Praha Deco was inspired by the Prague art deco movement at the turn of the 20th century. Spiced with our own creative blend, this is our tribute to that wonderful era in architecture. The Praha Deco typeface contains a large assortment of extended characters to support many of Europe's languages, including Czech, Danish, Dutch, Esperanto, Finnish, French, German, Italian, Hungarian, Polish, Portuguese, Romanian, Spanish, Swedish, Turkish & Welsh.

Browsing online auctions and other webs sites often unearths wonderful examples of lettering from the past. A perfect example is Ritz Stencil JNL, modeled after a page from a 1930s-era lettering book. Although this font has similar characteristics to other better-known designs, there are enough unique differences to let it stand on its own as a great example of the Art Deco era.

The initials ASM represent the acronym of the Santa Monica Arts cultural center located in Barcelona, Spain, where this typeface, with the same name, has served as the custom corporate typeface since 2008 till today (2013). ASM is an energetic monospaced with extreme legibility consisting of two original weights, with an underlined version – used on some of corporate applications – all with their corresponding italics.

If you liked Holiday Doodles you will love Holiday Doodles Too as it is more of the same. 42 icons to decorate your year. Birthdays, babies, Summer, weddings, presents, St. Pat’s Day, 4th of July, Valentine’s Day, Fall, Christmas, Hanukkah and more. This font is a great clip art addition to the Doodles font family from Outside the Line. For best results use in larger point sizes.

Introducing Kiwiberri, a fun and playful handwritten font that you can use for your home or work projects. You can put it on shirt designs, mug designs, printable chalkboards, printable planners, websites, note-taking apps, wall art, greeting cards, and many more. The sky is the limit. This is multilingual so it is compatible with other languages. Kiwiberri is created to showcase handwritten fonts using brushes.

The Kolo family was designed by Paul Shaw, inspired by the lettering of Koloman Moser, Gustav Klimt, Alfred Roller and other members of the Secession, Vienna’s turn-of-the-century Art Nouveau movement. Kolo’s family variants—narrow, regular, wide & alternates—serve as stand-alone display styles, or can be used in combination to pack text creatively in the manner characterized by Secession-period graphics.

HS Decomage was created by a desire for a more modern approach and as an homage to the Art Deco period. HS Decomage has a large set of ligatures to make optimum spacing easier to accomplish and stylistic alternatives give design choices. HS Decomage works great for headlines but also handles descriptive text quite well. Multi-lingual characters, numbers and punctuation are included in HS Decomage.

A circa-1940s textbook for the Esterbrook Drawlet Pens (similar to Speedball pens) offered numerous samples of lettering that could be obtained by following the simple directions and using the book as a guide. One example was a classic Art Deco design made with a round nib pen, and it has been redrawn digitally as Lettering Book JNL in both regular and oblique versions.

The pattern for this graceful, subtly modulated Art Deco typeface was designed by Willard T. Sniffin for American Type Founders in the 1930s. True to the original design, the Swash Caps version features Sniffin's twelve decorative variants. The Postscript and Truetype versions contain a complete Latin language character set (Unicode 1252); in addition, the Opentype version supports Unicode 1250 (Central European) languages as well.

Tact Slab is geometrically slab serif font, black and condensed looks glyphs, with an alternative glyph set to improve its use in different graphic contexts. Tact Slab is compatible with the sans serif font Tact. It is suitable for use in the fields of science, art, architecture, urban planning, techniques, electronics, advertising, futuristic themes, sport, film, computers, phones, video games, magazines... Contains all Latin and Cyrillic glyphs.

Based on the 1932 typeface Newport, designed by Willard T. Sniffin for ATF, this Art Deco standard packs a lot into multi-line heads and subheads due to its very short descenders, cleverly accomplished by “fudging the baseline” on the g, p, q, and y. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

Heller Sans JNL is based on the main letterforms of an experimental alphabet designed by Steven Heller; noted author of over 170 books on design and visual culture. Some modifications were made in turning his design into a digital font. In his own words, here is the background to this typeface: “I recently recovered this from the junk heap. It is a yellowing photostat of my first and only typeface design (1969-70). Total folly! At the time I was smitten by Art Moderne lettering. I called it “Klaus Boobala Bold” because I liked the K and B. I’ve lost the letters S through Z, which were made. The letters were drawn with compass, Techno pen (that frequently clogged). as well as a triangle and T-square. The inline and outline made no real logical sense. I based the design, in part, on Kabel, Avant Garde and it was a product of whatever I could accomplish with those tools. The caps-only alphabet was photographed and produced as a film negative that was cut in foot-long strips and spliced to fit on a Typositor reel. Sadly, the negatives made for the font were too brittle and the splice snapped apart in the Typositor. I worked on it for well over a month and used the face only once. I realized with this attempt, like so many other times I attempted different challenges, that type design — indeed mechanical drawing — was not my strong suit.” Heller Sans JNL is available in both regular and oblique versions.

