Another in the series of competent IBM serifed typewriter faces, this one from Howard Kettler in Lexington in 1956.

Another in the series of competent IBM serifed typewriter faces, this one from Howard Kettler in Lexington in 1956.

Strict, strong and narrow, Perpetuity is clean and perfectly designed to be used as a more formal display face.

Adelanto JNL is a wood type revival featuring a condensed sans serif face with chamfered [rather than rounded] corners.

JetJane is a geometric sans-serif family. The family has two widths and each width has nine weights. Each of these 18 fonts comes with an accompanying italics version, giving the family a total of 36 members. JetJane, like other geometric sans faces, is plain, unadorned, and highly legible. It is derived from JetJaneMono, a monospaced sans-serif face. This development is unusual because one expects the monospaced variants to be created after the proportional variant, if a monospaced variant is even produced. This development history results in some distinctive differences between JetJane and two other geometric sans faces from IngrimayneType, AndrewAndreas and Yassitf.

DB Frilly Paisley is a collection of paisleys and lace that make a perfect addition to any digital scrapbooking project.

Tall, condensed and square in shape... Slim James JNL balances well against bolder Deco-style sans or novelty type faces.

A freely drawn heading face prepared in 1912 by Lucian Bernhard for Bauer. The typeface enjoys a vogue in Europe.

Cordin is a rough handdrawn face useful for scrapbooking and other craft-based ideas. There is a free version available.

Unfortunately, Crosshair was inspired by the youthful craze that's all the rage: on-campus shootings. Put the gun down, Junior.

The Broadstreet font is one of the exciting display faces from designer Richard Yeend, who is based in Fourqueux, France.

Handana is an informal face with a simple but distinctive calligraphic look in four weights: light, plain, medium, and bold.

DB Floridity is just plain adorable and the frilly lace theme adds a nice touch to your digital scrapbooking projects.

Jayce is a hand-drawn, upbeat display font family featuring two fonts: a text face and a set of fleurons.

Dorsal is a display typeface that is based on a rare bit of lettering from a 1910 German lettering book.

Herron is a monoline Sans face with all rounded ends in Condensed and Italic, Regular and Italic, Expanded and Italic.

The Redob Racing Font is a strong-looking font that gives your project a bold and sporty personality. This font was designed with attention to detail to make your design project stand out from the rest. A bold, masculine font that’s perfect for creating that “in your project” look. Comes in 6 different styles: Regular, Round & Italic, each with a slightly different feel.

Released in November 2003, Charminette is the Collection's first face with a consistent baseline and x-height. Intended as a display face to be used large, it's also surprisingly readable at smaller sizes. Charminette asks to be considered for invitations to formal parties and weddings, any occasion when proper manners are called for. Or, when proper manners need to be subverted. A toast to civility!

The Festival Titling font was cut by Monotype in 1950 as the official display face for the Festival of Britain which was staged in 1951. Used for all official Festival announcements, Festival Titling was made available for general use in 1952. The festive feel of this design together with the clean glitter and novelty make it a useful face for display and advertising use.

Bornholm Allinge is named after a village "Allinge" on the only rocky island in Denmark "Bornholm" It is the third face in a series of rough stone cut typefaces, that shares proportions, but differs in any other aspect like different pieces of rock. It is a powerful face, but still very friendly. Good for very big sizes, but can be used for small texts, movie titles, cartoons …

British Empire is an attempt to re-create some of the typographic characterisics of countries within the former British Empire. It is a sans-serif with unusual up-facing serifs on some of the caps and the lower case round characters have flick round terminals Though designed as a headline face it still works well in limited text. There are four weights with four corresponding italics.

Here’s a futuristic face with a neo-retro twist, based on the logotype for the 1990s tank-warfare videogame for the Mac, Spectre. Whether you're going back to the future or resurrecting a blast from the past, this face will get you there in style. Both versions of this font include the complete Unicode Latin 1252, Central European 1250 and Turkish 1254 character sets.

This is an American face designed by Lucian Bernhard for ATF in 1929. An extra light face with tall ascenders and stylized bars that extend off to the left. The lower-case sits on the baseline and the much-taller-than-normal capitals have an imaginary baseline that sits about two-thirds of the distance from the real baseline to the bottom of the EM.

Griffon, titling face with influence from classic letterforms, inspired by retro faces in the early 20th century. This font family was all redesigned from scratch and now released ranging in 5 weights with small caps from Light to Bold. The powerful letterforms can make a strong impression on everyone. Try this HANDSOME serif that reminds you of the old days, about one hundred years ago.

Stan Davis drew this face for VGC in 1967, following the structure of the MICR figures to suggest a ‘computerized’ effect.

A solid powerful Heavy Serif face, great for Headlines and Sub heads. Brings plenty of punch by yet with great sophistication.

A hearty utilitarian face inspired by stenciled type found on train cars and shipping crates. Ideal for posters, headlines, and titling.

