Traditional as Gutenberg, fresh as a sealed deck of playing cards - Tarotee One Arabesques is a remarkable set of ornaments that combine and recombine in endlessly beautiful combinations. Created by Tony Lansbury (and if you're still wondering what "tarotee" means, here's a hint - tear open that deck of cards mentioned above and look at the backs).

Kite Script: my another hand-lettering that comes to font. A script typeface that combined thick-thin lines, inconsistent height, loose-tight kerning and unique baseline combinations for natural hand-writing feels. Easy and super playful to customize, suits best for almost all of your designing project; wedding invitations, t-shirt designs, fancy logotype, quote writings, etc.

A bubbly, sweet font with a cutoff letterform on detail. Kabul takes another step and brings the bubbly into a casual style. Perfect for use in big sizes on posters or flyers. It's a good combination with sans font. Its imperfections keep it casual while still providing legibility. This is a great combination of casual and retro eras.

Tyrium is the font pack. The Normal font combines with the alternate character font to make each word unique. Then add the Splatters font as your tagline and — the ideal logo! What's included: - .TTF and .OTF files - Opentype features. - Splatters combines perfectly with Tyrium to create cool typography or logo design. - A range of multilingual support.

Elastica is a new handwritten type system created by Resistenza, it is based on humanistic sans serif fonts of early 20th century. Irregular handwritten strokes that gives a D.I.Y feeling perfect to get a close sense of communication. When using all caps, It features three different sets of capitals which combine together randomly, creating an elastic random effect with infinite combinations. OpenType features offers also the opportunity to use the three different capital sets separately. Its optimized legibility, simple structure and low contrast was made to perform excellently with e-books and mobile apps in mind. We recommend combining Elastica with ‘Beach Please’.

Proudly presents The Clastic Font Family with 2 different style Script and Sans. The Script also has combination layer style with inner shadow and drop shadow. The Characters include over 650++, allowing each character to be combined. These two cool fonts would be perfect to combine in your design. It will be great for Logotypes, Posters, Digital Lettering Arts, Clean design, Branding Design, Sign, and many more application. Features Contextual Alternates Stylistic Alternates (up to 12 style in some letters) Ligatures Initial & Terminal (also comes with alternate initial and terminal glyphs) Thank You very much, I hope you enjoy this fonts !

Novantico is an all capitals typeface, influenced mainly by roman inscriptional capitals and renaissance typefaces. Classicly designed forms give text a noble and elegant feel. It is intended to be used for relatively short and important texts, titles, headings, quotes, etc.

Columna is an all-caps, Classical Roman-inspired typeface designed by the renowned Swiss typographer Max Caflisch (interesting fact: Columna is Caflisch's only typeface). Caflisch's Columna adds a stately elegance to any application, and is best used in large sizes.

Inspired by 16th century Venetian roman book texts, Fifteen36 has a traditional elegance and lots of character. Whether used at larger sizes for headings or at book sizes with plenty of leading Fifteen36 has a very attractive old school letterpress appearance.

Semi-Serif Roman and Italic for typefaces for setting legible children’s reading books. A gentle introduction for young readers to seriffed letterforms they will encounter. Free to download resources: How to access Stylistic Sets of alternative letters in these fonts

Linotype Monticello was designed by C.H. Griffith in 1946. Its design is based on James Ronaldsons Roman No.1 and Oxford Typefaces from American Type Founders and was revised by Matthew Carter while he was working at Linotype between 1965 -1981.

Named after the famous French fairy tale, Bluebeard is a surprisingly legible, slightly worn-out mix of majestic blackletter majuscules and roman minuscules. Perfect for designs of old settings, like books of fairy tales, old war books, or anything historical.

ITC Usherwood font was designed by Leslie Usherwood, an informal and personable font which bridges the gap between modernity and tradition. There are hints of Bauer, Goudy and Augustea in this font, but ITC Usherwood remains both classic and contemporary, beautiful in form and functional in design.

Eduardo Manso has brought new meaning to the word distressed. The contours of Rina have been randomly inverted, spiked and split to create this agitated look. Surprisingly, Rina remains legible. And just to turn the screw a little more, Manso created an outline version, Rina Linea.

Elk Grove JNL is both historical and original in design. Inspired by a small sampling of letters from an 1800s wood type called Facade, Jeff Levine created the remaining characters. Because of its highly condensed design, it's best when used in large headlines and short phrases.

