The Irongate Font Family has a retro personality. The common denominators, in all the glyphs, is a blunt center serif. The main top & bottom of each Cap & lower case glyphs have 'fan serifs', yep serifs that fan out. This font's influence is based on a monogram I designed for my daughter's wedding where she described her image of the event being 'Classic with a Vintage Flair'. Irongate can be pictured on many things dated from 1918 - 2018. The font is available in 4 basic weights Light, Regular, Bold & Extra Bold. An additional pdf is included that gives the code for an additional 14 Dingbats, with each weight. Irongate works extremely well with Invites, Stationary, Signage, Embroidery, Letterpress, Ads, Logos and anything that feels Industrial or Hand-Crafted, eg. Coffee, Breweries, Antiques, Woodcuts, Western Styles, Sports Styles, etc.

The Rosella™ family, by Sabina Chipară, is an elegant and playful suite of typefaces that are ideal for book covers, social announcements, packaging and posters. Inspired by late 19th century engravers typefaces that mimic the delicate and ornate hairlines of steel and copperplate engraving, the family’s foundation is built on the dramatic Solid design and then expands to Deco, Engraved, Flourish, Hatched and Inline styles. Rosella also takes to color like the beautiful Australian parrot it is named after. Words set in the typeface come alive when vibrant colors, or tinted backgrounds become part of their plumage. While modern as today, the design also has a quiet antique vibe that brings an understated refinement to a variety of hardcopy projects. Rosella is a typeface for those times you need a design that stands out from the crowd – but with grace and composure.

The old Norse legend of Thorben Odinson is a cautionary tale. And this typeface, like the nebulous kingdom he ruled, is something of a cloudy concoction. Thorben the typeface is something of an inspiration-hybrid, pulling aspects from multiple sources and combining them into a typeface that strangely seems to work (or not – depending on your point of view). What started as a redrawing of some old carvings (on a castle wall in deepest, darkest Suffolk), is now something entirely different. Part Nouveau curves and Celtic script, topped with a few sprinkles of modernism, darkness and some quirky ideas – Thorben absorbs it all, creating a display face that feels antiquated and current at the same time. Each style also comes pre-loaded with a handful of pictograms and icons perfect for adorning your designs with extra Thorben-ness.

The sans serif linear antiqua Maxima which was created in the beginning of the sixties by Prof. Gert Wunderlich for Typoart Dresden, was newly actualized in 2007 after more than 45 years. Many hands and heads were involved in the successful re-design of Maxima Now over a period of two years to assist the designers of the Elsner+Flake Design Studios in Hamburg, and the typeface family is now available. The re-design happened in close cooperation with Wunderlich who has given support to numerous projects in Elsner+Flake’s studio in Hamburg. A great deal of care was given to the necessary preliminary tasks such as the viewing of the original designs and print tests, the analysis of the digital Typoart data which had been in the possession of Elsner+Flake since 1985 and 1989, and a design conceptualization based on detail correlations, as well as the extension of the character complement. It had been Elsner+Flake’s goal to include as many of the existing Maxima cuts into the re-design program as possible. The result is an extended font family with 25 weights in EuropaPlus layout.

A classical proportioned text font - with a Celtic twist! Perfect for that oldstyle look, but still very readable. I have cleaned up the outlines, improved the spacing and kerning, modified a few letterforms - and then expanded the character set by 440%! A bolder weight has now also been created, and a rough version for a more antique look. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

A nice, black display face - for a retro/western poster look. I have kept the quirky “t”, increased the dot above “i” and “j” slightly, improved the spacing/kerning and modified/added all the usual diacritics. A pretty easy reworking of a good quality font. Nick Curtis says: "An old favorite, Bernhard Antique Bold Condensed, cleaned up and fattened up. Warm, charming, personable … suitable for any occasion." ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual “western” glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Introducing Sociato: a typographic trendsetter. It's a quirky font that perfectly blends modernity and antiquity. The French Revolution was a period of uncompromising innovation in art and fashion, with celebrity artists, notably Jacques Louis David, creating propaganda for the new regime. This regime failed, but we have rare historical artifacts related to this historical upheaval. The typeface was inspired by a declaration published during the French Revolution that extolled the development of a new religion, the cult of the Supreme Being. It's a stunning piece of work, with a wild, baroque layout and hand drawn typography. Words leap off the page in a cascade of sounds and shapes, and quirky letterforms give it a lively, almost mischievous character. It's a veritable goldmine of typographic ideas. This typeface is based on the hand lettering in the original manuscript, but it has been enhanced by adding a full variety of characters. The typeface comes with a comprehensive range of diacritics, including old-style figures. The typeface is suitable for a wide range of uses, including titles and headers, and it should look beautiful in any typographic setting. Use Sociato to create a revolutionary identity, as bold and audacious as the French Revolution!