Vala™ dances across printed pages and shines on screen. This is a high-energy design that blends the grace of an English Roundhand script with the gravitas of an extra bold Bodoni. There is even a bit of romance in the design. Vala speaks with a resonant voice – and knows few bounds. The typeface enhances print headlines, subheads, cover art and packaging. The design also brings its distinctive melding of verve and poise to banners, headings, navigational links and branding in web sites, blog posts, games and apps. Oscar Guerrero found inspiration for Vala in shop window lettering near his home in Bogotá, Colombia. “The capital A, R and V caught my attention and I photographed the window for future reference,” he explains. “Later I started to draw more letters inspired by the ones in the window.” Guerrero admits that he has always admired the work of Giambattista Bodoni and allowed his classic Didone designs to infuse Vala. Striking contrast in stroke weights, lively ball-terminals and a large x-height give Vala the grace and force of a Waikiki wave. Not satisfied with just a basic character set, Guerrero also took advantage of OpenType’s capabilities and drew a complete set of swash capitals, a bevy of fancy ligatures, and a suite of lowercase alternative designs. The result is that Vala easily emulates custom lettering in posters, headlines and logotypes. The “romantic” part of Vala? Guerrero dedicated the design to his girlfriend, Valentina, and named it after her.

Pietro Aretino (1492 – 1556) Was an Italian author, playwright, poet, satirist and blackmailer, who wielded influence on contemporary art and politics. The most vigorous and versatile vernacular writer of the 16th century He was a very versatile writer, famous for his Lascivious Sonnets – which caused great scandal at the time – but also for his satirical verses, addressed to all the powerful people in Italy, without forgetting the many plays that he wrote for the theatre. Part of the charm of his letters is that through them you may know the whole of Venetian society from the top to the bottom. The little-known church of San Luca in Venice (in St Mark's district) has been a place of pilgrimage for centuries for people who are decidedly not devout: journalists, writers, free thinkers. In 1556 Pietro Aretino, a unique character of the Italian and Venetian Renaissance period was buried there. Such strong of personality, has contributed to generate the powerful wind of change that emerged from the italian renaissance. We have inspired on that talent searching for a new sight the famous Venetian typefaces. Probably looking for more vigour and contemporary digital style. This typeface is slightly condensed, lighter and has more contrast between the thick and thin letter-strokes, it has concave bracketed serif. Their ascender and descenders strokes are very shorts. Aretino family is completed by four weigh: Regular, SemiBold, Bold and ExtraBold, while Italics has three weighs. These fonts came with a full OpenType features and CE languages.

LaFarge is a typeface primarily inspired by the historic mosaic titling capitals found in the New York City Subway, designed by architect Squire J. Vickers and his staff between 1915-1927. These elegant but industrial signs are characteristic of early-20th century American architectural lettering, and show an evolution of the classical Roman capitals to lower contrast, bolder serifs, and more regular character widths. The majority of this lettering still remains in subway stations today, and though elements of the style vary from sign to sign, many carry the unique features that are reflected in LaFarge: high-waisted crossbars with angled serifs, elegantly curved “R” leg, and distinctive trapezoidal serifs. LaFarge expands this style into a lower case, taking cues from contemporary typefaces like Bookman, Cheltenham, and Della Robbia. A number of typographic features are included, such as small caps, ordinal indicators / superscript letters, arrows, and a set of borders inspired by early subway tile. The result is a fashionable, architecturally-minded typeface that is just as at home on the façade of a grand public building as it is on packaging, magazines, or the web. LaFarge works well in both text and display settings, remaining readable at small sizes but showing off its elegant details in larger uses. LaFarge has received the Communication Arts Typography Award, the ADC Annual Merit Award, is included in the 2020 STA 100, and was part of designer Greg Shutters’ winning portfolio in the 2019 Type Directors Club Ascender Awards. You can download a PDF specimen of LaFarge, and also view a video of LaFarge in action.

A very expanded sans serif font in capital letters inspired by the inscription on a bank note Old bank notes tend to have a very typical typography. Usually they carry decorative and elaborately designed markings. For one thing, they must be practically impossible to forge and for another, they should make a respectable and legitimate impression. And in the days of copper and steel engravings, that meant nothing less than creating ornate, shaded or otherwise complicated scripts. Designing the appropriate script was literally in the hands of the engraver. That’s why I noticed this bank note from 1948. It is the first 20 mark bill in the then newly created currency ”Deutsche Mark.“ All other bank notes of the 1948 series show daintier forms of typography with an obvious tendency toward modern face. The 1949 series which followed shortly thereafter reveals the more complicated script as well. For whatever reason, only this 20 mark bill displays this extremely expanded sans serif variation of the otherwise Roman form applied. This peculiarity led me in the year 2010 to create a complete font from the single word ”Banknote.“ Back to those days in the 40’s, the initial edition of DM bank notes was carried out by a special US-American printer who was under pressure of completing on time and whose engravers not only engraved but also designed. So that’s why the bank notes resemble dollars and don’t even look like European currency. That also explains some of the uniquely designed characters when looked at in detail. Especially the almost serif type form on the letters C, G, S and Z, but also L and T owe their look to the ”American touch.“ The ingoFont Banknote 1948 comprises all characters of the Latin typeface according to ISO 8859 for all European languages including Turkish and Baltic languages. In order to maintain the character of the original, the ”creation“ of lower case letters was waived. This factor doesn’t contribute to legibility, but this kind of type is not intended for long texts anyway; rather, it unfolds its entire attraction when used as a display font, for example on posters. Banknote 1948 is also very suitable for distortion and other alien techniques, without too much harm being done to the characteristic forms. With Banknote 1948 ingoFonts discloses a font like scripts which were used in advertising of the 1940’s and 50’s and were popular around the world. But even today the use of this kind of font can be expedient, especially considering how Banknote 1948, for its time of origin, impresses with amazingly modern detail.

