The design for this typeface is based upon four sheets of an old latin book I purchased in Hanover (Germany) a couple of years ago. The letters preserve the rough edges of the original printing, I just added a few missing letters and some ligatures.

Swedish designer Karl-Erik Forsberg created the original Berling typeface in 1951. Owned by Verbum in Sweden, Berling was completely redesigned and released in 2004, under the name Berling Nova. Forsberg (1914–1995) is considered one of Sweden’s most masterful graphic designers, and his original Berling has come to be seen as possibly the most definitive Swedish typeface. But a redesign was necessary in order to secure that the spirit of Berling would survive in the digital age. Linotype, the distributor of the original Berling™ , provided its collection of source materials to the designers working on Berling Nova. Additionally, Akira Kobayashi — Linotype’s Type Director — lent them his advice as their project advanced. Berling Nova is available in two optical sizes: Text and Display. The original Berling was a classic Renaissance roman face, with fine terminals and sharp, beak-like serifs. If one looks at Berling’s old lead type proofs in the smaller type sizes, it is clear that these had a fuller and more readable form than in later digital versions. So, in order to help return the new Berling Nova to its original splendor, both the base forms and the serifs were softened and inflated. In the text version, the x-height has been increased a bit (by 4%), the diagonal axis is less apparent, and special glyph ranges, such as those for small caps and old style figures, have been included in the font’s character sets. The display version still has the unmistakable “Berling” character that displays Forsberg’s mastery. Berling Nova is well suited for longer text passages in books, publications, and magazines. This typeface fulfils all the demands that one can make on a legible newspaper typeface. Access to both text and display versions are important to the demanding typographer. This is the first time since the typeface was digitalized that it is possible to use it in order to create truly beautiful and functional typography in all type sizes.

Barbou was originally cut in 1925 by Monotype as a counterpart to Fournier, siblings that were different in design but both based on the work of Pierre-Simon Fournier. Whether by choice, accident or oversight, Fournier was preserved digitally, and Barbou was lost to history. Barbou was notably used by Stanley Morrison, in particular as the face of The Fleuron. I fell in love with Barbou when I saw it, and knew that I wanted to bring it to a new generation of designers and readers. This is a revival of Barbou, a faithful recutting with new weights, characters and many of the best features that modern font technology brings. Particular attention was paid to the original Monotype Barbou 178 specimen sheet. Originally only available in a single weight, Barbou has been recut with a variable weight, providing a large degree of flexibility between Regular and Bold. Barbou excels as a comfortable reading face for books, and the variable weight allows you to fine tune the darkness and texture of the page in a way never before possible. Barbou has a distinctive softness, and this revival of Barbou preserves much of the effect the medium of metal type had on the letterforms. This results in a subtly rounded yet defined type, elegant not worn, with the utmost attention and respect to the smallest of details. Barbou was originally cut with disparate x-heights for roman and italic, and this revival of Barbou features both the original italic, as well as a new italic redesigned at the same height as the roman. In Fournier’s time, roman and italic would not be mixed on the same line, but the type must change to meet the needs of a new generation. Barbou also features unique ligatures and alternates, old style numbers, small caps and a full Greek alphabet. Barbou is perfect for books and anywhere a comfortable reading face is required, and excels in flexibility.

