Around the turn of the twentieth-century, Steel and copper plate engraving was the most sophisticated and expensive method for producing business cards, stationery, and formal announcements. In engraved printing, the image is incised, or engraved into a hard, flat plate. Ink is applied to the plate, and then wiped off; leaving only the ink that is trapped below the surface in the incised areas. When the paper is pressed against the flat plate, the ink is drawn out of these areas and transferred to the paper. The results are twofold: printing which sits above the surface of the paper, and the reproduction very delicate lines and shapes. For business and formal printing, engraved printing was, and is, considered the best. The problem is that not everybody can afford the best. Type foundries, in the early 1900s, figured that if they could produce a typeface for traditional printing, which had appearance of engraving, they would be able to satisfy the needs of those forced to live with modest printing budgets. Engravers faces were born. Fredric Goudy’s Copperplate Gothic was one of the most popular. Plate Gothic is a version of this style updated for digital technology. It has all the charm and charisma as the metal type and yet is perfect for today's needs.

This humanistic sans serif distinguishes itself by its Japanese calligraphy influence. Being written with a felt tip rather than with a brush, its Japanese connotation is remote and non-dominant, thus providing excellent readability and a charm of its own. Parametra is a very elegant and modern typeface achieved by the strong form reduction of the individual characters and at the same time harmonizing them by given parameters. It is something of its own, but quite legible and well-suited for small text. Also, Parametra and Bohemian can be mixed perfectly since their proportions and dimensions are the same.

THE NORWEGIAN RUNES The oldest runes discovered in Norway date from 400 AD. They were based upon the 24 - rune Elder Futhark of Germanic origin. Two of the runes in the Elder Futhark, Pertra and Eoh, have never been found in any Norwegian rune text. From 550 AD to 700 AD there was a transition period between the older 24-rune Futhark and the newer 16-rune Futharks. By the end of this period, the 24-rune Futhark went completely out of use and the 16-rune Futharks had prevailed. Then, about 900 AD, the Shorttwiggs-runes were introduced from Sweden. Shortly thereafter, from 1000 AD, Futharks with more than 16 runes became more prevalent, as these were more consistent with the Latin alphabet. These types of runes were used in Norway up to 1800 AD.

An ideal face for blocks of copy when you want them to look old. Very readable. Another faithful rendition of the original from the Keystone foundry. Actually several foundries worldwide offered this font.

Have you ever wondered what sign painters and rib joints have in common other than the fact that they can both make a mess? What do they know that you don't which would have them pair a sexy casual script with a down south barbeque restaurant? Smokehouse is all about association. You'll find that this sexy casual script pairs well with a wide range of associations, from barbeque shacks to fairy princesses and everywhere in-between. It makes choosing the right font for the job an easy one, and for those that need to fill a little more space you'll find Smokehouse Wide is up to the task. Discover the power of association, and see how Smokehouse fits into your font collection. Buy both Smokehouse and Smokehouse Wide together as a family and save!

Are you looking to make your headlines more eye-catching? If so, then this Largest Display Typeface is perfect for you! This typeface style stands out from the crowd, making it ideal for grabbing attention. Whether you're looking to make a statement on a poster, logo, card, website, social media or even just overlay text, this Largest Fonts is a great choice. With its bold and heavy look, it will give your headlines the added pop they need. https://youtu.be/5x84ygKnLjg7 You can easily customize the typeface with ligature and alternative characters. And if you're worried about legibility, don't be - the large typeface is designed to be easy to read from a distance. It's the perfect way to make your headlines stand out and show off your creativity. So don't be afraid to go big and make your headlines more attention-grabbing with our Largest Fonts! Thank you for looking.

Yellow Tamarin is a blackletter font, also a yellow font with decorative elements and a metal or tattoo-inspired look. This makes it a highly unique and versatile font, with many potential uses in design. There's some connected letters and some alternates that suitable for any graphic designs such as branding materials, t-shirt, print, business cards, logo, poster, t-shirt, photography, quotes .etc This font support for some multilingual. Also contains uppercase A-Z and lowercase a-z, alternate character, numbers 0-9, and some punctuation. If you need help, just write me! Thanks so much for checking out my shop!