A long lost Art Nouveau wood type from the Hamilton Museum Collection evokes the excesses of Victorian design and the equally quirky 1960s Psychedelic era revival of the Victorian type styles. Free flowing organic designs that flourished with Art Nouveau in the late 1800s were directly referenced and further distorted with with phototype in the late 1960s. This design, known as Arabesque, was produced by the Morgans & Wilcox Co. and the Wm. Page Co. as almost identical designs. Both manufacturers were acquired by Hamilton and offered briefly by Hamilton as design #618. This curious wood type defies most of the basic tenets of type design and what comes to mind when one thinks "wood type". Many characters have a lively eccentricity that were all left true to the original design. Additional characters were designed to fill out the standard range of characters found in digital fonts. This font includes over 280 characters for full unicode support of Western and Central European Latin characters.

Distinctively Art Nouveau with a touch of Arts & Crafts, Quaint Gothic is a typographic gem from the late nineteenth century. Also known as Desdemona, this undulating and organic typeface is a versatile and refreshing alternative to many of the font designs on the market today. Quaint Gothic comes complete with an alternate set of caps and a new set of lowercase characters. And for your convenience, a nifty set of small caps and small figures are included in this version. You may also want to access the word-on-a-wave logotypes like “to” and “and” located in the special character slots. They’re great for constructing provocative headlines and titles. Quaint Gothic is also available as an OpenType font. It contains lining and oldstyle figures, prebuilt fractions, stylistic alternates, a wide variety of discretionary ligatures and word ornaments. These advanced features currently work in Adobe Creative Suite InDesign and Illustrator. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Waltowns is a dynamic and expressive typeface that captures the essence of street art with its bold and energetic design. The letters are characterized by organic shapes, reminiscent of marker strokes on urban surfaces. The font exudes a raw and brave vibe, reflecting the spirit of graffiti culture. The font includes a diverse set of characters, allowing for creative and eye-catching compositions. Whether you’re designing posters, album covers, or any other graphic project, Waltowns inject a sense of urban attitude and artistic edge. Its versatility makes it suitable for a wide range of applications, making your designs stand out in the crowd. Waltowns is not just a font; it’s a statement. It represents expression, the vibrancy of the streets, and the bold creativity that defines graffiti art. Use Waltowns to bring a touch of urban authenticity to your design projects and let your creativity run wild on the walls of the digital world.

In this font from graphic arts veteran Tracy Sabin, his trademark whimsy and playfulness are exhibited in spades. Sabin takes a multitude of influences, from mid-century art nouveau to today’s pleasant dream-pop doodles, and mixes them up into a sweet and animated alphabet that oozes energy, enthusiasm and honest innocence. Alongside the chromatic and colour-play possibilities that come with two layerable fonts, the jumpy, rough and curly elements that make up Schneeberger’s construct make this face a unique and essential tool for display and packaging aimed at catching the eyes of kids and teens. Use it for fantasy flicks, sugar-fix wrapping, and the elaborate backyard birthday party invite where the program is just as appealing for the adults as it is for the children. P22 Schneeberger comes in solid (Black) and outline (Regular) variants, each of which containing more than 400 characters, some very cool built-in stylistic alternates, a bunch of ligatures, and support for the majority of Latin languages.

Sashay, you stay! Voguing is inspired by the movement and glamour of the ’80s/90s and New York ballrooms scene. Based on multiline strokes like our first font release Afrobeat but this time playing with the movement and direction of strokes we got a 3D effect to embrace the feeling of Voguing Art Expression. We highly recommend to combine Voguing with Nautica Sottile Modern letterforms reminding the skeleton of geometric type and serving optical contemporary elegance to this typeface presented in 3 different styles: regular, slanted and backslanted. The font includes also a set of ligatures accessible through OpenType perfect to customize your text. Bring a “10 across the board” to your layout with this new font family. Voguing is perfect for fashion, publishing, cosmetics, sports and art industries. Its eye catching effect works great for headlines, branding, magazine, social media posts, website headers, posters, ads, stationery designs and products. Check out also Dreamteam & Afrobeat

Steiner Special is a revival and expansion of an art nouveau face called Swing, originally designed by Peter Steiner in 1974. Some of the original film type letters were slightly normalized and toned down for concept consistency, though this digital version lacks none of the original face's charm and sunny disposition. This particular kind of art nouveau face is one that appeals very much to kids. Steiner Special can be used in upper-lower or all-upper, and can maintain its enthusiasm and excitement through any bending, stretching, squeezing, warping or any thinkable filter your favourite design program has. Children book covers, candy and cereal packaging, fun headlines and posters for kid events are but few of the possible uses of this font. If you're designing anything for kids, give this font a try and you won't regret it. Steiner Special comes with over 500 glyphs and support for the majority of Latin languages. A full set of ligatures in included, as are a few stylistic alternates.

