATF). Stymie is a reworking of a slab serif type that was popular in Europe at that time, Memphis. For the past one hundred fifty years, slab serif types (sometimes called Egyptian or Egyptienne-style faces) have been a popular choice for headline text in newspapers, magazines, and advertising.

This no-nonsense titling face is based on a Morris Fuller Benton 1934 offering for American Type Founders called, simply, Poster Gothic. Its crisp, clean lines and subtle Art Deco modeling make for attractive and attention-getting headlines. Available in plain and prismatic styles. Both versions of this font include the complete Unicode Latin 1252 and Central European 1250 character sets.

Based on Morris Fuller Benton's 1905 oeuvre American Extra Condensed, this titling face packs a lot of information into very little horizontal space. Its champfered corners give the font an industrial feel which remains fresh even after more than a century. Both versions include the complete Latin 1252, Central European 1250 and Turkish 1254 character sets, with localization for Lithuanian, Moldovan and Romanian.

Steve Jackaman & Ashley Muir. Packard Old Style is based on lettering drawn by Oswald Cooper for the Packard Motor Company (ATF 1913). The bold weight is credited to Morris Fuller Benton (ATF 1916), but it is highly probable that Benton did the adaptation for both weights. Packard Old Style Pro contains all the high-end features expected in a quality OpenType Pro font.

The Neubank family builds on the firm foundation of Bank Gothic, a twentieth-century classic designed by Morris Fuller Benton for ATF, and adds a fluid, dynamic lowercase that makes it right at home in the twenty-first century. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