Antique monumental incriptional majuscule, originally carved in stone, and sometimes called “Roman Capital”, is the origin of the upper-case part of our latin alphabet. Its narrowed form, derived from handwritten originals used between the first to third century A. D., served as the inspiration for the Mramor typeface, which I drew with ink on paper in 1988 under Jan Solpera’s leadership. After composing negative letters on a strip of film it was possible to use Mramor with the early phototypesetting devices. In 1994 with the help of Macintosh IIvi I added the lowercase letters and bolds, and issued this typeface as 14-font family. After some years of using Mramor for various purposes, I realized a need of modernization and humanizing its very fragile appearance, as well as removing numerous decorative and useless parts. Besides that, type design made a huge technical progress in past few years, so I was able to finish the remaining approximately 9600 glyphs contained in the present font system named Amor. It is already usual to combine sans and serif fonts within one family in order to distinguish (e. g. in a book) historical part from contemporary, a plain chapter from a special one, or, in quotations, to divide speaking persons. Sans-serif typefaces don't arise by simple removal of serifs; they have to be drawn completely separately, when occasionally many declined forms may be made, considered to the serifed original. Nevertheless, both parts of this type system appear consistent as for proportional, aesthetic and emotional atmosphere. Usage of type is often closely linked to its original inspiration, in this particular case with architecture and figurative sculpture. An inner “order” was also text setting in smaller sizes. A smooth scale of weights enriches the possibilities in designing of magazines, brochures, exposition catalogues and corporate identity. Economizing, but opened shape of characters is well legible and antique hint comes into play after longer reading.

“I originally drew the primary characters with a felt tip marker, scanned them and then proceeded to noodle on the computer,” says George Ryan of his new typeface, Koorkin. “Over the years, I’ve designed many original typefaces, but Koorkin has become one of my favorites. I’ve worked on hundreds of highly structured text faces. For the most part, the roots of all of them can be found in the handwritten letterforms we learn as children. I enjoy going back to these shapes whenever the opportunity presents itself. ”The happy result of Ryan‘s felt tip marker sketches and his love of simple letterforms is a new family of upright and italic scripts in medium and bold weights.

This style mimics the flare or upward fade that comes with the use of a spray paint can, as the tops of the letters flare, and become wider. An original font style, named after the border town of Mexicali, this font style falls under the larger umbrella of what is called Cholo-graffiti style. Originally from New Jersey, MENE has made his home in, New York City. He had a brief albeit satisfying career of street bombing in the late 90s that saw its end with a brief encounter with the Vandal Squad. Now a family man, Mene has dedicated himself to the preservation and education of style in its many forms.

A Stylized Sans Serif with a Futuristic Flavor. The Rhizo font began as a digitization of a film typeface from LetterGraphics known simply as "Rodin". The original specimen included standard Capitals and Lowercase, Numerals and limited punctuation. We've fleshed out the original style to include alternates, ligatures and a full character set with all the trimmings. Stylish, gorgeous, a little dark, a little friendly...a variety of attitudes conveyed in this typeface. Opentype features include: Full set of Inferiors and Superiors for limitless fractions. A collection of Standard Ligatures. A small set of Stylistic Alternates Smallcaps Approx. 592 Character Glyph Set: Rhizo comes with a glyphset that includes standard & punctuation, international language support, and additional features.

The original inspiration for Blue Parrot came from a short scene in the classic film Casablanca. For just a few seconds, the exterior of Ferrari's Blue Parrot night club is shown, complete with a wonderful hand-lettered sign... all in capital letters. Blue Parrot JNL was originally released in 2006, and it wasn't long before a few people noted that the font would also look good with a lower case alphabet. The idea of adding in lower case kicked around for a couple of years until Jeff Levine finally completed a revision of the font. In this version there's also an expanded character set thanks to the creative input of Michael Hagemann of Font Mesa.

Country Western is a revival of the classic William Page font known as Clarendon Ornamented originally designed in 1859 and again in 1877 by Vanderburgh & Wells. This version combines the best of both versions and adds something new. New to this font are the lowercase, italic, swash and script versions plus Greek and Cyrillic character sets. Keeping with the original theme from 1859 Fill fonts are available for the Ornamented and Open faced versions of this font. Greek, Cyrillic, Central and Eastern European characters sets are supported in the Windows TrueType and OpenType formats. The Windows and Mac PostScript Type1 versions of this font, however, do not support Greek, Cyrillic, Central and Eastern European characters sets.