A page from the 1931 Vitrolite catalog showing illustrations of store fronts and building exteriors utilizing the material provided a classically Art Deco type example. The business name “Sylvin” did not offer many characters to work with, so completion of the digital type design was simply left to imagination. The end result is Structural Glass JNL, which is available in both regular and oblique versions According to Wikipedia: “Pigmented structural glass, also known generically as structural glass and as vitreous marble, and marketed under the names Carrara glass, Sani Onyx, and Vitrolite, among others, is a high-strength, colored glass. Developed in the United States in 1900, it was widely used around the world in the first half of the 20th century in Art Deco and Streamline Moderne buildings. It also found use as a material for signs, tables, and areas requiring a hygienic surface. Over time, the trademarked name “vitrolite” became a generic term for the glass.”

Dufour was named in honor of an art deco font called "Independent" designed in the 1930s by Collette and Dufour. "Dufour" is influenced by the original font, however, there are substantial differences: instead of small caps, a true lower case was created, the upper case character proportions and shapes have been greatly modified, and all missing characters have been created to make a truly modern font which nevertheless has all of the panache of the original. A related font is Collette, designed by Anton Scholtz, however, Dufour has a softer feel that is more true to the original art deco period. Dufour comes in four styles: Dufour Regular, Dufour Regular Outline, Dufour Condensed, and Dufour Condensed Outline. The font has been carefully kerned and best results are obtained if kerning is switched on. (All-caps passages work well.) It is best used to create a retro feel and in headings, subheads and in short passages of text. Very effective in marketing for products for children.

The Aviano series returns with a flared semi-serif. Aviano Flare's subtly curved forms lend refinement and luxurious elegance to your designs. Aviano's foundational extended classical forms give the face strength and power. Aviano Flare is a versatile new addition to the Aviano titling series. Aviano Flare comes in six different weights and is packed with OpenType features. Want to get rid of the serifs for that logotype or headline? Need swash forms? Art Deco alternates? Aviano Flare includes 74 alternate characters. Two style sets are available, two sets of art deco inspired alternates, small forms, swash, titling and stylistic alternates. Aviano Flare also includes 40 discretionary ligatures for artistic typographic compositions. Please see the informative .pdf brochure to see these features in action. Be sure to check out the rest of the Aviano series which can be used as complementary faces, including Aviano, Aviano Serif, Aviano Sans, Aviano Didone and Aviano Slab.

The Distillery Set is a collection of 5 fonts: Display, Strong, Script, Caps, and Icons. The fonts' influences are in lettering from different eras and styles. They reflect forms from the Arts & Crafts movement, the Roman majuscules, artistic printing, traditional tattoo lettering, sing painting and showcards from the early XX century and some typography trends started from 1970s America and being used today like chalkboard art or handmade labels in packaging. This is collection of fonts that strongly hints of the spontaneous ways of pencil on paper, the dynamic rebellion and simultaneous imperfection and elegance of DIY. This set contains a wide range of characters, including alternates, ligatures, variations on ascenders and descenders, initials and terminals, icons and ornaments, providing endless application possibilities. The different fonts can be used individually, but of course it is their combination in use that creates the magic. The Distillery Set was designed by young talent Carolina Marando. Alejandro Paul produced and expanded the digital work.

Proudly present Zeppelotta - Classic Art Deco Type, created by ikiiko Zeppelota is a classic serif font adapted from the art deco style, a visual style that emerged in the 1920s and 1930s. This font is characterized by bold geometric shapes, a symmetrical design, and a sense of modernity and glamour. Zeppelotta is designed to have a distinctive classic impression with the presence of decorative elements such as extended lines, neat and tidy decorative shapes and types. These decorative elements can add a sense of sophistication and luxury to text. With a wide selection of alternates and ligatures, you can create a variety of styles and play with this unique fonts. This typeface is perfect for an elegant logo, jewelry stuff, packaging, magazine design, fashion brand, classic stuff, poster, flyer, wedding invitation, quotes, or simply as a stylish text overlay to any background image. What's Included? Uppercase & Lowercase Numbers & Punctuation Alternates, Stylistic & Ligature Multilingual Support Works on PC & Mac