Paviljoen (meaning Pavilion or Gazebo in Dutch) is an Art Deco typeface which was modeled on cast-iron lettering on some monumental buildings in Amsterdam. I only had a few glyphs to work with, so I designed the remaining ones myself. Paviljoen comes with extensive language support.

Tradition and romance joined in the beautiful typeface, inspired by old hand drawn signs in Tel Aviv.

It is a font that combines futurism and elegance. It is specially designed for logo font creation.

Betico’s Hand is based in Elberto Roman’s handwriting. It could be used even in a formal project.

ITC Tempus is the work of British designer Phill Grimshaw. He claims that every calligrapher's aspiration is to draw perfect roman capitals with a pen, but admits that this is extremely difficult. For this typeface, Grimshaw used a fountain pen on cheap, porous paper and, of course, the ink bled. The resulting forms are classic but their rugged edges deviate from the perfection of roman type. And Tempus Sans is just Tempus with the serif surgically removed, yet the proportions of the characters work nicely," says Grimshaw. Because of its rough quality, the typeface works best in larger point sizes, yet maintains its characters even in smaller sizes."

English Grotesque is based on the proportions of an early 20th century signwriter’s sans, emphasising the characteristic idiosyncrasies of type of the period. Sharing a similar Roman circle-and-square construction as Gill Sans or Johnston Railway, it has a wide T and W, a narrow S, and a long-tailed R. The Roman alphabet did not include a lower-case, and therefore early sans-serifs tended to base theirs on handwritten or cursive models, resulting in more even character widths. English Grotesque, by contrast, carries the more characterful proportions of the capitals through to the lower case. Available in six weights, with optional alternative versions for the Q, &, £ and J.

Castellar is a capital letter typeface from John Peters, named after a location in the Alps. It first appeared in 1957 with Monotype. Peters modelled the design on the Roman script Scriptura Quadrata as it was used in the first two centuries of the Roman Empire. One distinguishing characteristic is the quadratic proportions of many letters, which are however mixed with circular and narrow forms. The original script was called Scriptura Quadrata because the ancient engravers used rectangular stone plates for their work. Castellar is a typical title typeface and is best used in large and very large point sizes to highlight its classic elegance.

ITC Tempus is the work of British designer Phill Grimshaw. He claims that every calligrapher's aspiration is to draw perfect roman capitals with a pen, but admits that this is extremely difficult. For this typeface, Grimshaw used a fountain pen on cheap, porous paper and, of course, the ink bled. The resulting forms are classic but their rugged edges deviate from the perfection of roman type. And Tempus Sans is just Tempus with the serif surgically removed, yet the proportions of the characters work nicely," says Grimshaw. Because of its rough quality, the typeface works best in larger point sizes, yet maintains its characters even in smaller sizes.

FONT UPDATE → CFF Accelerator Roman is the ultimate logo typeface. It’s an efficient font family, consisting of 8 fonts with 4 weights and 2 widths. The masculine wide shoulders and sharp diagonal serifs are instantly recognizable and leave a lasting impression. CFF Accelerator is a space-age font made for heavy lifting. The original Accelerator Italic font was designed in 2005, making it our very first commercial font. It was created as an all-caps typeface. Now, the new Accelerator Roman font family has lowercases, an extended glyph set, a gazillion discretional ligatures, and loads of OpenType features. CFF Accelerator is currently our all-time bestseller!

Revival 565 is the Bitstream version of type Berling. The face was created by Karl-Erik Forsberg for the Swedish Berling foundry in 1951, with other weights added in 1958. The design is an old style roman, particularly useful for books, journals, and other text applications. Despite the fact that it has higher contrast than most old style typefaces, Berling has the classic features of old style romans with its small x-height, and ascenders that exceed the height of the capital letters. Berling is good for text settings as well as display work. Cyrillic version was developed for ParaType by Manvel Shmavonyan in 2008.

Herculanum is a part of the 1990 program “Type before Gutenberg”, which included the work of twelve contemporary font designers and represented styles from across the ages. Herculanum is a work of Swiss typeface designer Adrian Frutiger. It takes its name from the city of Herculaneum, an ancient Roman resort town destroyed by volcanic pyroclastic flows from Mt Vesuvius in 79 AD (the same eruption that destroyed the nearby city of Pompeii). Herculaneum's ruins are located today in the commune of Ercolano, Campania, Italy. Ancient Roman writings of the 1st century influenced the font's design. Herculanum is distinguished by its broad characters with narrow strokes and its willful character.