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

WizarMagi Script is a font design with a variety of fantasy and magic styles. The font features a unique customization for each uppercase letter, and a magical glitter style for the lowercase letters. It has accentuation in both uppercase and lowercase. Can be used for a variety of designs, limited only by your creativity.

Amazing Font of THARWAT which is similar to calligraphy of THULUTH of a real calligrapher. I added many glyphs to get this feature and it becomes easier to a graphic designer to write with Arabic THULUTH font without real calligrapher. Golden2 is beautiful in Headlines of Arabic books and photos. Thuluth font (THARWAT EMARA THULUTH GOLDEN 2) distinguished by its beautiful artistic structures and ready-made sentences to help you design the designer designs and paintings easily. It also retains the beauty of its original Arabic calligraphy. This font can be used in titles of books, magazines and Quranic verses. Also for printing on clothes, Najaf and antiques. It is the first font that you can write complete sentences and Ayat of Quran with beautiful artistic structure like those written by the calligrapher. It also simulates the handwriting and no need to calligraphy it when you have this font.

A straightforward sanserif in 20 fonts, 4 widths Ardoise met the needs of publications. By extension, it met the needs of a newpapers typeface featuring a low contrast, straightforward forms, as Franklin Gothic. The verticals metrics and proportions of Ardoise are calibrated to match perfectly others Typofonderie families. Four widths to answer all situations Ardoise, inspired by the needs of today’s fine newspapers offers simple and tense shapes designed to renew and revitalize. Ardoise could be considered as an homage to Antique Olive, but quite indirectly and as an organic result of the designer’s longstanding admiration of the work of Roger Excoffon. Ardoise shares a purity and dynamics with Excoffon’s designs giving it a unique elegance and excellent readability. Its sturdiness means it is virtually immune it to distortion. In addition, a few alternates glyphs (a, c, g) can be used to alter the overall tone of a text setting.

Dharma Gothic is an antiqued sans serif designed inspired by 1800s-style wood type. All glyphs had been designed carefully to be retro-looking of the old time and to fill all with nostalgia. There is new rounded verision - Dharma Gothic Rounded Family This condensed font family with 42 styles will be the best solution for posters, titles and anywhere you need impact. To complete your work perfectly, Gothic Extras family is ready for free. They include borders, ornaments and frames designed using vintage catalog of Hamilton in 1800s as a model. Incidentally, g, r and y have alternative glyphs that are available with the OpenType salt feature and tabular figures are available with tnum feature. Be sure to check out the slab serif style of this Dharma series named Dharma Slab and Distress version Dharma Gothic P. When you need more modern gothic, please try our Kaneda Gothic and Fairweather.

Bigticy is a typeface with a "new-retro" feeling. Its square outline is tempered by rounded angles. This makes it suitable for a large range of applications in the domains of magazine headlines and posters. The Narrow version has been drawn from a title found in an example (dated from the 50's) of the French newspaper "Le Dauphiné Libéré". For the Maxi style, I have tried to reduce to their minimum the inner white spaces. I had in mind those amazing stone walls that one can see in the antique Inca cities in Peru. The stones are so tightly joined that it is impossible to slip a sheet of paper between them. The Plain version is an interpolation of the two other ones. It is a very useful style since I keeps the main quality of each parent: the weight of the Maxi and the narrowness of the Narrow.

Dharma Gothic Rounded is an antiqued sans serif designed inspired by 1800s-style wood type. All glyphs had been designed carefully to be retro-looking of the old time and to fill all with nostalgia. There is Dharma Gothic Family that is not rounded. This condensed font family with 42 styles will be the best solution for posters, titles and anywhere you need impact. To complete your work perfectly, Gothic Extras Family is ready for free. They include borders, ornaments and frames designed using vintage catalog of Hamilton in 1800s as a model. g, r and y have alternative glyphs that are available with the OpenType salt feature and tabular figures are available with tnum feature. Be sure to check out the slab serif style of this Dharma series named Dharma Slab and Distress version Dharma Gothic P. When you need more modern gothic, please try our Kaneda Gothic and Fairweather.