WAVE is characterized by curved lines and intricate details. Each character was individually made in Illustrator and Type Tool using my original illustrations. Wave is a decorative font best used for titles or short bursts of texts in large point settings. The typeface is based on the uppercase letterforms, but I have also created lowercase letters, numbers, and glyphs. The motion lines used in the making of Wave mirror an art deco-style. Inspired by an illustration of a large wave, I was fascinated that by using only lines and solid colors we as artists can depict the translucency and ever-changing movement of waves. I began by delicately sketching out all of the letters using graph paper and micron pens. My work always begins with traditional media. I'm an illustrator, freelance artist, and graphic designer from Chicago, IL. I studied at Texas Christian University, and received my Bachelors of Arts in Graphic Design from Columbia College Chicago. Visit www.jennyddesigns.com for more! :)

Everyone loves an Art Deco typeface. And there are hundreds of similarly-designed deco faces out there! But not one of them seems to have every form of every character that you want or need at any given moment. That’s why Swonderful was created! It has more letterform variations than you can shake a stick at (if you're inclined to shake sticks at things). With four variations of every uppercase form, two variations of every lowercase form (plus diacritical characters for the standard set), you’re bound to find the character you need for any given project, whether the style is French Art Deco, American Streamline Moderne, or Jazzy Midcentury Gaspipe. Just switch between stylistic sets! And you’ll find all those characters in three standard weights: Light, Regular, and Bold. They’re designed as a unicase, so they’re all height-compatible, and every set works with every other set, so you can mix and match to your heart’s delight!

Introduced by Timurtype Studio! Marthine Diamond is a Modern Handbrushed Script Font This font unlocks the appeal of contemporary design with a modern handwritten font, a symphony of sophistication and spontaneity. This font effortlessly combines the precision of digital craftsmanship with the organic flow of hand-drawn elegance. Each letter is a brushstroke of innovation, adding a dynamic and bespoke touch to your project. The sleek curves and smooth lines of modern hand script fonts create visual harmony, infusing your designs with a sense of stylish authenticity. Enhance your creative expression, as these fonts integrate seamlessly into a modern aesthetic, offering the perfect balance between avant-garde pieces and timeless works of art. Let your words take on a new dimension, where art blends technology and tradition, giving life to a contemporary narrative that is visually striking and uniquely yours Marthine Diamond Font also supports multilingualism. Enhance your designs with our original fonts, feel free to comment or provide feedback, Enjoy the fonts 😊 Thank You

I made the first sketches for Brocha when I first visited Easter Island in 2011. I took inspiration from pre-Columbian art for such sketches, but I must say that they were kind of rough and clumsy; it was an experimental and limited-use typeface. It took a long time, but thanks to my learning about type design gained over the years, I have finally been able to complete my project. I have made sure to preserve the Latin American spirit of my original designs in order to give my final typeface an expressively handmade, highly humanist look. Brocha is a display sans with friendly design ideal for high-impact headlines, logotypes or use on cookies packaging designs. Brocha consists of 2 subfamilies: one basic and one alternative. Each subfamily comes in 8 weights plus italics. The Alt version is highly recommended for those art directors who look for more varied fonts when designing.

Introducing our new collection of fonts Stiepa is designed for fun combining sans and serif so you can combine them to create the perfect typographic design. Stiepa is a classy and bold upper and lower case typeface that looks amazing in both large and small settings. It's perfect for your upcoming projects. Such as luxury logo and branding, classy editorial design, women's magazine, cosmetic brand, fashion promotion, art gallery branding, museum, architectural history, boutique branding, stationery design, blog design, modern advertising design, invitation card, art quote, home decoration , book/cover titles, special events, and more. Here's what's included: Numbers & punctuation Characters with accents Supports Multiple Languages PUA Encoded This type of family has become a work of true love, making it as easy and enjoyable as possible. I really hope you enjoy it! I can't wait to see what you do with Stiepa Display Serif! Feel free to use the #Dora Typefoundry tag and # Stiepa Display Serif font to show what you've done Thank You!

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

Alt-Gotisch Verzierte is a typeface of decorative initials that is Victorian in style and bears a close family resemblance to the many ornamental tuscans cut throughout the nineteenth century by British foundries. Instead of the bifurcated terminals of the archetypical tuscan (see Figgins Tuscan by HiH or Stereopticon by Dan X. Solo), these letters display what Nicolete Gray might call a “wedge and bite” design -- as if they started with the wedge serif of a latin form and someone came along and took a perfectly round bite out of the wedge. We need not dwell on the lack of teeth marks. The calligraphic curls and flourishes are often graceful, sometimes a bit contrived, but always complex. There is a busyness that marks the style of the period. If you ever see an old photograph of a well-appointed Victorian parlor, you will recognize that same quality of busyness. Overdone is a word that frequently comes to mind. Alt-Gotisch Verzierte means “adorned or decorated old gothic.” The typeface is attributed by Alexander Nesbitt to an unidentified German foundry of the nineteenth century (Decorative Alphabets and Initials, Dover, New York 1987, plate 92). The designer is unknown. Our font is supplied with a lower case that is similar to the upper case, but is 15% shorter and is simplified by the omission of the decorative vines. For the lower case, alternate letters A, E, & T; and ligatures LE, OT & LY have been supplied. In addition, a few small decorative vines were planted here and there for optional use. An accented upper case is not part of the original design and is not here supplied. This design is also seen under the name “Sentinel” -- as always, it is worthwhile to compare the completeness of the character set and the faithfulness of the rendering. We believe you will agree that we provide a balance of quality and value that is unmatched in the contemporary marketplace. Alt-Gotisch Einfach is a simplified version of Alt-Gotisch Verzierte. The vine-less lower case of the Verzierte font is the upper case in Einfach. For a lower case for Einfach, the letters were further simplified by stripping away the three-dimensional outline, down to the bare bones and bites, as it were. Einfach, in fact, means “simple” or “plain.” It is interesting to note that this bare bones & bite lower case bears (I have a special license to use two homonyms in the same sentence) a striking resemblance to the 15th & 16th century ornamental letters from Westminster Abbey shown in Plate 47 of Alexander Nesbitt’s Decorative Alphabets and Initials (Dover, New York 1987).