Le Jardin comes in two styles: Floral and Regular. This font includes ligatures and a full set of lowercase alternates to make your text as close to a natural handwritten script as possible. Le Jardin Floral is an elegant, decorative, feminine font. Floral uppercase letters are ideal for your wedding monograms and logos. Use this font for wedding invitations, branding, packaging, magazines, florist shops, social media, restaurant menus, greeting cards, headers and many more. Le Jardin Regular is a modern calligraphy font. It's perfect for wedding design projects, instagram, invitations, signatures, watermarks, logos, letterpress address, titles, birthday invitations, handwriting and more.

Grader is Modern Display Font. This typeface is perfect for an headlines, classy editorial design, magazine, fashion brand , cosmetic brand, fashion promotion , modern advertising design, invitation card, art quote, home decoration , book/cover titles, special events, and much more. Grader Features: • Uppercase & Lowercase • Alternates • Numerals & Punctuation • Accented characters • Multilingual Support • Unicode PUA Encoded While using this product, if you encounter any problem or spot something we may have missed, please don't hesitate to drop us a message. We'd love to hear your feedbacks in order to further fine-tune our products. Thanks and have a wonderful day .

Handy Typewriter is a handwritten typewriter font in 4 handmade weights, with extras. Handy Typewriter has a more casual look than classic typewriter fonts, but can still be used in any designs that need a vintage touch. This font is very legible at a wide range of sizes and looks great in both long or short texts, in digital collages, branding and packaging, social media posts, logotypes, etc. Included in this font family: - Handy Typewriter font in 4 weights: Thin, Regular, Bold and Black, hand drawn from scratch - Handy Typewriter Extras is a set of 62 hand drawn doodles, to decorate your text

Wild Soul is a handwriting font duo designed for projects with a hand drawn, organic vibe. Imperfect with a subtle texture, great for artsy designs! This artistic font is perfect for product packaging, movie posters, art posters, quotes, logo design, etc. Includes a dingbats font full of extra doodles for decorating texts or creating beautiful quotes for social media posts. This font pair is a must have if you love handwritten fonts! Includes: Wild Soul Regular: a script hand drawn font with imperfect lines and texture Wild Soul Extras: a dingbats font full of hand drawn doodles

Jitter is a Beautiful modern serif typeface Unique alternate and ligature, multilingual support . This typeface is perfect for an Display typeface, elegant & luxury logo, Magazine, fashion brand , cosmetic brand, fashion promotion, modern advertising design, invitation card, art quote, home decoration , book/cover titles, special events, and much more. Jitter Features: · Uppercase & Lowercase · Alternates & Ligatures · Numerals & Punctuation · Accented characters · Multilingual Support · Unicode PUA Encoded While using this product, if you encounter any problem or spot something we may have missed, please don't hesitate to drop us a message. We'd love to hear your feedbacks in order to further fine-tune our products.

My youngest son Boris has his birthday in a week. He turns 8, and he loves to play with those Danish building blocks - you know what I’m talking about. Last year he developed an interest in Star Wars n(no idea how that came to be), so we bought him some Star Wars-themed blocks for his birthday. I am now watching the movies with him and it is fun to witness his enthusiasm. The only drawback is the fact that we now seem to have a Chewbacca in our home… Meowtant Kittens is a font I drew with a fineliner and then digitised. Of course the name was influenced by the movies I am watching with Boris, even though they don’t feature any Meowtant Kittens.

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).

Garden Hidaleya Script is one of the Elegant script fonts that comes with a very beautiful character change, a kind of classic copper decorative script with a modern touch, designed with high detail to present an elegant style. You will get: Garden Hidaleya Garden Hidaleya Bold Garden Hidaleya Script is interesting because the typeface is pleasing to the eye, clean, feminine, sensual, glamorous, simple and very easy to read, because of the many luxurious letter connections. I also offer a number of decent stylistic alternatives for some of the letters. The classic style is very suitable to be applied in various formal forms such as invitations, labels, restaurant menus, logos, fashion, make up, stationery, novels, magazines, books, greeting / wedding cards, packaging, labels or all kinds of advertising purposes. . . Garden Hidaleya has alternate characters, including multiple language support. With OpenType features with alternative styles and elegant ligatures. The OpenType features don't work automatically, but you can access them manually and for best results your creativity will be required in combining variations of these Glyphs. I highly recommend using a program that supports OpenType features and the Glyphs panel such as Adobe Illustrator, Adobe Photoshop CC, Adobe InDesign, or CorelDraw, so that you can view and access all variations of Glyphs. How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to access all alternative characters, using the Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you need help or have any questions, let me know. I'm happy to help. Thanks & Happy Designing.