The Englishman William Caslon punchcut many roman, italic, and non-Latin typefaces from 1720 until his death in 1766. At that time most types were being imported to England from Dutch sources, so Caslon was influenced by the characteristics of Dutch types. He did, however, achieve a level of craft that enabled his recognition as the first great English punchcutter. Caslon's roman became so popular that it was known as the script of kings, although on the other side of the political spectrum (and the ocean), the Americans used it for their Declaration of Independence in 1776. The original Caslon specimen sheets and punches have long provided a fertile source for the range of types bearing his name. Identifying characteristics of most Caslons include a cap A with a scooped-out apex; a cap C with two full serifs; and in the italic, a swashed lowercase v and w. Caslon's types have achieved legendary status among printers and typographers, and are considered safe, solid, and dependable. Caslon Antique was designed by Berne Nadall and brought out by the American type foundry Barnhart Bros & Spindler in 1896 to 1898. It doesn't bear any resemblance to Caslon, but has the quaint crudeness of what people imagine type looked like in the eighteenth century. Use Caslon Antique for that old-timey" effect in graphic designs. It looks best in large sizes for titles or initials. Caslon Black was designed by David Farey in the 1990s, and consists of one relatively narrow and very black weight. It is intended exclusively for titles or headlines. Caslon Black has a hint of the original Caslon lurking in the shadows of its shapes, but has taken on its own robust expression. Caslon Graphique was designed by Leslie Usherwood in the 1980s. The basic forms are close to the original Caslon, but this version has wide heavy forms with very high contrast between the hairline thin strokes and the fat main strokes. This precisely drawn and stylized Caslon has verve; it's ideal for headlines or initials in large sizes."

The Scriptuale family, which contains eight styles, is a contemporary upright calligraphic face. Designed by German designer Renate Weise in 2003, this family of typefaces speaks to the present, while at the same time reflecting on a lyrical past. The letterforms of the Scriptuale family are romanticized, they reference German calligraphic styles from the 19th and early 20th Centuries. For instance the design of Scriptuale's uppercase strays from the canon of classical proportion into romantic idealism. While the C and O are drawn according to the ancient quadratic proportions - almost twice as wide, optically, as the E or the L - the letter A is wider than would be expected, and the D narrower. These subtle differences introduce a different rhythm into text set in Scriptuale than Italic styles of calligraphy may offer. Scriptuale's Gs merit special notice: both the upper and lower case G lunge slightly forward, further enhancing the dynamic quality of the text. Also unique in Scriptuale's design is the lowercase width: the letterforms appear slightly condensed; they have large x-heights to compensate for this. In a delightful twist, the number 2's beak has been closed by drawing it full-circle, back into the stem: this references a style of letter design that was practiced, among other places, by artists from the old Klingspor foundry in Offenbach Germany. Typefaces constructed there easily captured the zeitgeist of the romantic period, but are less calligraphic than Scriptuale (e.g., Rudolf Koch's Koch Antiqua). A semi-serif face (like Prof. Hermann Zapf's Optima or Otl Aicher's Rotis Semi), some of Scriptuale's letters have serifs (D), and some do not (A). And although both the B and the E normally have the same "structure" on their left side, Weise has drawn them differently in Scriptuale. These strengthen the calligraphic-like quality of the family. Traces of the pen are easy to see in Scriptuale's design; it is a thoroughly calligraphic face. The eight typefaces in the Scriptuale family include Light, Regular, Semi Bold, and Bold weights. Each weight has a companion italic. Scriptuale is similar to one other contemporary calligraphic family in the Linotype portfolio, Anasdair , from British designer

Based on the lettering used on Alan Turing’s famous code-breaking machine at Bletchley Park, the “Bombe”, and the subsequent British answer to the German Enigma machine, the Typex. Research done at Bletchley Park on their restored and antique machines provided the inspiration. The unusual shapes for the capitals have all been retained - the square O, the monospaced characters and other eccentricities that make it unique. This reference material was then extended to the numerals (which did not exist in the original) and a full international character complement. The initial design of the bombe was produced in 1939 at the UK Government Code and Cypher School (GC&CS) at Bletchley Park by Alan Turing, with an important refinement devised in 1940 by Gordon Welchman. It was based on a device that had been designed in 1938 in Poland at the Biuro Szyfrów (Cipher Bureau) by cryptologist Marian Rejewski, and known as the "cryptologic bomb" (Polish: bomba kryptologiczna). The Bombe was used to break the German Enigma code on a daily basis, and was a vital part of the Allied war effort. The British “Typex" (alternatively, Type X or TypeX) machines were an adaptation of the commercial German Enigma with a number of enhancements that greatly increased its security. It was used from 1937 until the mid-1950s, when other more modern military encryption systems came into use.

