Steamer is a grimy grotesque with a thick early 20th century air to it. A tireless workhorse, it is accustomed to carrying out any typographic task from continuous text to bold headlines steadily through any conditions.

This is a classic design from the beginning of the 20th century. This font can be used in many kinds of books. This font has the modern Hebrew punctuation: Shevana, Kamatz Katan, Dagesh Hazak, and Cholam Chaser.

All-cap titling typeface, Epos, comes in three widths and includes a range of decorative ligs & alts – as well as both Latin & Cyrillic scripts. It reminds of hand-lettered book covers from the early and mid 20th century.

The charm of wood type -- especially in reproductions from worn specimens -- is the combination of hand-crafted letters and numbers and a connection with the past.

Backpage Article JNL and its oblique counterpart are a variant to the popular sanserif wood types used in newspaper headlines and on broadsheets in years past.

Black Bamboo is a beautiful plant. My father in law, who recently passed away, loved it and had a prized specimen growing in his garden. This font was named in his honour. Black Bamboo font is a bold typeface, created using a good brush and quality paint. It is all caps, but upper and lower case differ and can be freely interchanged. Of course, Black Bamboo comes with all diacritics.

Eckhardt Poster Board JNL further continues Jeff Levine's series of sign painter-oriented fonts, named in honor of his good friend Albert Eckhardt, Jr. (who ran Allied signs in Miami, Florida from 1959 until his passing). The typeface is a casual brush style, modeled from an image of a do-it-yourself sign making kit comprised of stencils, paint and brush spotted for sale through an online auction.

Yasashii is an art deco font based on Japanese designs for cosmetic packaging and posters used from the end of the 19th century to the early 20th. When you prefer more geometric letter form, please try our Diamond Ring.

Baldwins was inspired by the beauty lettering of ephemera prints. Ideal for product names, packages, labels, old fashioned signs and everything with specific characteristics of past times.

Trona is a retro-modern condensed serif. Inspired by the typefaces used in print media headlines in the 20th century and with geometrical sharp terminals. Trona comes in 5 weights and with 375 glyphs (covering the major latin based languages)

Boldu is a simple grotesque font. I created it using simple forms. I love geometry and tried use only one size of lines. Boldu was created being impressed by works of beginning of 20th century - period of strict and geometric forms

The design of Futura seems to be timeless. This typeface family which had been developed in 1926 by Paul Renner for the Bauer Type Foundry in the style of constructivism and as part of the Bauhaus movement, experienced, however, in the course of the past 90 years, repeated time-appropriate revivals which guaranteed its on-going popularity. The version of the Futura EF Pro contains the original character constructions which Dennis Megaw described as the “first designs of Futura” in 1938 in “20th century sans serif types, Typography no. 7” (See: Dr. Christopher Burke: Paul Renner, Princeton Architectural Press, New York 1998). What makes it exceptional is the extension into three weights: “Text”, “Headline” and “Index” which came about as part of a degree dissertation at the Hochschule für Bildende Künste (HFBK) in Hamburg. In this context, the accompanying documentation “Die Kritik der reinen Futura” (“The Critique of the Pure Futura”) by Katharina Strauer was published by the Materialverlag, Hamburg, in 2003. Some copies are still available at Elsner+Flake.

The design of Futura seems to be timeless. This typeface family which had been developed in 1926 by Paul Renner for the Bauer Type Foundry in the style of constructivism and as part of the Bauhaus movement, experienced, however, in the course of the past 90 years, repeated time-appropriate revivals which guaranteed its on-going popularity. The version of the Futura EF Pro contains the original character constructions which Dennis Megaw described as the “first designs of Futura” in 1938 in “20th century sans serif types, Typography no. 7” (See: Dr. Christopher Burke: Paul Renner, Princeton Architectural Press, New York 1998). What makes it exceptional is the extension into three weights: “Text”, “Headline” and “Index” which came about as part of a degree dissertation at the Hochschule für Bildende Künste (HFBK) in Hamburg. In this context, the accompanying documentation “Die Kritik der reinen Futura” (“The Critique of the Pure Futura”) by Katharina Strauer was published by the Materialverlag, Hamburg, in 2003. Some copies are still available at Elsner+Flake.

Clementhorpe is inspired by the lettering on an early 20th century enamel advertisement-for chocolate. From the dozen or so hand drawn letters found in that source Greater Albion Typefounders have constructed a family of Roman faces for display and text work, with bold weights, an italic form as well as condensed, small capital and title forms, all preserving the fun of their inspiration. The Clementhorpe family provides a complete solution for early 20th century inspired design work with Character, offering all the faces needed to complete a project or a range of projects within one family. Give this flexible family a try in your next project!

Auriol and Auriol Flowers were designed by Georges Auriol, born Jean Georges Huyot, in the early 20th century. Auriol was a French graphic artist whose work exemplified the art nouveau style of Paris in the late 19th and early 20th centuries. In 1900, Georges Peignot asked Auriol to design fonts for Peignot & Sons. The resulting Auriol font was the basis for the lettering used by Hector Guimard for the entrance signs to the Paris Metro. It was re-released by Deberny & Peignot in 1979 with a new bold face, designed by Matthew Carter. These decorative fonts with a brush stroke look are well-suited to display settings.

Cultural Richness Hisberg unfolds as a vintage serif font, deeply inspired by the wealth of past cultural richness. Each letter breathes historical elegance, enveloping designs in an aura of the past. Timeless Appeal Moreover, Hisberg crafts a bridge between eras. It brings the nostalgic charm of yesteryears into modern design, ensuring a timeless aesthetic that captivates and endures. Artistic Flourishes Additionally, this font features artistic flourishes. The subtle embellishments enhance its appeal, allowing for a presentation that is both sophisticated and compelling.