Arsenica is a serif typeface designed by Francesco Canovaro for Zetafonts, and developed by a design team including Mario De Libero, Andrea Tartarelli and Cosimo Lorenzo Pancini. The design of Arsenica takes its inspiration from Italian poster design at the beginning of the century, a time where typography, lettering and illustration where closely interwoven. Dawning nationalist movements, rather than using the modernist language, pushed on traditional Old Style letterforms often imbued with Art Nouveau and Deco sensibility. Artists like Giorgio Muggiani not only illustrated posters for Cinzano, Pirelli and Rinascente, but also provided logo design for newspapers, like "Il Popolo d'Italia". Starting from this mix of eclectic influences, Canovaro first developed the Arsenica Antiqua family, designed as display typeface that keeps the original Old Style low-contrast, wide proportions and quirky stylistic inventions. These where then distilled in a high contrast, Arsenica Display family, expanding the weight range to include both poster, ultra-bold weights and lighter weights that give the design a distinct calligraphic flavour. Bringing the letterforms into contemporary taste meant also developing alternate letterforms that were included in the Arsenica Alternate family, that drops the art nouveau details in favour of a more controlled modern serif aesthetic. Finally, Arsenica Text was developed by expanding the design space in the optical size axis, creating a low contrast, strongly readable old style typeface family, with a reduced weight set, oriented for long body copy typesetting. The final result is a superfamily of 41 weights, covering the design space with an expanded charset of over 900 glyphs, with full coverage of over 200 languages using latin and Cyrillic alphabets. All the weights of Arsenica come with a full set of open type features allowing to explore its vintage-inspired visual inventions thanks to stylistic sets, discretionary ligatures, contextual alternates and positional numbers. Two variable typefaces are included in the full family, allowing you to explore the design space and precisely control not only the weight but also the optical size design variations. • Suggested uses: perfect for elegant modern branding and logo design, fascinating editorial design, expressive packaging and countless other projects. • 43 styles: 7 weights + 7 italics, 4 different styles + 2 variable fonts. • 942 glyphs in each weight. • Useful OpenType features: Access All Alternates, Contextual Alternates, Case-Sensitive Forms, Glyph Composition / Decomposition, Discretionary Ligatures, Kerning, Lining Figures, Localized Forms, Mark Positioning, Mark to Mark Positioning, Oldstyle Figures, Ordinals, Stylistic Alternates, Stylistic Set 1, Stylistic Set 2, Stylistic Set 3, Stylistic Set 4, Stylistic Set 5, Stylistic Set 6, Stylistic Set 7, Stylistic Set 8, Stylistic Set 9, Slashed Zero. • 216 languages supported (extended Latin and Cyrillic alphabets): English, Spanish, Portuguese, French, Russian, German, Javanese (Latin), Turkish, Italian, Polish, Afaan Oromo, Azeri, Tagalog, Sundanese (Latin), Filipino, Moldovan, Romanian, Indonesian, Dutch, Cebuano, Igbo, Malay, Uzbek (Latin), Kurdish (Latin), Swahili, Hungarian, Czech, Haitian Creole, Hiligaynon, Afrikaans, Somali, Zulu, Serbian, Swedish, Bulgarian, Shona, Quechua, Albanian, Catalan, Chichewa, Ilocano, Kikongo, Kinyarwanda, Neapolitan, Xhosa, Tshiluba, Slovak, Danish, Gikuyu, Finnish, Norwegian, Sicilian, Sotho (Southern), Kirundi, Tswana, Sotho (Northern), Belarusian (Latin), Turkmen (Latin), Bemba, Lombard, Lithuanian, Tsonga, Wolof, Jamaican, Dholuo, Galician, Ganda, Low Saxon, Waray-Waray, Makhuwa, Bikol, Kapampangan (Latin), Aymara, Zarma, Ndebele, Slovenian, Tumbuka, Venetian, Genoese, Piedmontese, Swazi, Zazaki, Latvian, Nahuatl, Silesian, Bashkir (Latin), Sardinian, Estonian, Afar, Cape Verdean Creole, Maasai, Occitan, Tetum, Oshiwambo, Basque, Welsh, Chavacano, Dawan, Montenegrin, Walloon, Asturian, Kaqchikel, Ossetian (Latin), Zapotec, Frisian, Guadeloupean Creole, Q’eqchi’, Karakalpak (Latin), Crimean Tatar (Latin), Sango, Luxembourgish, Samoan, Maltese, Tzotzil, Fijian, Friulian, Icelandic, Sranan, Wayuu, Papiamento, Aromanian, Corsican, Breton, Amis, Gagauz (Latin), Māori, Tok Pisin, Tongan, Alsatian, Atayal, Kiribati, Seychellois Creole, Võro, Tahitian, Scottish Gaelic, Chamorro, Greenlandic (Kalaallisut), Kashubian, Faroese, Rarotongan, Sorbian (Upper Sorbian), Karelian (Latin), Romansh, Chickasaw, Arvanitic (Latin), Nagamese Creole, Saramaccan, Ladin, Palauan, Sami (Northern Sami), Sorbian (Lower Sorbian), Drehu, Wallisian, Aragonese, Mirandese, Tuvaluan, Xavante, Zuni, Montagnais, Hawaiian, Marquesan, Niuean, Yapese, Vepsian, Bislama, Hopi, Megleno-Romanian, Creek, Aranese, Rotokas, Tokelauan, Mohawk, Onĕipŏt, Warlpiri, Cimbrian, Sami (Lule Sami), Jèrriais, Arrernte, Murrinh-Patha, Kala Lagaw Ya, Cofán, Gwich’in, Seri, Sami (Southern Sami), Istro-Romanian, Wik-Mungkan, Anuta, Cornish, Sami (Inari Sami), Yindjibarndi, Noongar, Hotcąk (Latin), Meriam Mir, Manx, Shawnee, Gooniyandi, Ido, Wiradjuri, Hän, Ngiyambaa, Delaware, Potawatomi, Abenaki, Esperanto, Folkspraak, Interglossa, Interlingua, Latin, Latino sine Flexione, Lojban, Novial, Occidental, Old Icelandic, Old Norse, Slovio (Latin), Volapük.