Baltimore Type Foundry released its Antique Geometric series by 1883, including it that year on advance sheets for their 1886 Specimen Book, shortly after the firm was taken over by Charles J. Cary. We have chosen to call our version of the face “Baltimore Geometric” because we like the name better. The Central Type Foundry-Boston Type Foundry combine followed with a similar typeface in 1884, using an engraving machine to cut directly into matrices (Gray page 124). It was called simply “Geometric”. As noted in the write-up for HiH font Teutonia, a number of similar typeface designs have appeared over the years. The simplicity of concept is inviting and certainly fits nicely with some of the intellectual theories that developed in the early twentieth century, like the De Stijl and Constructivist movements. This font is useful in conveying an image that is logical and mechanical, implying a high degree of functionality.

Josef Týfa first published the Academia typeface in 1967-68. It was the winning design from competition aimed at new typeface for scientific texts, announced by Grafotechna. It was cut and cast in metal in 1968 in 8 and 10 point sizes of plain, italic and semi-bold designs. In 2003 Josef Týfa with František Štorm began to work on its digital version. During 2004 Týfa approved certain differences from the original drawings in order to bring more original and timeless feeling to this successful typeface. Vertical stem outlines are no more straight, but softly slendered in the middle, italics were quietened, uppercase proportions brought closer to antique principle. Light and Black designs served (as usual) as starting points for interpolation of remainig weights. The new name Academica distinguishes the present digital transcription from the original idea. It comprises Týfa’s rational concept for scientific application with versatility to other genres of literature.

The 1765 Stamp Act ignited in American colonists a simmering distrust of the distant British Parliament, whose oppressive trade duties they deemed unfair assaults on their rights as English subjects. Before long, of course, this little dustup spawned The Boston Tea Party, the American Revolution, and the birth of the U. S. of A. But before the Battles of Lexington and Concord, a group of Philadelphia merchants made one last-ditch call for commercial cooperation across the Atlantic. This futile appeal survives to this day on a three-page broadside, finely engrossed by a penman of the period and passed down through the generations of a family named Remsen. Remsen Script is an interpretation of that penman’s neat, formal cursive—from its broad antique flourishes to its subtle unevenness and gently ragged strokes. Perfect for event announcements, fine product packaging, recreations of historical documents, or anywhere you wish to offer a whiff of a bygone era.

Drop_it is a redesign of fonts originally created to be recognized by computers using OCR (optical character recognition) softwares. Strangely, human beings fell in love for the stylistic inconsistencies of these fonts made for machines. In small sizes, Drop_it emulates the appearance of fonts in antique operational systems monitors. In large sizes, its structure is composed of capsules and pills allude the universe of medicines, drugs and rave culture. Drop_it Dingbats follow the the same grid of its alphabetic version, and can be used side by side in sign projects. Besides the traditional symbols, it present specific images from the rave culture like DJ (Disc-Jockey) and VJ (Visual-Jockey). Drop_it italic set adds velocity to text compositions using six angle variations. All the fun starts with a very unusual Break version. Fall version is a kind of "anti-italic". Slow version put your text in another rhythm. Swing have a little italic emphasis. Italic is, you know, italic. And Speed version run away.

Introducing Kampione - Vintage Bold Type, created by ikiiko Kampione is a typeface that was inspired by classic movies and frequently makes people nostalgic for the height of cinema. This typeface is distinguished by its strong, dramatic letterforms, which frequently evoke the early 20th-century Art Deco and Art Nouveau movements. Images that enhance boldness and drama, including black-and-white photos, antique movie posters, or pictures of film reels, are frequently used in conjunction with this font. Bold, geometric letterforms that are frequently rounded or squared off at the corners define this style. The font's overall appearance frequently has a significant visual impact and is reminiscent of an old advertisement or poster. This typeface is perfect for an vintage poster, movie title, elegant logo, packaging, magazine design, fashion brand, classic stuff, quotes, or simply as a stylish text overlay to any background image. What's Included? Uppercase & Lowercase Numbers & Punctuation Multilingual Support Works on PC & Mac