Maracay is a tropical typeface that works for texts or headlines, mainly as a display font and designed to work in layers of overlapping texts. Maracay is a unique design with nine fonts based creating a particular style of design and the combination of a couple different looks can be obtained eighteen. Thanks to the versatility of coloring matter, together form a coherent and attractive ideal for a variety of different projects such as invitations, menus, magazines, brochures, packaging, design, etc. Maracay provides alternate characters, swash, ligatures, icons, ordinals and fractions. Maracay has 4 shape styles : Regular Maracay base as essential as Tooled variations of brightness or wood with the appearance of a WoodType vintage wooden texture . Inner font as serves as Light or inner contour of the foregoing. Follow three fonts contouring as Outline, Shape and Umbra as a 3D projection. For decorative purposes Shape that there is a textured lines or Half as a split in the top half letter. Maracay has been carefully studied to provide the best combinations of the most of pairs and trios of glyphos avoiding undesirable extensions between ornate characters through its Opentype programming.

OPEN SERIF - answering the question “what font pairs well with Open Sans?”. Designed by Steve Matteson for extraordinary legibility and comfortable reading on screen and in print. Open Interpretation: Not quite Veronese – not quite Egyptian. A dash of panache in an otherwise sturdy serif typeface. Open Serif is an elegant text and display typeface family. Open Interiors: Visually open and legible at text sizes just like its cousin Open Sans. Open Serif reads smoothly but has an energetic texture. The chancery style italic contrasts nicely to the roman in a full bodied nod to Italian Renaissance forms. Open Type: Open Serif is full of OpenType features including Small Capitals for the Roman, Italic Swash Capitals and Old Style Figures for both. Open Translation: Supporting all the languages available in Open Sans, Open Serif completes the translation capabilities of international companies. Extended text is more pleasant to read in a serif typeface so go global with a unified typeface family! Open Face: Open Serif Titling is an elegant companion to round out the family. These ‘open-face' capital letters are ideal for initial letters, mastheads, titles and decoration.

An American Scotch remixed in 27 fonts Mencken has twenty seven styles, divided into three widths, three optical sizes, romans and italics. Generally, optical size typeface families belong to a same common construction. It falls into the same category of type classification, while presenting different x-heights or contrasts. Mencken is unique because it is designed according to different axis and optical sizes. Firstly, Mencken Text is a low-contrast transitional typeface, designed on an oblique axis, asserting horizontal with featuring open counters. Its capitals follow Didots to better harmonize the rest of the family. On the other side of the spectrum, Mencken Head (and narrow variations) is designed on a vertical axis, high contrast, in a contemporary Didot style. The Mencken is therefore a typeface answering to different sorts of uses, whose design is different according to its uses: from oblique axis in small size to vertical axis in large sizes. Vertical proportions (x-height, capitals height, etc.) were calibrated to be compatible with many Typofonderie typeface families. Lucie Lacava and I followed the idea launched by Matthew Carter few years ago for some of his typefaces intended for publications. From Baltimore Sun’s project to Typofonderie’s Mencken It is a bespoke typeface for American newspaper The Baltimore Sun started at the end of 2004 which marks the beginning of this project. The story started with a simple email exchange with Lucie Lacava then in charge of redesigning the American East Coast newspaper. As usual, she was looking for new typeface options in order to distinguish the redesign that she had started. At the time of its implementation, a survey of the newspaper’s readers has revealed that its previous typeface, drawn in the mid-1990s, was unsatisfactory. The Mencken was well received, some reader responses was particularly enjoyable: “It’s easier to read with the new type even though the type is designed by a French.” Why it is called Mencken? The name Mencken is a tribute to H. L. Mencken’s journalistic contributions to The Sun. According to the London Daily Mail, Mencken ventured beyond the typewriter into the world of typography. Because he felt Americans did not recognize irony when they read it, he proposed the creation of a special typeface to be called Ironics, with the text slanting in the opposite direction from italic types, to indicate the author’s humour. Affirming his irreverence, the Mencken typeface does not offer these typographic gadgets. Henry Louis Mencken (1880 — 1956) was an American journalist, satirist, cultural critic and scholar of American English. Known as the “Sage of Baltimore”, he is regarded as one of the most influential American writers and prose stylists of the first half of the twentieth century. He commented widely on the social scene, literature, music, prominent politicians and contemporary movements. Creative Review Type Annual 2006 Tokyo TDC 2018