The font superfamily Vianova contains each 12 weights of Sans and Slab and 8 weights of the Serif style. The design from Jürgen Adolph dates back into the 1990s, when he studied Communication Design with Werner Schneider as a professor at the Fachhochschule Stuttgart. Adolph started his carrier 1995 at Michael Conrad & Leo Burnett. He was responsible for trade marks as Adidas, BMW, Germanwings and Merz. He has been honored as a member of the Art Directors Club (ADC) with more than 100 awards. On February 26, 2014, Jürgen Adolph wrote the following: “I was already interested in typography, even when I could not yet read. Letterforms, for instance, above storefronts downtown, had an irresistible appeal for me. Therefore, it is probably not a coincidence that, after finishing high school, I began an apprenticeship with a provider of signage and neon-advertising in Saarbrücken, and – in the late 1980s – I placed highest in my field in my state. When I continued my studies in communications design in Wiesbaden, I was introduced to the highest standards in calligraphy and type design. “Typography begins with writing” my revered teacher, Professor Werner Schneider, taught me. Indefatigably, he supported me during the development of my typeface “Vianova” – which began as part of a studies program – and accompanied me on my journey even when its more austere letterforms did not necessarily conform to his own aesthetic ideals. The completely analogue development of the types – designed entirely with ink and opaque white on cardboard – covered several academic semesters. In order to find its appropriate form, writing with a flat nib was used. Once, when I showed some intermediate designs to Günter Gerhard Lange, who occasionally honored our school with a visit, he commented in his own inimitable manner: “Not bad what you are doing there. But if you want to make a living with this, you might as well order your coffin now.” At that time, I was concentrating mainly on the serif version. But things reached a different level of complexity when, during a meeting with Günther Flake which had been arranged by Professor Schneider, he suggested that I enlarge the offering with a sans and slab version of the typeface. So – a few more months went by, but at the same time, Elsner+Flake already began with the digitilization process. In order to avoid the fate predicted by Günter Gerhard Lange, I went into “servitude” in the advertising industry (Michael Conrad & Leo Burnett) and design field (Rempen& Partner, SchömanCorporate, Claus Koch) and worked for several years as the Creative Director at KW43 in Düsseldorf concerned with corporate design development and expansion (among others for A. Lange & Söhne, Deichmann, Germanwings, Langenscheidt, Montblanc.”