In 2002 Matthew Carter was commissioned to create a new design to be cut in wood by the then nascent Hamilton Wood Type Museum. This was significant in that this was the one format for which Carter had not yet designed type. The new design emerged as a two-part chromatic type to be cut specifically in wood. Originally called Carter Latin, the font was renamed Van Lanen after one of the Museum's founders. The first cutting and printing of the type took place in late 2009 and although it has been available through the Museum, contemporary wood-type production is expensive and few have acquired this font in wood. The digital version of the pair of Van Lanen fonts is now available. The design recalls Antique Latin wood type, but with a refined sensibility and intentional quirks (like the sideways ampersand). It is a wonderful addition to Carter's oeuvre, and to the ongoing history of wood type.

Perva is a suite of three eye-catching fonts inspired by display types from the 19th century. This unconventional family has three different font styles that can be used individually or combined to build a playfulness multi-typeface design system. It is suitable for titling, posters headlines, book covers, packaging, social media, and branding. Perva brings together a Slab serif font, a.k.a Antique or Egyptian; a Reverse-contrast or Italian; and an Old English Blackletter. The design is inspired by the display types listed as “Typographic monstrosities” in Thomas C. Hansard’s book Typographia (1825). What he found absurd was understood here as interesting and enjoyable to introduce a contemporary approach of the types widely sold by foundries such as Bruce’s New York Type-Foundry and Caslon Foundry. Each of the three fonts holds around 400 glyphs, covering the languages of Northern, Western, Central, and Southern Europe. Opentype features include case-sensitive forms and a couple of alternates for the Blackletter style.

ITC Tactile is a puzzle of subtle typographic contradictions. Capitals have traditional epigraphic proportions, but the lowercase has a uniform optical width. Light weights are stately and elegant, but bold designs are almost jolly. This paradoxical alphabet even combines two distinctively different serif designs. Designer Joe Stitzlein says, “I wanted to create a modern and dynamic serif face that draws its forms from antiquity. I also wanted to have as much fun as possible with the drawing and architecture of each letter. Hopefully I've created a very legible typeface that grabs the reader's eye in a nice, 'tactile' way.” The apparent inconsistencies of the design are the result of careful consideration. Of the seemingly odd serif design, Stitzlein explains, “The transitional serif is an entry point for the eye into the letterform, and the long slab is an exit, leading to the next letter.” The result is a typeface that's easy to read at text sizes but offers surprising details when enlarged to display sizes, setting ITC Tactile apart from more traditional designs. While this is his first commercial typeface design, Stitzlein has ample experience creating custom typefaces for corporate branding, including companies such as Silicon Graphics and Sempra Energy. His graphic design business has served a wide range of clients, including Apple Computer and the 2002 Salt Lake City Olympics. The ITC Tactile family is available in three weights, with complementary italic designs and a suite of small caps for each of the roman designs. Stitzlein drew the small caps to match the height of the lowercase x-height, which enables “bi-form” or “unicase” setting in display copy.

My handwriting with a speedmarker turned into a font - well, not really, to be honest! Personally I did do all the writing of letters, but in order for the letters to fit perfectly together, I manipulated them - just a tad! But the result is a hasty set of letters! When I say I wrote all the letters, I mean it literally!!! All letters are unique, meaning all the accented characters are unique! On top of that, Laxory comes with ligatures for both double lowercase letters and numbers! You will need to use OpenType supporting applications to use the autoligatures.

Ghost Sign JNL is a spurred serif type design based on the faded lettering of an antique brick wall sign for Homer Hardware [located in Homer, NY] and is available in both regular and oblique versions. From Wikipedia: “A ghost sign is an old hand-painted advertising sign that has been preserved on a building for an extended period of time. The sign may be kept for its nostalgic appeal, or simply indifference by the owner. Ghost signs are found across the world with the United States, the United Kingdom, France and Canada having many surviving examples. Ghost signs are also called fading ads or brickads. In many cases these are advertisements painted on brick that remained over time. Old painted advertisements are occasionally discovered upon demolition of later-built adjoining structures. Throughout rural areas, old barn advertisements continue to promote defunct brands and quaint roadside attractions. Many ghost signs from the 1890s to 1960s are still visible. Such signs were most commonly used in the decades before the Great Depression. Ghost signs were originally painted with oil-based house paints. The paint that has survived the test of time most likely contains lead, which keeps it strongly adhered to the masonry surface. Ghost signs were often preserved through repainting the entire sign since the colors often fade over time. When ownership changed, a new sign would be painted over the old one.”