Cephalonia is a geometric sans-serif with a unique set of alternates that draw their inspiration from classical greek engravings. The crossbars in the alt characters O, E, F and D are the most notable examples of this greek influence. The landscape of Greece and in particular its islands were the inspiration behind the angular A, H and G, which conjure images of rolling hills and waves. Cephalonia's alternate Q and ampersand are completely original designs. Cephalonia combines the simplicity and elegance of the most famous geometric sans-serifs while adding original embellishments that make it something new and exciting. The end result is a typeface that can evoke a classic feeling while simultaneously holding an edgy contemporary feel.

If there is one Fonts Café specially-priced pack that deserves the title "TEAM" it's "Universal College." Together, these two vintage, college-style fonts: the original CLASSIC, and our latest "DRAFT" pick, are the no-sweat, first line players for all your varsity design challenges and goals. Classy enough for every sport, season or celebration, and casual enough for any campus clothing creation. "Universal College" typefaces are also available individually: our original classic version has the handcrafted, retro feel that Fonts Café best-selling typefaces are world famous for. "Draft" has the edge that designers worldwide have come to expect from fontscafe.com and that you can find in many of our other retro and vintage typefaces.

Carton is a font family whose origin comes from his Display version, which is made up of a parallelepiped in isometric projection on a large grid. The Carton type family boasts an entire range of original forms with a number of different constraints other than calligraphic strokes or modular construction techniques. The constraints chosen in the process of creating this alphabet allowed us to give it specific features which would lead to the development of a coherent family of type. The design of the Bold and Regular departs from the earlier strict geometrical forms and increases in contrast and complexity. It paved the way for the creation of a thinner character for the reading of ordinary texts.

When master letterer Hugh Gordon and his student, Ross F. George developed a set of lettering pens between June 16, 1913 and Sept. 1, 1914, they had no idea that their invention (which they named Speed-Ball®) would still be in use nearly a hundred years later. The C. Howard Hunt pen company [originally of Camden, New Jersey] became the original (and sole) distributor of these pens. By 1915 an instructional booklet entitled "Modern Pen Lettering" was produced, and it was copiously illustrated with examples of layouts, lettering techniques and an assortment of alphabets for the user to learn. Nouveau Poster JNL is Jeff Levine's interpretation of a sanserif design found within the pages of this vintage publication.

The Linotype® Gujarati typeface was originally developed in 1983 by the Linotype letter-drawing studio under Fiona Ross’s art direction. This revival was designed by Gunnar Vilhjálmsson and Kalapi Gajjar with Fiona Ross as a consultant. The family has five weights from Light to Black. It is a traditional design, optimized for setting lengthy text copy for print projects or for use on screens. While faithful to the original design, Linotype Gujarati introduces many design improvements, additional weights, and an extended character set. This new Linotype Gujarati is part of a project to refresh the pivotal Linotype Bengali and Linotype Devanagari typefaces and make them available for the first time in the popular OpenType font format.

Country Western is a revival of the classic William Page font known as Clarendon Ornamented originally designed in 1859 and again in 1877 by Vanderburgh & Wells. This version combines the best of both versions and adds something new. New to this font are the lowercase, italic, swash and script versions plus Greek and Cyrillic character sets. Keeping with the original theme from 1859 Fill fonts are available for the Ornamented and Open faced versions of this font. Greek, Cyrillic, Central and Eastern European characters sets are supported in the Windows TrueType and OpenType formats. The Windows and Mac PostScript Type1 versions of this font, however, do not support Greek, Cyrillic, Central and Eastern European characters sets.

19th Century Retro is a re-design of an official German font style (called ‘Fraktur’) which was used in official documents in the 19th and early 20th century. There is an alternative small letter ‘s’ which you generate by typing the @ sign. This alternative letter was the original small letter s which was printed in the middle and at the beginning of a word originally (for example in the words ‘slightly’ and ‘best’). However, if the s was at the end, the normal small letter s was used (for example in the words ‘it's’ and ‘columns’). For readability reasons I decided to put the normal small letter s onto the s-key on your keyboard.