Coming Together contains over 400 glyphs and is supplied as a single, cross-platform OpenType font. All glyphs are accessible using OpenType-savvy applications, Unicode-savvy utilities, the Character Map utility on Windows, and FontBook on Mac OS X. Nearly 400 designers contributed to “Coming Together”: Adam Humphries, Aditi Dilip, Adrien Midzic, Afraa Gutub, Al Insan Lashley, Alan Lima Coutinho, Alaric Garnier, Alejandro Cabrera Avila, Alejandro Lo Celso, Alejandro Paul, Alessandro Segalini, Alex Cameron, Alex Coblentz, Alexander Trubin, Alexandre Freitas, Alexey Murashko, Alicia Jabin, Aline Horta, Allison Dominguez, Amanda Postle, Amy Brown, Amy Papaelias, Anderson Maschio, Andrea Emery, Andres Perez, Andrew Boardman, Andrew Jesernig, Andrey Furlan, Andrij Shevchenko, Ann Tripepi, Antonio Gutierrez, Antony Kitson, Anushree Kapoor, Anya Cam, AP303 Estudio Design, Becky Krohe, Beejay, Ben Mitchell, Benjamin K. Shown, Benjamin Varin, Brad McNally, Brad Nelson, Bradley Trinnaman, Brady Baltezore, Brandon Horne, Breck Campbell, Brian J. Bonislawsky, Brian Jaramillo, Brian Jongseong Park, Brian Mueller, Brock French, Bruce Rodgers, Bruno Pugens, Bryan Angelo Lim, Buro Reng, Caitlin Martin-Frost, Calou, Carlos Fabián Camargo Guerrero, Carlos Vidal, Cayo Navarro, Cesar Puertas, Chank Diesel, Charles Williams, Chris Lozos, Chris Trude, Christophe Badani, Christy Lai, Claes Källarsson, Claire Coullon, Claudio Piccinini, Colby Cook, Craig Eliason, Cristina Pegnataro, Curve Doctor, Dan DiSorbo, Dan Liggins, Dan Rubin, Daniel Justi, Daniele Capo, Dav(id Hubner), Dave Bailey, Dave Cohen, David Jonathan Ross, David Sudweeks, David Thometz, Dawn Mercurio, Delve Withrington, Diana van de Blaak, Didier Mazellier, Diederik Corvers, Dino Santos, Dmytro Pobiedash, Donald Beekman, Dries Wiewauters, Duncan Bancroft, Ed Hoskin, Eddy Ymeri, Edineide Oliveira, Eduardo Manso, Eduardo Rodríguez Tunni, Eero Antturi, Eli Castellanos, Elias Bitencourt, Elias Stenalt Werner, Elman Padilla, Emery Miller, Emily Leong, Emily Maher, Enrico Limcaco, Eric Frisino, Eric Stine, Erik Brandt, Espen, Evan Moss, Evangeline Rupert, Fabiane Lima, Fabio Foncati, Fabrizio Schiavi, Farbod Kokabi, Felipe Lekich, Francisco Martin, Frank Riccio, Frans van Bellen, Gary Holmes, Gautam Rao, Gayle Hendricks, Gene Buban, Georg Herold-Wildfellner, George Aytoun, Gerd Wiescher, Giles Edwards, Gist Studio, Glen Barry, Glenn Parsons, Goro Mihok, Grace Engels, Grant Alexander, Grant Hutchinson, Greg Smith, Gunnar Swanson, Gustavo Machado, Hans Nieuwstraten, Harold Lohner, Hilary Salmon, Hillary Fayle, Hrant H Papazian, Hugo Gallipoli, Ian Drolet, Ian Lynam, Ilona Kincses, Isac Corrêa Rodrigues, Ivette Chacon, Ivo Federspiel, Jacques Le Bailly, Jae-hyoung Choi, Jaime Vasquez, James Edmondson, James Grieshaber, James L. Stirling, James Lukens-Gable, James Martin, James Ockelford, James Puckett, Jarbas Gomes, Jarett Knuth, Jason Adam, Jason Robinson, Javier Suzuki, Jay Chu, Jayson Zaleski, Jean Francois Porchez, Jeff Fisher, Jeff Jarvis, Jeffrey Vanlerberghe, Jelmar Geertsma, Jennifer Clarke, Jennifer Rutherford, Jens Kutilek, Jerry Allen Rose, Jess Latham, Jesse Ragan, Jessica Page, Jesvin Yeo Puay Hwa, Jim Ford, Jim Lyles, Jim Rimmer, Jin Ping, Jo De Baerdemaeker, Joachim Muller-Lance, Joanna Abbott Moss, Joe Francis, Joe VanDerBos, Joel Vilas Boas (J85), John Downer, John Flanagan, John Foley, John Langdon, John Lopez, John Lyttle, John Skelton, Johnny Dib, Jonathan Hughes, Jonathan Pierini, Jos Buivenga, Jose Luis Coyotl Mixcoatl, Juan Acosta, Judd Crush, Judith Lee, Julie Johnson, Julie Oakley, Julie Thomas, Juliet Shen, Jumin Lee, Jurgen Weltin, Justin Callahan, Justin Chodzko, Karel Piska, Karen MacKay, Karin Eberhardt, Karin van Soest, Karla Perez, Katie Parry, Katie Snape, Katri Haycock, Katy Brooks, Kelley Garrard, Kelly Redling, Kent Lew, Kevin D’Souza, Kevin J. Boynton, Kevin McDermott, Kim Arispe, Kokin, Kristen Caston, Kristen Hartman, Kristian Möller, Kristians Šics, Kyle Jones, L Bollinger, Lan Huang, Larry Van Dyke, Laura Ricker, Laura Worthington, Laurel Wilson, LeAndrea James, Lijklema Design, Linda McNeil, Lise Barreto, Louie Crumbley, Louis Duchesne, Luke Dorny, Luke Stouffer, Madison Cramer, Måns Björkman, Marc Salinas Claret, Marcus Leis Allion, Marcus Parker, Marcus Sterz, Marie-Anne Verougstraete, Mark Simonson, Martin Majoor, Matheus Barbosa, Mathias Forslund, Matt Desmond, Matt McInerney, Matt Millette, Matthew Jerauld, Max Kisman, Michael Browers, Michael Bundscherer, Michael Cina, Michael Doret, Michael G. Adkins, Michael Hernan, Michael Paul Young, Michael Wallner, Miguel Catopodis, Mikael Engblom, Mike Jarboe, Mike Petschek, Miriam Martincic, Moira Sheehan, Monica Pedrique, Nacho Gallego, Naomi Atkinson, Natanael Gama, Nathanael Ng, Neil Fox, Neil Patel, Neil Summerour, Neil Woodyatt, Ngoc Ngo, Nguyen Pham, Nicholas Curtis, Nicole Hudson, Nicole Sowinski, Nicolien van der Keur, Nina Stössinger, Noah Scalin, Ojasvi Mohanty, Oleg Macujev, Olivia Choi, Ong Fang Zheng, Pata Macedo, Patrick Gallagher, Patrycja Zywert, Paul Hunt, Paul Langman, Pedro Moura, Pedro Paz, Per Ohlsson, PJ Onori, Premm Design Ltd, Rae Kaiser, Rafael Carozzi, Rafael Cordeiro, Rafael Neder, Randy Jones, Ray Larabie, Raymond Forbes, Ressa McCray, Ricardo Esteves, Ricardo Martins, Riccardo Sartori, Richard Kegler, Richard Miller, Rob Keller, Roballo, Rose Coplon, Roy Rub, Rudo van der Velden, Russell McGorman, Ryan Rushing, Ryan Thorpe, Sander Neijnens, Sara Cross, Scott Boms, Scott Fisk, Sergio Jimenez, Shi-Min Chin, Sílvio Gabriel Spannenberg, Soohyen Park, Sorin Bechira, Stanley Friesesk, Stefan Hattenbach, Stefan Kjartansson, Stephen Lay, Steve Harrison, Steve Marsh, Steve Matteson, Steve Mehallo, Steve Zelle, Steven Bonner, Steven Wulf, Stuart Brown, Stuart Ford, Stuart Sandler, Sue Zafarana, Sulekha Rajkumar, Susan Surface, Tanya T Stroh, Taylor Loman, Ted Ullrich, Teja Ideja, Tena Letica, Terrance Weinzierl, Theo França, Thiago Martins, Tiffany Wardle, Tim Whalen, Titus Nemeth, Tom Plate, Tom Rickner, Tomato Košir, Tomi Haaparanta, Travis Kochel, Troy Leinster, Tyler Heron, Type Mafia, Vanessa Robertson, Veronika Burian, Victor Esteves, Victor Zuniga, Viktor Nübel, Viviana G, Wellinton Reis, Wilson Thomas, Wolfgang Homola, Xavier Dupre, Xerxes Irani, Zvika Rosenberg These designers represented the following countries: Argentina, Australia, Austria, Belgium, Brazil, Canada, Columbia, Croatia, Czech Republic, El Salvador, England, Finland, France, Germany, India, Ireland, Italy, Japan, Latvia, Lebanon, Mexico, New Zealand, Peru, Poland, Portugal, Scotland, Siberia, Singapore, Slovenia, Spain, Sweden, Switzerland, The Netherlands, Ukraine, United States, Venezuela, Vietnam