After Generis™, Aeonis™ is the second large family of typefaces by Erik Faulhaber. The basic Aeonis sans-serif form references Ancient Greek lapidary inscriptions from the 9th century BC. Between the poles of antiquity and modernity, a deliberate contradiction of round and rectangular forms gave way to a new and energised font: Aeonis. Aeonis is available in three widths and seven weights, all of which have been carefully coordinated in terms of their proportions. The clear contrast in the bold stroke intensity emphasises the organic nature of the font and creates exciting aesthetics. In light of their open forms, the letters guarantee a good level of readability, even in small point sizes. Given that the dynamic individual forms of Aeonis also fit perfectly in a functional image, this typeface is ideal both for complex, text-heavy documents as well as for logos and display text settings. Particular attention was paid to ensuring carefully coordination proportions: all styles and weights have the same cap height, as well as identical ascender heights, x-heights, and descender lengths. The widths of all figures, currency symbols, mathematical operators, and special characters have been carefully aligned for tablular settings. Aeonis is an extremely systematic design. All of its widths and weights may be combined with one another, without restrictions. For users who do not like the open A, an alternate A with a crossbar is included in each font as well.

P22 Brass Script is a new font from an old source. This script font was discovered in a booklet from Dornemann & Co. of Magdeburg Germany, circa 1910. The book was titled Messingschriften fur Handvergoldung, which roughly translates to “Brass types for hand foil stamping.” The mini catalog called this type simply “Script.” It has not been previously digitized or seen in standard metal type form. The antique specimen book featured most of the characters needed for a full alphabet, but a number of letters were not shown. Since no other examples of this style could be found, P22 enlisted the assistance of master calligrapher Michael Clark to draw the missing characters in the same style as the original. The style is very loosely based on the secretarial hands and reminiscent of “French Hand” with a very early 20th century, pre-modern feel. It has an unusual flow that is neither too casual nor too formal. The font would be useful for wedding invitations or packaging and advertising. P22 Brass Script Pro features include: automatic ligatures for common pairs such as ll, tt, qu and a variety of f ligatures, full CE language support including Turkish and Romanian and a variety of swash underscores for different length words that can be added manually in OpenType ready applications with the glyph palette or with the contextual alternates. The length of the word will automatically select the best length of swash for the work.

Like many cities in the Midlands and North of England, Stoke-on-Trent has a rich history linked to making and industry. In Stoke’s case it was pottery. In the early 1900s bottle kilns could be seen covering the landscape of the six towns making up Stoke-on-Trent with hundreds of factories producing some of the best ceramics in the world. But by the 1990s most of these had gone. Torn down for development of housing or just left to rot. During the next few decades Stoke continued to change. The industry was in a decline and Stoke itself was seen as another poor midlands city with a dwindling industry. Then in 2008, Spode, one of the largest and most famousceramics factories in Stoke entered into administration. Pens cast aside, drawings left half finished, designs left in the turned-off kilns; Spode factory was abandoned. This was a real shock and the way everything was getting thrown into skips to be put on the tip was heartbreaking. Thankfully people salvaged some of the technical drawings, sketch design, old sample pieces and ceramics that people hard worked so hard on. Potbank has been in development over a number of years taking inspiration from the heritage and designs from the ceramics industry. It has a mixed Clarendon and Antiqua style structure with its main purpose to be used as a printed type.

Sydonia Atramentiqua is a strange creation. The inspiration was the first releases of "Malleus Maleficarum" (actually the typography used there). I decided I wanted something strange, so Sydonia came into being. Like a blood of all witches who were being hunted down by Malleus Maleficarum's "fans" for their skills and beliefs. Why Sydonia? Sydonia von Borck was a witch from my area. It was probably the last woman executed for witchcraft. The genesis of the name. Sydonia was THE WITCH, and by the name I added "Atramentiqua". It is a combination of the words "Ink" (polish "ATRAMENT") + "Antiqua". The idea of ​​spilling a font is historical. The former Zecer composition was not perfectly sharp. As it was a "wet job", there were always light exits behind the lines. Who supported me? The GENEALOGIA project has been carried out for several years in cooperation with the Academy of Art in Szczecin and the National Museum in Szczecin. The project's supervisors are prof. Waldemar Wojciechowski and MA Patrycja Makarewicz, who runs the Visual Communication Studio. Some information: Sydonia was like that! This is not an everyday font. It is a stylized font, used to imitate old prints made by Zecer. The first version of Sydonia Atramentiqua was created in 2018 for the purposes of the exhibition at the National Museum in Szczecin. Base inspiration: Malleus Maleficarum & Caslon.