Euro Sans Pro ? created by German type designer Ralph M. Unger - is a classical and modern Roman Sans Serif at the same time. The family comprises of 12 styles, each with more than 500 glpyhs covering standard Latin, Central European, and Cyrillic. It is an all purpose typeface, a strong and expressive roman sans serif with a French touch to it. Euro Sans Pro provides excellent readability in all sizes, for small copy as well as for very large letters on posters and signs. The character complement also includes small caps and old style figures, and the corresponding OTF features are built into the fonts as well.

After designing two script fonts (lp Pinselschrift, lp Bambus), Peter Langpeter has now drawn an elegant Antiqua font, namely lp Saturnia, derived and conceived from his work in developing headlines and logos. The aim was to create a modern interpretation of the classical Roman letters (Capitalis Monumentalis or Trajan by Carol Twombly), avoiding the archaic look of these letter forms. Also, the difficulty of spacing characters with excessive forms, such as the long tails of 'K' and 'R', are avoided. Additionally, lp Saturnia also comes with lower case characters. The result is a contemporary and elegant typeface that is more suitable for practical use, without renouncing the classical Roman character.

Harri –“stone” in Basque language– is a display font based on the peculiar letter forms used in signs and fascias all over the Basque Country. This idiosyncratic lettering style, very often used as an identity signifier, evolved from ancient inscriptions carved on gravestones which can still be found in the French part of the Basque Country (Behe Nafarroa, Lapurdi and Zuberoa).Harri takes some of its more significant features from those engraved letter forms, but also from the current overemphasized shapes derived from them, while keeping in sight their antecessors: the Romanesque inscriptions and ultimately the Roman Capitals. Gerard Unger once said “the black version of a font is a caricature of the regular”. This may explain how the odd heavy shapes in use in the Basque Country today might have evolved from their engraved roots, which are already an interpretation of Romanesque and Roman letter forms. This evolution is echoed in Harri through its weights, from the clean formal Roman-inspired light to the extreme expressive Basque-style extra bold.

Like a lovechild of American Typewriter and Cooper Black, typewritten in melted chocolate, this is Margot. A bold single weight display typeface in roman and italic styles, Margot is boisterous but cuddly; warm but impactful. Margot comes fully loaded with a bunch of esoteric dingbats (grouped in the ornament feature), four figure styles (proportional- and tabular- lining, and proportional- and tabular- oldstyle), a spattering of swash capitals (K, Q and R), stylistic alternates and one discretionary gi ligature in the Roman. Stylistic alternates are split into stylistic sets thus: SS01 - alternate forms for ampersand and asterisk, and # changes to an attractive numero symbol. SS02 - in the Roman, a and g change to single storey versions; in the italic, the ae digraph changes to a less ambiguous double storey version. SS03 - the lining figure 3 gets changed to its alternate form. SS04 - the lining figure 4 gets changed to its alternate form. Margot is perfect for friendly headlines, logos, T-shirts (I love New York, perhaps?), food packaging and videogame apps. Margot gets its name from my equally boisterous and cuddly cat. Enjoy!

Rome Ionic is a serif display font inspired by architectural features in ancient Roman building columns. The Ionic columns are taller and slender compared to 'Doric and Corinthian' columns. On the Ionic Capitol column, there is a geometric spiral like a paper roll. We used those elements in this roman style font. The base of this font is serif shaped, more slender and towering, and equipped with 8-18 stylistic set alternates. This is the development of the basic shape on which we added spiral ornaments to the left and right. This serif font's characteristic is soft and simple, not sharp and complicated like Doric and Corinthian. The composition of the softness of the basic and alternate fonts does not reduce the splendor of this font. We complemented this font with support for the Latin extend as an analogy to the Roman region. Rome Ionic is perfect for 'impressive luxury and power' designs. With this font, your branding will show the robustness and refute the splendor of other products.