Andy Bear embodies oddity and authenticity. This dazzling display font will turn any creative idea into a standout. Get inspired by its fun styles, and use them to brighten up kids or school projects! This font has no shadow effect by default. You can create this effect by duplicating the text and placing the duplicates

Go out into the wilderness. Cut down a tree. Stop and smell the roses. And then treat yourself with this unplugged, hand-lettered typeface. LiebeGerda is an effortless-but-refined, spontaneous-but-elegant brush font. She is ready for your next project, and she wants to add that little crafty something that makes the difference. Her natural breath of fresh air lets you escape those same old monotonous script fonts you’ve been using. After our successful first brush font, LiebeDoris, and our first interconnected script, LiebeLotte, we’re combining both genres and taking them to the next level: an interconnected brush script. OpenType magic varies LiebeGerda’s letterforms: Most characters have no less than three different variations that are automatically shuffled and inserted as you type. Plus, the “All-Caps” OpenType feature exchanges uppercase letters with less-swashy variants. Now you know why every one of the four styles contains more than 1,200 characters! Ulrike of LiebeFonts painted LiebeGerda’s four styles individually from scratch and carefully adjusted every detail by hand. Rather than being one typeface with different weights, LiebeGerda is a package of four individual fonts that go together really well. Ulrike’s high level of type-nerdy craftsmanship shows. When you use LiebeGerda, your designs will easily convince your audience that they’re looking at a hand-crafted piece of lettering. Feel free to add a few of the stacked ligatures like “the”, “for”, and “new” to round off the illusion. Last but not least, LiebeGerda has a lot more detail than most other brush fonts. That means there’s no ugly, lazy bézier artifacts in the brush traces. You can print words at billboard size, and people will still believe they smell the paint from your brush!

Some words from the designer... Like long legs walking a runway in stiletto heels, ITC Cherie is both sophisticated and feminine. West coast designer Teri Kahan developed this art nouveau-style font into two distinct all capital alphabets – one with a “high waist”, placed in the capital position, and the other a “low-waist,” placed in the lower case position. They work separately or together, and this dual nature gives a designer the ability to make subtle changes in a logo or line of text. Additional flourished letters round out this versatile headline font.

The hand lettered words “Pere Noel” under a vintage French magazine’s photo of Santa with two bikini-clad beauties inspired the digital version of this quirky, condensed type style. Unusually Deco JNL is available in both regular and oblique versions From Wikipedia: “Père Noël “Papi Christmas”, sometimes called ‘Papa Noël’ (“Daddy Christmas”), is a legendary gift-bringer at Christmas in France and other French-speaking areas, identified with the Father Christmas and/or Santa Claus of English-speaking territories. Though they were traditionally different, all of them are now the same character, with different names, and the shared characteristics of a red outfit, workshop at the North Pole/Lapland, and a team of reindeer.”

Nomina is a family of sans serif fonts for use from large to small sizes. The weights of the family itself contain 16 styles plus italic, ranging from ExtraLight to Black. The font family takes was inspired by classic Grotesk typefaces such as Venus and Akziden Grotesk. Unlike any other modern Grotesk typefaces, the details of the contrast in this font family are quite subtle and yet still harmonize while standing in between another character, the open apertures help them to increase the quirkiness accompanied by the sharp terminals on each rounded glyphs. The Nomina family is well equipped with lots of selective alternates and OpenType features, and the main usage of this font is universal, this means this can use it any design style as long as the look and feel keep match with its characteristics.