The requirements of Middle Ages scribes who copied and produced books in monasteries were fundamentally to preserve space, due to the high cost of the writing surface. During this long period of the development of Gothic forms, many other variations of the style of black letters appear: Textur or “Gothic-antique”, another group called Rotunda preferred by Italian and Spanish scribes. In 1490, the style "Bâtarde" (according to the the French classification) began to be widely used in Germany with more rounded shapes and named Scwabacher (probably derived from the city of Schwabach, but not certified) Fractur is a more condensed and narrower form than Schwabacher. This style is attributed to Johann Neudörfer of Nuremberg, cut in 1513; it was quickly imitated, therefore a few years later became to be a German national identity that extended over the next four centuries. The shape of its characters can be considered as a fusion of Texture and Schwabacher: the lowercase actually has medium strictly vertical and half curved strokes. The first expressions of the baroque influence this writing whose appearance of movement is due to the ornaments applied to the uppercase letters and the ascending and descending features of the lowercase. Despite having spent so many years and being a typeface not suitable for extensive reading texts, the Gothic Fractur has endured over time for possessing a strong and solid characteristic, as well as being closely linked to the spirit of gothic cathedrals of countries in northen Europe. In fact, it is probably that this expressive feature leads them to be chosen in the most varied graphic communication needs, which run from from banks and financial companies, insurers, law offices, publishers, newspapers and TV networks, till alcoholic drinks, funeral tombstones, packaging and even tattoos.

Plantin is a Renaissance Roman as seen through a late–industrial-revolution paradigm. Its forms aim to celebrate fine sixteenth century book typography with the requirements of mechanized typesetting and mass production in mind. How did this anomalous design come about? In 1912 Frank Hinman Pierpont of English Monotype visited the Plantin-Moretus Museum in Antwerp, returning home with “knowledge, hundreds of photographs, and a stack of antique typeset specimens including a few examples of Robert Granjon’s.” Together with Fritz Stelzer of the Monotype Drawing Office, Pierpont took one of these overinked proofs taken from worn type to use as the basis of a new text face for machine composition. Body text set in Plantin produces a dark, rich texture that’s suited to editorial and book work, though it also performs its tasks on screen with ease. Its historical roots lend the message it sets a sense of gravity and authenticity. The family covers four text weights complete with italics, with four condensed headline styles and a caps-only titling cut. Plantin font field guide including best practices, font pairings and alternatives.

A playfull fancy sanserif typeface in 16 fonts Parisine Plus was designed in 1999 as an informal version of Parisine. A reaction to the subjective functionalism of Parisine. In fact, when Parisine try to express neutrality (a typeface is never neutral), Parisine Plus has fun with contrasts and not-so-obvious additions for a sans family. Parisine Plus is a precursor in the way it offers many ligatures and strange forms we generally find more in serif typefaces families that express historical connotations. The various Parisine Plus typeface subfamilies Parisine Plus is organised in various weight subsets, from the original family Parisine Plus (4 compatible fonts), Parisine Plus Gris featuring lighter versions of the usual Regular and Bold (4 compatible fonts), Parisine Plus Claire featuring extra light weights (4 compatible fonts), to Parisine Plus Sombre with his darker and extremly black weights as we can seen in Frutiger Black or Antique Olive Nord (4 compatible fonts). About Parisine Parisine helps Parisians catch the right bus Parisine Plus and its fancy type effects Observateur du design star of 2007

Grunge Formal started out as a more upright, formal version of one of my fonts, Figment. A most versatile contemporary typeface, Grunge Formal works equally well from funky to formal, from giant size headers to pint size body text, from movie posters to wedding invitations. If you've ever needed a font that has a grungy, deconstructed look but works well for all sizes, a font that you can use for funky, gritty designs, and also for formal wedding stationery, Grunge Formal is a perfect choice. From the formal viewpoint, the font presents as a regular serif typeface with deconstructed edges, giving the antique look popular in wedding stationery design. Here it can be used from header to body size. For in-your-face design, Grunge Formal, when oversized, is really powerful and its deconstructed outline provides a raw, rough contrast to your background images. Grunge Formal has all the features usually included in a fully professional font. Language support includes all European character sets, Greek symbols and all punctuation.