The sister fonts Andron 2 English and Andron 2 Deutsch provide a groundbreaking new possibility to render literature text bodies in a sophisticated traditional and yet modern way of type. In German typographic history there has once been a long-lasting struggle called the Frakturstreit (the blackletter quarrel). It was about wether German text ought to be composed in blackletter or rather in Roman type, a question upon which even Goethe, Schiller and other period celebrities got grey over time. However, blackletter type remained alive and has just recently seen an astonishing renaissance. This is not about a blackletter revisionism or some ‘mixture’ concept arguably bridging the gap between either worlds. Andron 2 English and Andron 2 Deutsch offer a new approach to circumvent that old antagonism. As for the lowercase letters I applied certain features of blackletter type onto the glyphs – but entirely abandoned the principle of the broken stroke as such. The result is a lowercase alphabet in the classical Andron style which may be considered an attractive alternative for text in English, German or even other languages. So it’s no longer entirely about choosing between ‘modern’ Roman or ‘ancient’ blackletter only. Andron 2 English Regular and Andron 2 Deutsch Regular feature the same lowercase glyphs but differ in the majuscules (Andron 2 English has normal Latin capitals). ++++ 2012 + NEW! +++ In response to its growing popularity we now present five new fonts as part of the Andron 2 series. Andron 2 English is completed by an Italic and a Bold font. Andron 2 Deutsch now contains three interesting alternative fonts: Italic, Scriptive and Laendlich. Last but not least – A new set of wonderful classical typographic ornaments is part of the Italic and Scriptive fonts. – You can also purchase these ornaments separately as “Andron Ornamente”.

Cloister Open Face was designed in 1929 by Morris Fuller Benton as one weight of the Cloister Old Style family. Cloister itself appeared from 1897 with American Type Founders, and later for the typesetting machines of the Linotype, Intertype and Monotype companies. At that time, it was the truest modern industrial revival of the Jensonian Roman. Benton stayed close to the style of his model in both design and spacing. Cloister Open Face has an old-world elegance, and it works well for titling in books and magazines. In 1458, Charles VII sent the Frenchman Nicolas Jenson to learn the craft of movable type in Mainz, the city where Gutenberg was working. Jenson was supposed to return to France with his newly learned skills, but instead he traveled to Italy, as did other itinerant printers of the time. From 1468 on, he was in Venice, where he flourished as a punchcutter, printer and publisher. He was probably the first non-German printer of movable type, and he produced about 150 editions. Though his punches have vanished, his books have not, and those produced from about 1470 until his death in 1480 have served as a source of inspiration for type designers over centuries. His Roman type is often called the first true Roman." Notable in almost all Jensonian Romans is the angled crossbar on the lowercase e, which is known as the "Venetian Oldstyle e.""

Porkshop is a font of retro vintage flavor with a hefty dose of immigrant-influenced naive typography. It's fundamentally inspired by an old-but-still-prominent "Pork Shop" sign in Manhattan. I like to think that this font was made by a signmaker's apprentice who didn't yet have a grasp on the subtleties of elegant letterforms, but put his gusto into perfectly sharp serifs. While pointy little serifs are cool, the real shine of this font comes from the imaginative combination of uppercase and lowercase shapes. This unique mixture in the lowercase reminds me of an indeterminate European accent in the big city. Big and strong and easy to understand. Best rendered in 3-foot tall metal type, Porkshop works well in print and on screens, too. The Bolds and Italics are brand new in 2011.

Introducing Softly Bright, a dynamic font duo that effortlessly combines the contrasting styles of sans-serif and brush fonts. The sans-serif component of this font is a testament to clean lines and modern minimalism. Its characters are created with precision and defined strokes, offering a sharp and sleek appearance that exudes professionalism and readability. On the other hand, the brush font in Softly Bright adds an expressive touch to your designs. It embodies the authenticity of hand-lettered strokes, with each character bearing the organic irregularities of brushwork. This brush font retains the proportions of the sans-serif, ensuring that the two styles harmoniously coexist. Softly Bright fits in headlines, logos, posters, flyers, branding materials, print media, editorial layouts, and many more designs. Find out more ways to use this font by taking a look at the font preview.

The spurred serif style of Roman lettering has long been a favorite of sign painters and show card writers. Spur Handlettered JNL from Jeff Levine gives this classic design an ultra-casual look, complete with all of the nuances of hand-lettering.

This font can be used as a play'n learn tool to teach the meaning of these modern day communication symbols. Each alphabetical character can be printed with or without the corresponding roman symbols. NOTE: comes with an interpretation guide in pdf format.

A partial set of antique brass stencils inspired Old Spur Stencil JNL, which is available in both regular and oblique versions. The lettering is based on a traditional Roman stencil design with Western-style spurs added to the approximate centers of each character.

Based heavily on Gill especially in the mid weights, Astoria has a subtle top left serif which makes it not quite a Roman and not quite a Sans. Designed specifically as a text face it still works very well as a headline font.