The design of Kristall Grotesk Now is based on a cut by Wagner & Schmidt, Leipzig, from the 30s of the last century as well as the digital version Kristall Grotesk MdK, created for the Stiftung Werkstattmuseum für Druckkunst. The implementation of the Kristall Grotesk MdK, a headline font, was deliberately created as a replica to create a faithful reproduction of the original. The design of the complete family Kristall Grotesk Now is based on the one cut Kristall Grotesk Buchschrift by Johannes Wagner GmbH, 1937, with its function as a text family. Designer: in parts Johannes Wagner GmbH, Redesign Elsner+Flake, Hamburg Designdate: 1937, 2009 Publisher: Elsner+Flake Design Owner: Elsner+Flake Original Foundry: in parts Johannes Wagner GmbH

Ekeras is an original design by Alex Kaczun. It is a display font not intended for text use. It was designed specifically for display headlines, logotype, branding and similar applications. Primarily a display, this extremely versatile font has generous proportions, large counters and loose fitting which also allow the font to work well across a wide range of text sizes. The entire font has an original look which is strong, dynamic, machine generated and can be widely used in publications and advertising. Ekeras is a futuristic, techno-looking and dynamic typeface with an appearance of machined-like parts with sharp and rounded edges. The large Pro font character set supports most Central European and many Eastern European languages.

Mecanica is an original design by Alex Kaczun. It is a display font not intended for text use. It was designed specifically for display headlines, logotype, branding and similar applications. The entire font has an original look which is strong, dynamic, machine generated and can be widely used in publications and advertising. Mecanica is a futuristic, techno-looking and expressive typeface with an appearance of metal-like parts with some very sharp edges. This attractive display comes in roman with lower case and lining figures. The font also is available with true-drawn slant italics. Other design style variations include Swash as well as Ornamental Italic Capitals along with a few Ornamental Symbols to embellish and enhance the possibilities.

China Dragon JNL was inspired by a vintage letterpress logo cut on sale in an online auction. The logo for The China Dragon restaurant (presumably from the 1950s or 1960s) had a wonderfully eclectic hand-lettered look. Some of the original characters were modified slightly to conform with the ones created for the remainder of the typeface, but the original styling remains intact. The unique design of this font allows it to adapt well to Art Nouveau or Mideastern project styles. In January of 2006, Jeff Levine Fonts started with just ten designs. A little more than seven years later, in April, 2013 the release of China Dragon is the 700th font added to this ever-growing library.

Spirits design was initially based on Hermann Ihlenburg's Schoeffer Old Style from the 1912 ATF catalog. Soft is the closest version to the printed original typeface. Neutral, with more formal serifs, is ideal for editorial design, for example newspaper headlines. Sharp, more contemporary, is the best choice for meeting today's design needs. Condensed proportions and large x-height, features found in the original font, make Spirits ideally suited for headlines and branding design. As you would expect from Latinotype, this font comes with a standard character set that supports over 200 languages. Each version includes its own alternates and comes in 4 weights, ranging from Light to Black, resulting in a total of 12 font styles.

Sabina Chipară's DIN Next Shapes typeface is a twist on the original German industrial classic, taking its skeleton and re-clothing it in dots, hearts, snowflakes and stars. The design offers a more approachable and whimsical tone of voice than the original, while maintaining all the legibility and clarity of form that makes DIN Next such a reliable and versatile design. It works in harmony with DIN Next, and is particularly suited for designers looking to be a little more expressive. DIN Next Shapes includes four fonts: Dots, Flakes, Hearts and Stars, and has pan European language support including Greek and Cyrillic. It also has OpenType features including stylistic alternatives, ligatures and fractions.

Krimhilde was originally designed by Albert Auspurg and released in 1933 with the type foundry Ludwig & Mayer. The design mixes elements of German blackletter typefaces and geometric sans-serif designs, which became popular in the 1920s in the movement known as New Typography. The FDI version of Krimhilde offers both original styles (regular and bold) as “version A” with a full Latin 1 character set. “Version B” has alternative shapes for some letters to make the design more legible for people who are not familiar with the German blackletter shapes. In addition, there are optional display styles available (outline, shadow and fill), which can be used separately or together to create a chromatic layout.

