Extrabold and exuberant caps from a blackletter face rendered by Ross George in his perennial Speedball Text Book have been combined with a more restrained and traditional lowercase to create a unique and striking typeface that will definitely get noticed. Both versions of this font include the complete Latin 1252 and CE 1250 character sets, with localization for Romanian and Moldovan.

The 1905 Barnhart Brothers & Spindler catalog featured an ultrawide face called "French Antique Extended". The letterforms have been faithfully rendered here, but this font’s kerning calls for a lot of overlapping and interlocking that the original cast-metal face wouldn't have been able to duplicate. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

A strong geometric font of lowercase letter only, with the look and feel of Jazz-age neon. Both versions of the font include the 1252 Latin and 1250 CE character sets (with localization for Romanian and Moldovan).

The uppercase letters of this magical, mystical face is based on various alchemical symbols used from the thirteenth through the sixteenth century; the lowercase letters are based on those found on a 1935 poster, signed simply “Strekalovsky.” Ideal for adding a little pocus to your hocus, or cadabra to your abra. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Fire up the incense and break out the love beads! A 1968 poster for a Doors concert by legendary artist Gary Grimshaw provided the inspiration for this wild, far-out and funky romp through the alphabet. Use it liberally to add a little trippy hippie charm to your next project. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Qiltray is a good example of how handwritten fonts can be made for use in long texts. With clear and readable letters, Qiltray may be used in any kind of publications. Includes Cyrilic and CE character set support.

An uncredited typeface discovered within the pages of Alphabete: Ein Schriftatlas von A bis Z named "Fat Cat" provided the pattern for this exercise in minimalist type design. Best used sparingly for inescapable, if somewhat cryptic, headlines. Both versions of this font include the complete Latin 1252 and CE 1250 character sets, with localization for Romanian and Moldovan.

This elegant unicase uncial face is based on a work by German type designer Ernst Engel from 1927.This typeface masterfully combines Art Deco sensibilities with medieval letterforms, and is suitable for both text and headline use. Both versions of the font include 1252 Latin and 1250 CE (with localization for Romanian and Moldovan) character sets.

Lettering on a menu from a Pennsylvania hotel, circa 1930, provided the inspiration for this happy-go-lucky take on the alphabet. Lowercase letters are variants of the uppercase and kerning has been applied to every possible letter combination, so feel free to double-clutch the shift key to create a truly handlettered feel with this font. Both versions of this font include the complete Latin 1252 and CE 1250 character sets, with localization for Romanian and Moldovan.

Sans-Skript is a display typeface that is inspired by Javanese Script (or Sanskerta in Bahasa Indonesia). Javanese script is one of Indonesia’s many traditional scripts that were commonly used by Javanese people from mid-15th CE to mid-20th CE. Though not commonly used anymore, it is still taught and used in cities across East and Central Java. Sans-Skript translates the high-contrast, modular and organic features of the Javanese Script into the Latin alphabet. (Hence the not-script naming) The typeface is aimed to be used for large format prints, above 100 pt, and can be used alongside Javanese script. Typefaces that pair nicely mimic features of Javanese script, and Hatton by Pangram Pangram Foundry is an example.

In Issue Number 84 of Push Pin Graphic, Seymour Chwast offered up this rather odd variant of his own extrablack, superbold in-your-(type)face, Blimp. Not recommended for body copy, but makes interesting and unusual headlines. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Based on a old standard, Tudor Black, this version offers a dramatic inline treatment that adds sparkle and grace. The typeface takes its name from Ford Motor Company's old designation for a sedan. Both versions of the font include 1252 Latin and 1250 CE (with localization for Romanian and Moldovan) character sets.

The multi award winning ESTA is back, renewed and improved in OpenType format. Now named Esta Pro, is available in Regular, Italic, Bold, Bold Italic, Display and Swashes. Includes plenty of features, like SmallCaps, Alternates, Ligatures and CE characters.

Autobahn is a robust masculine sans of near monoline thickness and angular characteristics. Autobahn Std has a full Latin 1 character set but no CE, Cyrillic or Opentype features. For the extended character set and Opentype features, see Autobahn Pro.

This font features a complete uppercase alphabet, including accented characters, as well as numbers and standard punctation. Lowercase characters are an assortment of useful dings and things. To create very low-load GIFs, compose your type in Photoshop (or equivalent) at 8 point (or multiples thereof), with anti-aliasing turned off. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Here's another mosaic marvel from the New York subway system, to complement Midtown Tessie. This style is based on signage at the 34th Street station, with connections to Brooklyn. A full tile background is available at the bar position, and a marvelous meander can be found at the German double-s spot. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

The pattern for this elegant, if slightly quirky, Art Deco typeface was drawn by Gustav Jensen for the 1931 classic, American Alphabets. Perfect for suggesting the exotic, the font also includes several graphic elements in Jensen’s inimitable style. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Ross F. George, master of the Speedball pen, called this rather rugged typeface "Personality Script", which might be a suitable name if you had the personality of a porcupine. It does grab your attention, though! Both versions of the font include the 1252 Latin and 1250 CE character sets (with localization for Romanian and Moldovan).