The font superfamily Vianova contains each 12 weights of Sans and Slab and 8 weights of the Serif style. The design from Jürgen Adolph dates back into the 1990s, when he studied Communication Design with Werner Schneider as a professor at the Fachhochschule Stuttgart. Adolph started his carrier 1995 at Michael Conrad & Leo Burnett. He was responsible for trade marks as Adidas, BMW, Germanwings and Merz. He has been honored as a member of the Art Directors Club (ADC) with more than 100 awards. On February 26, 2014, Jürgen Adolph wrote the following: “I was already interested in typography, even when I could not yet read. Letterforms, for instance, above storefronts downtown, had an irresistible appeal for me. Therefore, it is probably not a coincidence that, after finishing high school, I began an apprenticeship with a provider of signage and neon-advertising in Saarbrücken, and – in the late 1980s – I placed highest in my field in my state. When I continued my studies in communications design in Wiesbaden, I was introduced to the highest standards in calligraphy and type design. “Typography begins with writing” my revered teacher, Professor Werner Schneider, taught me. Indefatigably, he supported me during the development of my typeface “Vianova” – which began as part of a studies program – and accompanied me on my journey even when its more austere letterforms did not necessarily conform to his own aesthetic ideals. The completely analogue development of the types – designed entirely with ink and opaque white on cardboard – covered several academic semesters. In order to find its appropriate form, writing with a flat nib was used. Once, when I showed some intermediate designs to Günter Gerhard Lange, who occasionally honored our school with a visit, he commented in his own inimitable manner: “Not bad what you are doing there. But if you want to make a living with this, you might as well order your coffin now.” At that time, I was concentrating mainly on the serif version. But things reached a different level of complexity when, during a meeting with Günther Flake which had been arranged by Professor Schneider, he suggested that I enlarge the offering with a sans and slab version of the typeface. So – a few more months went by, but at the same time, Elsner+Flake already began with the digitilization process. In order to avoid the fate predicted by Günter Gerhard Lange, I went into “servitude” in the advertising industry (Michael Conrad & Leo Burnett) and design field (Rempen& Partner, SchömanCorporate, Claus Koch) and worked for several years as the Creative Director at KW43 in Düsseldorf concerned with corporate design development and expansion (among others for A. Lange & Söhne, Deichmann, Germanwings, Langenscheidt, Montblanc.”

The font superfamily Vianova contains each 12 weights of Sans and Slab and 8 weights of the Serif style. The design from Jürgen Adolph dates back into the 90th, when he studied Communication Design with Werner Schneider as a professor at the Fachhochschule Stuttgart. Adolph started his carrier 1995 at Michael Conrad & Leo Burnett. He was responsible for trade marks as Adidas, BMW, Germanwings and Merz. He has been honoured as a member of the Art Director Club (ADC) with more than 100 awards. On February 26, 2014, Jürgen Adolph wrote the following: “I was already interested in typography, even when I could not yet read. Letterforms, for instance, above storefronts downtown, had an irresistible appeal for me. Therefore, it is probably not a coincidence that, after finishing high school, I began an apprenticeship with a provider of signage and neon-advertising in Saarbrücken, and – in the late 1980s – I placed highest in my field in my state. When I continued my studies in communications design in Wiesbaden, I was introduced to the highest standards in calligraphy and type design. “Typography begins with writing” my revered teacher, Professor Werner Schneider, taught me. Indefatigably, he supported me during the development of my typeface “Vianova” – which began as part of a studies program – and accompanied me on my journey even when its more austere letterforms did not necessarily conform to his own aesthetic ideals. The completely analogue development of the types – designed entirely with ink and opaque white on cardboard – covered several academic semesters. In order to find its appropriate form, writing with a flat nib was used. Once, when I showed some intermediate designs to Günter Gerhard Lange, who occasionally honored our school with a visit, he commented in his own inimitable manner: “Not bad what you are doing there. But if you want to make a living with this, you might as well order your coffin now.” At that time, I was concentrating mainly on the serif version. But things reached a different level of complexity when, during a meeting with Günther Flake which had been arranged by Professor Schneider, he suggested that I enlarge the offering with a sans and slab version of the typeface. So – a few more months went by, but at the same time, Elsner+Flake already began with the digitilization process. In order to avoid the fate predicted by Günter Gerhard Lange, I went into “servitude” in the advertising industry (Michael Conrad & Leo Burnett) and design field (Rempen& Partner, SchömanCorporate, Claus Koch) and worked for several years as the Creative Director at KW43 in Düsseldorf concerned with corporate design development and expansion (among others for A. Lange & Söhne, Deichmann, Germanwings, Langenscheidt, Montblanc.”

Adolone We are proud to present our new font. The new natural Adolone look with a classy and modern style makes this font look elegant, natural, stylish. Adolone will be perfect for invitations, logos & branding, photography, advertising, watermarks, social media posts, product packaging, product designs, labels, wedding designs, stationery, special events or anything else needed to create a theme. Adolone is built with OpenType features and includes initial and final language styles, alternative characters for most lowercase letters, numbers, punctuation marks, alternatives, ligatures, and also supports other languages.

Barkanon is not your ordinary humanist sans serif typeface. Blending modern styling with classic humanist flow creates a bold and captivating look. Designed to be expressive in the right places and legible where needed. Barkanon is great for headings, body copy, logos, etc. Barkanon was picked to be a part of the 2024 Typodarium and an early version of the font was featured on James Edmonson's (Oh No Type Co) YouTube channel Barkanon covers 96 languages, 9 styles plus italics, with stylistic alternates, ligatures, and other opentype features.