The inspiration for this typeface family came from my childhood experiences at West Monkton, amidst an historic part of the South West of England. Studies of the original incised capitals of the Trajan column in Rome were analysed and polished for this modern version. The lower case letterforms and numerals were then created in sympathy, taking their proportions from the incised letters of local gravestones. Its name honours not only the area where the original alphabet was conceived and drawn, but also the people responsible for fostering my initial interest in letters. These stylized incised typefaces give a depth to the letterforms that can be exploited in your typography - evoking the carved monumental inscriptions of the Roman era.

If your looking for a vintage animated typestyle that still feels current today, you've just found it! Mushmouth PB started as a digitization of a film typeface called "Albert" by LetterGraphics. This all capitals font has a super subtle bounce and a playful heavy weight. An extruded film variation of this typeface was used back in the day on Post's Frosted Rice Krinkles cereal. Named in tribute to the original font name "Albert", we picked a fellow member of Fat Albert's gang for the name of this font. We think it is fitting, even though the original film font naming had nothing to do with the cartoon at all. Give Mushmouth a spin and pick it up today!

The Eixample project is inspired by modernist signage of various examples found in the Eixample neighbourhood in Barcelona. The name of each subfamily is related to its location or to specific elements of the original sign. Villa is the abbreviation for Carrer Villarroel (Villarroel Street), where the Villarroel Pharmacy has been displaying this sign since the first quarter of the twentieth century. The Eixample Villa typeface system consists of sturdy letters free of ornaments with an industrial aspect. Only the treatment of the curves borrows modernist features. Like the rest of the families in the Eixample series, Villa shows its origin as a display font, but it has been engineered to give good results at small sizes as well.

The original metal Neue Haas Grotesk™ would, in the late 1950s become Helvetica®. But, over the years, Helvetica would move away from its roots. Some of the features that made Neue Haas Grotesk so good were expunged or altered owing to comprimises dictated by technological changes. Christian Schwartz says Neue Haas Grotesk was originally produced for typesetting by hand in a range of sizes from 5 to 72 points, but digital Helvetica has always been one-size-fits-all, which leads to unfortunate compromises."""" Schwartz's digital revival sets the record straight, so to speak. What was lost in Neue Haas Grotesk's transition to the digital Helvetica of today, has been resurrected in this faithful digital revival. The Regular and Bold weights of Helvetica were redesigned for the Linotype machine; those alterations remained when Helvetica was adapted for phototypesetting. During the 1980s, the family was redrawn and released as Neue Helvetica. Schwartz's revival of the original Helvetica, his new Neue Haas Grotesk, comes complete with a number of Max Miedinger's alternates, including a flat-legged R. Eight display weights, from Thin to Black, plus a further three weights drawn specifically for text make this much more than a revival - it's a versatile, well-drawn grot with all the right ingredients. The Thin weight (originally requested by Bloomberg Businessweek) is very fine, very thin indeed, and reveals the true skeleton of these iconic letterforms. Available as a family of OpenType fonts with a very large Pro character set, Neue Haas Grotesk supports most Central European and many Eastern European languages.

Haarlemmer is a recreation of a never-produced Jan Van Krimpen typeface that goes one step beyond authentic: it shows how he wanted it to be designed in the first place. The original, drawn in the late 1930s, was created for the Dutch Society for the Art of Printing and Books and was to be used to set a new edition of the Bible, using Monotype typesetting. Hence the problem: fonts for metal typesetting machines like the Linotype and Monotype had to be created within a crude system of predetermined character width values. Every letter had to fit within and have its spacing determined by a grid of only 18 units. Often, the italic characters had to share the same widths as those in the roman design. Van Krimpen believed this severely impaired the design process. The invasion of Holland in World War II halted all work on the Bible project, and the original Haarlemmer never went into production. Flash forward about sixty years. Frank E. Blokland, of The Dutch Type Library, wanted to revive the original Haarlemmer, but this time as Van Krimpen would have intended. Blokland reinterpreted the original drawings and created a typeface that matched, as much as possible, Van Krimpen's initial concept. While Van Krimpen's hand could no longer be on the tiller, a thorough study of his work made up for his absence. The result is an exceptional text family of three weights, with complementary italic designs and a full suite of small caps and old style figures. Van Krimpen would be proud.