A magical alphabet used by secret societies in times past. It was based on the Hebrew alphabet. NOTE: this font comes with a comprehensive interpretation guide in pdf format.

Antique Slabserif JNL is a reinterpretation of Monotype's Modern Antique 26, released in 1909. The name of the typeface is an oxymoron because Modern conflicts with Antique. Despite many critics of the "mechanical" look of the font's design, it has developed a bit of charm with age and the passing of time. Available in both regular and oblique versions, Antique Slabserif JNL can be used as both a text and headline font.

Eckhardt Signwriter JNL is based on a casual display lettering face popular with many sign painters and show card writers of yesteryear, best suited for large print projects. Jeff Levine has named this font (along with others in a series) after the late Albert Eckhardt, Jr. (1929-2005) who had owned Allied Signs in Miami, Florida from 1959 until his passing. Al was a talented lettering artist and a good friend to Jeff.

The characters in this font are composed of rounded lines with even thickness, giving an impression of neon tubes. Although the design is completely new, it has its stylistic roots in the modernistic 20th century world of steel-tube chairs and fluorescent lamps.

Yxlofon is a 21st century display typeface with a flavor of 20th century modernism. It should be used in large sizes on posters, leaflets, book covers, disk covers, etc. It suits anything modern, experimental or futuristic in art, architecture, literature or music.

Matrice is a sans serif (Semi Extended) display font family in 8 weights plus matching natural italics. support 75+ Languanges (Latin Based) influenced by the grotesk typefaces developed in the early 20th century, perfect for branding (Identity), logotype, headline text, and caption.

Moonface Script is a flowing script with lovely swashes. It is based on the 20th Century Packaging typography. Moonface Script is a characteristic font with a retro feel. It contains a full set of ligatures, alternatives, swashes and special characters to end.

Informal is the work of lettering designer Martin Wait and is reminiscent of the late 1940s and early 1950s. Informal is worthy of its name and perfect for anything with a look of the mid-20th century or simply a casual, spontaneous appearance.

Based on retro vinyl records in the middle of 20th century. the mixture of funky, hippie and mid-century’s futuristics. There are three other fonts designed by in the same concept. -African Elephant Trunk -Moon Star Soul -Rebel Train Goes -Word From Radio

Selectric typewriter font. The part of the large, many years project on revival and further development (over 1000 glyphs) of the 20th century’s most famous typewriter Selectric golfball fonts, lost for many decades, not being created since then in digital vector form.

Fleischer is a rough and playful display typeface good for headlines and posters. The face is based on historical letterforms combined with energetic 20th century pulp-style lettering. Fleischer comes with caps and small caps plus West, Central and East European language support.

RMU Royal Sans is an early 20th century sans serif which was first released as Wotan by Wagner & Schmidt in 1914. The regular version is the most beautiful and characteristic of this family which contains several styles of different weights and widths.

Small family called Bartender, for the lovers of retro style typefaces. Ideal for product names, packages, labels, old fashioned coffee shops, bars and everything with specific characteristics of past times.

This script has almost no historic roots. It is named after hajdamakas, Ukrainian guerilla fighters from past times. It is lively and somehow saucily forms the vibrant lines of a text.

Based on retro vinyl records in the early and middle of 20th century. This font includes small caps for advanced typography. There are three other fonts designed by in the same concept. -Moon Star Soul -Rebel Train Goes -Word From Radio -African Elephant Trunk

Sweet Titling No. 11 is a 2009 addition to the Sweet Collection of engraved lettering styles from the 20th Century. This obscure, art deco design would have been used for engraved letterhead, business cards, etc., and likely first appeared in the 1920s or ’30s.

Based on turn-of-the-century advertising type. A condensed, fat-faced display font with a touch of the medieval. The influence of art nouveau is also present in the high-waisted caps and flowing lines, putting the face into the early 20th century.

Based on retro vinyl records in the early and middle of 20th century. the mixture of funky, hippie and mid-century’s futuristics. There are three other fonts designed by in the same concept. -Rebel Train Goes -Word From Radio -African Elephant Trunk -Moon Star Soul

"Baker’s Showcard Book" (1916) was an early 20th Century instructional book on sign lettering. One of the sample alphabets entitled “Decorative Roman” was a spurred serif, Art Nouveau design that has been recreated digitally as Elegant Showcard JNL in both regular and oblique versions.

Edessa JNL is a Greek-styled alphabet found in an old book used by sign painters. Its simple, angular lines and clean approach add a taste of the past to your work.

Gloss Drop is a wild hand lettered typeface, that passed the process of digitization without losing the spontaneous vibrancy of brush lettering. With the power of OpenType it gets real close to what you normally do with ink, brush and paper. Like in real handwriting, some, but not all, letters connect within a word. Automatic OpenType features handle the choice of inital and final forms neighbouring a gap and choose the adequate medial or isolated forms.

Konrad Kachelhofen was a printer in the city of Leipzig beginning around 1483. He printed many works by contemporary authors and also many of the classics. He acquired an unusually large amount of typefaces for his shop, a place that included a wine bar and book store. This particular face is based on the Typ.8:170G GfT101 Gesamtkatalog der Wiegendrucke. He probably died in 1529 after passing his business on to his son-in-law Melchior Lotter.

This font, as indicated by its namesake, was designed and started by the late Bob Alonso. It represents the first of his unfinished work to be completed by friend and colleague John Bomparte, following Bob's passing in December of 2007. It is a font that speaks with a distinctively robust voice; and would be a great choice for a wide variety of uses. Central European languages are supported through OpenType, and Windows/Mac OSX TrueType versions.