A font with a strong architectural feel, inspired by those great commercial emporiums of a bygone era. To cap the crossbars, use [brackets] to enclose uppercase letters, {braces} to enclose lowercase letters, and the upright bar | between upper- and lowercase letters. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

An unannotated photocopy tucked inside the leaves of an old lettering book yielded this unusual and exuberant Art Deco face. The caps feature a simple “bubbly” pattern that makes this offering pack a punch, not unlike the German cherry brandy for which it is named. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

An offering from Barnhart Brothers & Spindler’s Catalog No. 9 from 1907, with the rather prosaic name of "Lining Gothic No. 71", inspired this non-nonsense and surprisingly ageless face. As versatile as it is simple, this typeface is a stylish choice for heads and subheads. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Ross F. George, the lettering wizard behind many an edition of Speedball lettering books, called this quirky creation "Spatter and Spot Roman". In this version, the spatters go, but the spots remain, and a good time is had by all. Both versions of the font include the 1252 Latin and 1250 CE character sets (with localization for Romanian and Moldovan).

"TSUBAME" means swallow in Japanese. These fonts are based on the shape of Tsubame. The relationship between humans and swallows is as deep-rooted. Japanese swallows have adapted to nesting in and around human habitation from ancient time. So in Japan, they prohibited people from catching or killing swallows because of their beneficial role as insect eaters. Since the relationship between humans and swallows is close, this font's letter spacing is designed to be very tight.

The “Moorish arch” treatment of certain letters on a 2001 book on Dutch design, executed by René Knip, provided the inspiration for this exotic unicase typeface. The font also includes arabesque designs in the brace, florin and section mark positions. Both versions of the font include 1252 Latin and 1250 CE (with localization for Romanian and Moldovan) character sets.

A single line of type, identified as "Ornamented No. 5" and spelling out "ROPE ONIONS", from the 1888 MacKellar, Smiths & Jordan specimen book provided the pattern for this whimsical face. Offbeat yet elegant, graceful yet bold, it’s a natural choice for distinctive headlines. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

An undeniably Art Deco font with some unexpected twists and turns, this typeface is based on a design originally called "Dignity Roman", a product of the fevered imagination of the rather unconventional 30s lettering artist Alphonse E. Tripp. Both versions of the font include the 1252 Latin and 1250 CE character sets (with localization for Romanian and Moldovan).

This typeface is an amalgam of two cut-paper typefaces, as presented by Margaret Shepherd in her book, Calligraphic Alphabets Made Easy. Also included are a glue bottle at the bar position, and round-edge scissors at the dagger and double-dagger positions. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

This late Victorian typeface flirts with Art Nouveau sensibilities, as evidenced by the graceful curves and the decorative crossmembers in several of the uppercase letters. The result is a font that combines simple, understated elegance with a no-nonsense, workmanlike stance. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Baby Fat, designed by Milton Glaser in 1964, saw a lot of action during the psychedelic poster phase. This little dumpling is based on that workhorse, and takes its name from a phrase that also got around a lot in the 60s. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

This typeface family includes Spanish Roman letters and “Griffo” style italics, both hand-drawn by Francisco Lucas in Madrid, 1577. The letters, sometimes slightly mismatched in size or off the baseline, capture the look and feel of sixteenth-century printing. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

J. M. Bergling called the inspiration for this typeface “modern”—at least, it passed for modern in 1914. Its bold, sinuous forms and unusual decorative treatment suggest stained glass of a certain era, and so its name is German for “Arts and Crafts”. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

This dotty delight, with its exceptional x-height, is based on handlettering presented in one of Hal Martin’s many Idea Books for Signmen, Artists and Displaymen, published in the 1930s. The ball terminals on several letters in the original alphabet have been enlarged to punctuate the page with dancing dots, suggesting the game which gives this typeface its name. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

American Type Founders released the pattern for this typeface under the name "Thermotype". In the days of cast-metal foundry type, copyfitting headlines could prove problemmatic at times; this typeface, with a wide uppercase and narrower lowercase of exactly the same “color”, allowed stacked lines of type to be composed with uniform width. Clean, crisp and practical. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Lettering by an uncredited designer on a French travel poster from 1929 provided the inspiration for this ultrabold headline typeface, a curious blend of symmetry and asymmetry. The font’s small descender height allows tight line spacing while maintaining legibility, even in relatively small sizes. Both versions of this font include the complete Latin 1252 and CE 1250 character sets, with localization for Romanian and Moldovan.

British poster artist Cecil Wade provided the lowercase for this typeface, and his compatriot T. G. Birtles provided the uppercase. The result is a rollicking, frolicking, bouncy romp through the alphabet, not unlike a ride in the compartment for which it is named. Both versions of this font include the complete Latin 1252 and CE 1250 character sets, with localization for Romanian and Moldovan.

The inspiration for this typeface was found tucked away in what is arguably the worst book of advertising clip art ever published (cleverly entitled The Advertising Cartoon Clip Art Book from 1971). It’s so bad, it’s good—at least at getting your attention. Both versions of this font include the complete Latin 1252 and CE 1250 character sets, with localization for Romanian and Moldovan.

The name comes from a British expression about two things that couldn't be more different, and it suits this offering to a tee. The uppercase of this typeface is based on 1930s lettering by French poster artist Charles Loupot, and the lowercase is based on 1910s lettering by German plakatmeister Ludwig Hohlwein. Oddly, the two seem to play together well. Both versions of the font include the 1252 Latin and 1250 CE character sets (with localization for Romanian and Moldovan).