Transport New is a redrawing of the typeface designed for British road signs. In addition to the familiar Heavy and Medium weights, Transport New extrapolates and adds a previously unreleased Light weight font originally planned for back-lit signage but never actually applied. Version 3.0 of Transport New features significant improvements including numerous outline and spacing refinements, and a full complement of Latin Extended-A characters. Also, to align Transport New with the 2015 release of Motorway, the other typeface used for UK road signage, Italic fonts for all three weights have been added. Originally designed by Jock Kinneir and Margaret Calvert beginning in 1957 and first published on the Preston bypass in 1958, the original Transport font has subtle eccentricities which add to its distinctiveness, and drawing the New version involved walking a tightrope between impertinently eliminating awkwardness and maintaining idiosyncrasy. The Grotesk roots of the glyphs were investigated and cheekily fine-tuned – uncomfortably close terminals of characters such as 5, 6, C, G, and e were shortened, the S and s were given a more upright aspect and their protruding lower terminals tucked in, overly wide glyphs like the number 4 were narrowed, and some claustrophobic counters were slightly opened up. The question mark was redesigned and parentheses given some stroke contrast. The x height was edged fractionally even taller. The Heavy font is actually more of a Bold, and the Light is pretty much a regular weight, but the original nomenclature has been retained for old times’ sake.

Hand Drawn is a faithful adaptation of the original typeface of hte Letraset range by Michael Gills. A set of numerals was added to complete the font. Hand Drawn has all the charisma of the 1950s brush style and should be set closely for the best impact.

Makalu is a funny flower font inspired by the lovely drawings of the famous illustrator Zdeněk Miler (best known for his small mole). His flowers are at the same time cartoony and realistic. Enjoy this choice of 27 original and distinctive illustrations while creating your designs.

PT Prospect™. An original serif family designed in 1997-2001 by Natalia Vasilyeva and licensed by ParaType. A face of wide proportions and free lettershapes. The serifs have slanted edges. Based partially on the hand lettering of the author. For use in titling and display composition.

Here's another old-timer that needed a lowercase, so we drew one. Originally issued as a caps-only type by The American Type Founders Company about 1898, this font found its way into Craftsman period design. It was the inspiration for Galadriel, a dry transfer sheet alphabet.

Based on the text on architect's plans. The designer asked friends and relatives for the plans for their house extensions, and he studied plans in the public library, then blended the best features of all the characters he could find. Architect was designed originally in 1999.

Legendary lettering artist Alf Becker called his original offering “Aristocrat”; this version is a little less pretentious, but still suitably snooty. Graceful and elegant, but with a few amusing turns. Both versions of this font contain the complete Latin 1252 and Central European 1250 character sets.

Letter Gothic font was designed by Roger Roberson for IBM sometime between 1956 and 1962. Inspired by Optima, the typeface originally had flared stems. A monospaced sans serif font designed for use on an IBM Selectric typewriter, Letter Gothic font is a good choice for tabular material.

Palatine - this bold display typeface is a stylish and original, multipurpose font in a modern style with many alternatives, ligatures and swash that are very attractive, with their help you can make your project unique. And also use the main set to highlight exactly what you need.

A new take on the classic typeface used at Oxford University Press. Carefully crafted from original sources and updated for the modern times. Size specific weights and meant to act as a work horse for longer texts. A joint venture between Stefan Hattenbach and Johan Ström.