A condensed American blackletter designed for ATF in 1932 by Morris Fuller Benton; the face grows out of nineteenth century roots.

This font has nothing to do with the delicious coffee-flavoured Italian dessert treat. Instead, it's a future-inspired display face.

Stan Davis drew this face for VGC in 1967, following the structure of the MICR figures to suggest a ‘computerized’ effect.

Easy Living JNL is a bold Art Deco type face modeled from the name of a 1930s magazine entitled "Country Living".

Gementine is a modern serif font that exudes an elegant charm and understated sophistication. Its graceful lines strike a delicate balance between subtlety and strength, making it an ideal choice for branding logos aimed at the feminine market, particularly within the fashion industry. Each letter is intricately detailed, showcasing well-proportioned elements that impart a soft touch while retaining a commanding presence. Gementine evokes an exclusive and refined aura, perfectly suited for brands seeking to showcase gracefulness and beauty in their logo designs. With its seamless blend of finesse and assertiveness, this font stands as a prime option for brands aiming to embody the beauty, grace, and empowering essence of femininity within their brand identity.

Cut by Monotype between 1900 and 1902, the Monotype Modern font family was based on Miller & Richards News 23 and 28; slightly condensed news text types of the 1890s. Monotype Modern is a lively typeface, with long, fine hairlines and well rounded letterforms, representing the best of nineteenth century modern face design. A classic text face, and typical of the moderns that were produced in the United Kingdom at that time, being less extreme in its rendering than some of the models of purer form being produced elsewhere. Monotype Modern is an excellent text face for magazines, newspapers and books, the heavier and more condensed versions are useful in headlines and display.

Cut by Monotype between 1900 and 1902, the Monotype Modern font family was based on Miller & Richards News 23 and 28; slightly condensed news text types of the 1890s. Monotype Modern is a lively typeface, with long, fine hairlines and well rounded letterforms, representing the best of nineteenth century modern face design. A classic text face, and typical of the moderns that were produced in the United Kingdom at that time, being less extreme in its rendering than some of the models of purer form being produced elsewhere. Monotype Modern is an excellent text face for magazines, newspapers and books, the heavier and more condensed versions are useful in headlines and display.

Deca Serif New is a significantly revised version of Deca Serif. It is a pure low contrast serif face with squarish oval shapes and quite narrow proportions. The typeface is nicely readable in small sizes and can be recommended for scientific, legal, official and business documents. Deca Serif New's distinctions from the original Deca Serif are: slight corrections of the letterforms, extended character set (now including Greek and Extended Cyrillic) and a number of styles. Now there are 8 faces: four upright styles of different weight and corresponding italics. Deca Serif New as well as Deca Serif is an ideal companion face for Deca Sans. The typeface was designed by Natalia Vasilyeva and released by Paratype in 2017.

Poole Standard is the "flagship" typeface from former wine label designer, Wesley Poole. It's a versatile friendly face, antique but not antiquated, elegant yet inviting. "I first used a hand lettered version of this look on the Carmenet label. I've had this alphabet designed in my head for some time. It's perfect for upscale work. Like wine, this font is well rooted in the past, but meant to be appreciated and used in the here and now. Poole Standard is a stylish headline face, yet works well as a text face because of its readability at smaller point sizes. (Other styles and weights are coming soon!) If you're looking for understated elegance, Poole Standard does the job.

This modernized rustic Baroque Roman face paraphrases freely its model from the first half of the 18th century. The shape of the letters has been cleared from all unevenness and softness, but has retained its lively expression. It is deliberately rather cooler than the reverently digitized Baroque Roman type faces, since it was necessary to adjust it with regard to the visual experience of the contemporary reader. In addition, it has bold designs and aligning figures, which also considerably extends the range of its application. It is an entirely reliable text type face for the most demanding extensive works. Thanks to its calm expression and excellent legibility it is widely used when printing series of professional literature.

Goodchild Pro is a pragmatic text face, equipped for sophisticated academic typography. The face has a large x-height, as there is little point in adding to the stock of rangy “book” Jensons. Despite this departure from the archetype, in other respects Goodchild is true to the original letter forms in its tight fit, modulation of stroke contrast, and manipulation of x-height and serif size. Jenson’s tiny tittles and diamond-shaped periods have, however, been relinquished. The finish is not the antiquing that one often finds in Renaissance revivals. 
Here clean, decisive details provide a freshly minted, contemporary appearance, providing a smart impression should one wish to use the face at display size.

LTC Kaatskill was made specifically for use in an edition of Rip Van Winkle for the Limited Editions Club. "I feel that Kaatskill owes nothing in its design to any existing face, and the type therefore is as truly an American type as anything so hidebound by tradition as type can be."- F. Goudy This face was one of the first digital typefaces released by the Lanston Type Co. Ltd. Jim Rimmer took painstaking measures in his faithful revival. Goudy had never designed a specific Italic to accompany this face. The Italic completed by Rimmer is a variation on Deepdene Italic. The font set was re-mastered in 2006 by Colin Kahn.