One of the most unusual sets of antique stencils spotted for sale online comprises a set of twenty-four classic logos of early 20th Century automobile companies. For whatever purpose that is now lost to time, these stencils represented the logos of many of America's finest auto manufacturers; most now just historical memories. The logos were painstakingly redrawn, maintaining the distinctive look of the hand made cutting, although it was an exacting process - some of the images were taken at an angle, and a bit of artistic license had to be used as a compensatory factor. It is to be noted that any and all of the logos presented in this font are the intellectual property of the companies, successors or assignees that may still hold the rights to these symbols. No endorsements by such corporate entities are either expressed or implied. Additionally, it is advised that any use of these logos be restricted to historical or hobby purposes, and they should not be used in a way that would construe any authorized reproduction of the logos in a commercial fashion.

The simplified letterforms of Sinova™ make it an ideal choice for those settings where you really don't want the type to shout too loudly or draw unnecessary attention to itself. Christian Mengelt has drawn five weights: Thin, Light, Regular, Medium, and Bold, all with complimentary obliques. Sinova is an OpenType family that is unfussy, functional, and legible, with extensive language support (some 48 languages). Thanks to its clear and straightforward design and dynamic rhythm, one of the main characteristics of Sinova is its excellent legibility, irrespective of whether it is used in longer passages as a stylish book script or for text in the digitalised office environment. But Sinova also happily adapts itself to being used as a titling font in combination with Renaissance Antique serif typefaces. For this reason, another potential application for the font family is as a graceful and elegant titling and text script for job printing and in publicity texts. The two complementary stroke widths, light and bold, are perfect for commercial applications.

Only occasionally are we graced with a font so pleasant and enjoyable to our company as the wonderfully amiable Mr. Darcy. The attractive elegance of the contemporary has been conveyed into Victorian times. Feel the call of modernity and friendliness with this antique Victorian-esque typeface. Itís gentlemanly elegance and grace commands the artboard. The elegant Mr. Darcy is sufficiently compete with its additional characters--to be stated precisely, more than 136 defining alternates. These optional features are carefully displayed within the supplied brochure. The employ of the Mr. Darcy family moreover demands the proper implements, such as an program that supports Opentype features such as, Adobe Illustrator, Adobe InDesign, Adobe PhotoShop, CorelDRAW, or Quark. Be sure to check with the Userís Guideline for all the OpenType options and employ them with wit and vigor. OpenType options are there to help you develop your own custom vision. Five different weights offer plenty of design options and offers the versatility of character as possessed only by a refined gentleman...or a refined typeface.

Chercán is a spirited typeface created with a delicate sense of how readability doesn't need to be dull. Chercán wears a uniquely friendly voice, and its mature design makes it highly legible in small bodies as well as in the distance. Its balanced rhythm is the result of a slow pairing of qualities found in old classics admired by Gálvez, such as Copperplate by Frederic Goudy (1905) and Antique Olive by Roger Excoffon (1962). Chercán occupies a unique place in the contemporary type design shelf, by exquisitely combining versatility and elegance. Due to the delicate grey colors it gains within long texts, Chercán is good for immersive reading, where one wants to avoid readers’ eyes fatigue. It can be a great choice for setting texts that require a slightly informal atmosphere without losing authority. Chercán is the Chilean name for the melodious little bird Troglodytes aedon usually found all across the Americas. Available in Std and Pro versions with all the usual OT features, Chercán addresses all modern needs of the demanding typographer.

Introducing Ondfuturs, the script font I designed which is so neat, with the theme of a nuanced heart that was upset about the feeling from losing a memory. This created something new to keep moving forward with confidence. This font is inspired by a tale from antiquity to the future with many points of view. Ondfuturs Script is a typeface thick, easy to read, and so comfortable to wear. You can use it as a logo, badge, insignia, packaging, headline, poster, t-shirt/apparel, greeting card, business card, and wedding invitation and more. The flowing characters are ideal to make an attractive messages to your taste. With this font you can make various sentences that are quite unique and simple, mix and match with a bunch of alternative characters to fit your project. It will be more interesting if you add swash characters. These alternative characters in this font were divided into several OpenType features such as Stylistic Alternates, Ligature and Ligature Alternates. Mail support : maculinc@gmail.com Thank you! Maculinc