Art Gothic was attributed to the Central Type Foundry of St. Louis, Missouri, USA by Henry Lewis Bullen, writing in INLAND PRINTER in 1907, with a reproduction shown in Kelly’s American Wood Type. The typeface appears on the cover of an issue of “The Superior Printer” pictured in Typology by Heller and Fili dated in the 1870s. Art Gothic was designed in 1884 by Gustav Schroeder and proved to be one of the more popular and enduring of the American-designed Victorian display faces of the period, appearing frequently in ads in various publications. The Hamilton Mfg. Co showed a very similar wood type, No. 232, with a modified and rather heavy-handed upper case in 1892. As late as 1897, it may be found in the advertising section of The Ivy of Trinity College of Hartford, Connecticut and was included in the Norwood Press 1902 Specimen Book. Our font includes a complement of five upper case and four lower case alternatives as follows: 123=C, 125=E, 135=H, 137=S, 172=c, 175=e, 215=m and 247=s. Great for period pieces. ART GOTHIC HIH is clean, readable, and surprisingly modern-looking; unlike so many overly complex Victorian display fonts, it can be used in text sizes.

Arte Critique JNL was modeled after an alphabet in an early 20th Century French lettering book spotted online at an image sharing site.

Art Week JNL is a wider variant of the lettering style used on many WPA (Works Progress Administration) posters for the arts in the Depression-era 1930s. Wider than the version used for Concert Series JNL, it also features an ‘A’ with a rounded top rather than the flat, square version.

The Back Groove font is smooth in totality and elegance. One of the best releases earlier this year, drawn with pinpoint accuracy. Back Groove has the perfect simplicity and refinement for your next project. Back Groove It perfectly represents a precise and vintage aesthetic. Because it's guided by Outlen's Back Groove I recommend this font for your next celebrations, logos, invitations, and home decor projects that need a touch of compact alternative combinations! Check it out and enjoy!

This all cap, bold, sans serif font features one face that slants backward ("Back") and one that slants forward ("Forth"). Use in combination to create headlines and designs that call for a sense of speed, motion and power. Uppercase and lowercase letters are the same.

The Back to School Doodle font is a delightful and imaginative typeface that captures the essence of the back-to-school season with its playful doodles and vibrant charm. Each letter is adorned with whimsical illustrations, reminiscent of a child's doodles on a classroom desk. This font features hand-drawn characters filled with fun and colorful details. From doodled stars, pencils, and books to playful arrows, apples, and globes, every letter is an artwork in itself. The doodles add a sense of excitement and creativity to the font, making it perfect for capturing the spirit of going back to school.

"Back Wild" is a bold and chubby graffiti font that includes swash characters. Fonts with these attributes generally feature bold and wide letterforms, often with playful and rounded elements. Swash characters add decorative and stylish touches to the font, If you have any specific questions or if there's anything specific you'd like to know or discuss about graffiti fonts or design, feel free to ask!

Schuss Sans CG Poster 1 upright OTF Font Latin extended, Cyrillic and Greek. Specially developed for headline poster display sizes. A Sans Black Headline-Font in addition to the Schuss superfamily. The heights are optimized for big sizes, different to the text fonts of the Superfamily Schuss. The character set is slightly different to the non poster styles too. No italic, no additional figures, no tabular figures, no small Caps. But with maximum manual kerning. Ligatures: fi, fl, ff, ffi, ffl. No special OpenType features.

Al Harf Al Jadid is a traditional-style Arabic display typeface. Al Harf Al Jadid Two is an outline version of Al Harf Al Jadid One. Although their design is ultra bold, its forms remain a readable Naskh, in response to the needs of secular lettering for emphatic headlines and signs. Al Harf Al Jadid One and Two are characterized by a distinctive, strong baseline-stroke, reminiscent of a similar hand-rendered technique traditionally used in Arabic calligraphy to achieve a bold appearance. Initially developed as digital fonts by Linotype-Hell Ltd. in the mid-1980s, Al Harf Al Jadid One and Two have remained amongst the most popular heading faces used in Arabic magazine and newspaper publication.