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

Serial: a killer font takes influence from the Son of Sam letters. Depicting an unstable mind and ill motives, this font is as erratic and discomforting as its author. Containing two similar but discernible font styles, you can mix and match to create your own story. Serial Regular is neater and more thoughtful. It is controlled and has an obvious flow. Serial Alternates illustrates a very different frame of mind - it is turbulent and rushed with little to no consistency. Serial Regular contains a secondary A-Z set, and a latin character set. Serial Alternates contains over 60+ ligatures (which gives it its natural handwriting style).

ITC Cheltenham font in its present form is the work of designer Tony Stan. Originally designed by architect Bertram Goodhue, it was expanded by Morris Fuller Benton and completed by Stan in 1975 with a larger x-height and improved italic details. ITC Cheltenham font is an example of an up-to-date yet classic typeface. In 1993 Ed Benguiat added the Handtooled weights to this family.

Johabu is based on Gebrochene Fraktur, a lighter softer sort of type, compared to the German forms of the same period. Johabu was drawn by Johannes Bureus, around 1620, cut and cast by Peter van Selow in Stockholm. Johannes Bureus, archaeologist and linguist, designed and let Selow cast runes in 1598, and he became the first Swedish keeper, archivist, of the National Record Office State Archives.

Steve Jackaman & Ashley Muir. Packard New Style is a smooth version of the lettering drawn by Oswald Cooper for the Packard Motor Company (ATF 1913). The bold weight is credited to Morris Fuller Benton (ATF 1916), but it is highly probable that Benton did the adaptation for both weights. Packard New Style Pro contains all the high-end features expected in a quality OpenType Pro font.

Peanotes is a fun cartoon display font inspired by 80s and 90s cartoon movies. Peanotes font comes in 2 versions, regular and filler version. You can use it for anything ranging from t-shirts, book designs, and greeting cards to stickers and posters, or anything that needs a casual touch. Fall in love with its incredibly versatile style, and use it to create lovely designs!

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.

Shortly after the preparation of the original Century, the two Bentons (father Linn Boyd and son Morris Fuller) prepared a wider version for De Vinne’s press and called it Century Broadface. In 1900 ATF released the design for general use as Century Expanded, one of the most popular and effective of typefaces, to this day the text face of the New York Daily News.

Morris Fuller Benton’s Eagle, designed for ATF in 1934, which did yeoman-like duty on many WPA posters of the time. This version, unicase as was the original, has been designed to set tight, so that it creates dense and commanding headlines. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

Quickpen is casual and carefree, designed to recreate the look of confident, quickly jotted script with a felt tip pen or brush. In OpenType, ligatures and contextual alternates for lowercase letters add a natural hand-written look, while swashes lend a bit more finesse. The perfect script for any design that doesn’t take itself too seriously. For a fuller brush texture, check out Quickpen’s cousin, Quickbrush.

Quick Meal JNL is a ‘hand lettered’ interpretation of Morris Fuller Benton’s 1905 design “Miehle Extra Condensed Title”, no doubt named for [or on behalf of] the manufacturer of printing and die cutting presses that were used for years within the printing industry. The type face is available in both regular and oblique versions. Quick Meal JNL is a pun on the pronunciation of ‘Miehle’.

Working at American Type Founders from a Bruce Foundry recutting, Morris Fuller Benton worked out the dramatics of the English Fat Face, and in 1928 produced Ultra Bodoni, a headline spectacular. Using Benton’s 1933 Ultra Bodoni Extra Condensed, Richard Lipton digitized Bodoni FB Bold Condensed, then took compression even further and designed Bodoni FB Bold Compressed, a real technical tour de force; FB 1992

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.

Flourish breaks the mold of traditional typography. Part italic, part roman, this iconoclastic font is all style. William Millstein casts the contours of formal pen strokes in a taut upright framework to create a typeface that nods back to its origins while looking defiantly forward. The neat and light semi-serif flaunts crisp geometric touches without conceding warmth or personality. A sophisticated design solution that isn’t stuck up, Millstein Flourish makes invitations, identities, and editorial settings thrive. Originally offered by Photo-Lettering in the early 1940s, Millstein Flourish was digitally updated by Jeremy Mickel in 2011. 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.