Modern Elvish is a humanist sans serif typeface created for the Tengwar “English” mode as popularized in the Lord of the Rings books and films. I imagined the famous elves of this lore living in contemporary times and needing a no nonsense modern typeface for their branding, communications and UX design. Use this typeface for your RPG, LARPing or Cosplay needs. This typeface uses advanced font features such as ligatures and contextual alternates to convert any English text. I would recommend typing in English first, then converting to a font of this typeface.

Adolf Rusch von Ingweiler, was in the 19 th century known mysteriously as the “R'' printer. He was the first printer North of the Alps to introduce the new Roman style of type known now as Antiqua. He was active in the city of Strasbourg from around the early 1460's to 1489. One wonders if the unusual form of “R'' was a personal conceit. This font is, therefore, an Antiqua style font and has over a 1000 defined glyphs with wide support for medieval characters that have since fallen out of use. The baseline was slightly tidied up in order to give the printed text an even cleaner look than the original. The letters are very close approximations of the original type catalogued by the “Veröffentlichungen der Gesellschaft für Typenkunde des 15. Jahrhunderts” as Typ.1:103R GfT1197.

Gens De Baton is based on a charming lower case alphabet that appeared in the Almanach des Enfants pour 1886 (Paris 1886) under the heading “Amusing Grammar Lessons.” Gens De Baton means simply “Stick People.” The unknown designer turned the bare letter forms into drawings of people for the enjoyment of the children for whom the almanac was intended. The letter forms themselves were based on the French Romain du Roi (King’s Roman), except for the ‘g’ and the ‘j’ -- which were based on Baskerville. The letters ‘w’ and ‘y’ were not included, as they are seldom seen in French. We have left the letters somewhat rough, as they appeared in the Almanach des Enfants , resisting the temptation to clean up all the lines and render them with digital perfection. We have used our HiH Firmin Didot to supply an upper case and auxiliary characters, as Didot was originally a modified version of Romain du Roi. It is interesting to observe the contrast between the polished look of the Didot upper case and the rough, hand-drawn look of the lower case. Purchasers of this font have our permission to use it for the amusement of adults as well as children. We recommend setting Gens De Baton at 24 points or larger.

Peter Schmidt, well-known designer from Hamburg, browsed in a fashion magazine on a return flight from the United States. At that time he was thinking about a logo for a philharmonic orchestra. In the magazine, he noticed some interesting typography. He removed the page from the magazine and sent it later to Peter Langpeter. That was the inspiration for the creation of the logo. Since Peter Langpeter really liked the classic aesthetics of the resulting letters, he developed a whole new alphabet of it. Initially, only capital letters. Now he has completed this exceptionally beautiful font.

Close Together was designed to alternate convex and concave letter sets, with convex letters on the upper-case keys and concave shapes on the lower-case keys. The OpenType feature of contextual alternatives (calt) does this automatically. Individually some of the letter shapes are strange and unsightly. They have the shapes that they have so that they fit snuggly with adjacent letters. The family has three weights: regular, bold, and extrabold. The letter spacing is set very tight and the user may want to loosen it by altering characters spacing. (Either the convex or concave set the letters can be used alone if the character spacing is adjusted.) The typeface has four OpenType stylistic sets of alternates, one for numbers and the others for letters D, T, and Y.

»AlphaOne« is my newest addition to the experimental Alpha-font-collection. I just had to do this one! It is based on Paul Renners fonts, but has got nothing to do with them, I just took the widths and some basic forms. No – or hardly no – optical corrections were made to the glyphs. I wanted the pure geometric forms to come to life. This was a lot of fun to design, I especially like the »Q« with the negative tail. I did make four weights, but nothing is normal with this font, so weight doesn’t really mean anything. Have fun!

This double-wide wonder is based on Oswald Cooper’s original drawings for the typeface Cooper Fullface. ATF rejected this offering because they felt that several of the letterforms, and particularly the numbers, were a little too wacky for the mainstream. By now, you know that such an accusation is a "Please don't throw me in the briar patch" plea to yours truly. So, here, proudly and true to their designer’s original intent, are two versions of a really fun font. Both versions of this font include the complete Unicode 1252 Latin and Unicode 1250 Central European character sets.

Frederic Goudy joined Lanston as art advisor in 1920. One of his first initiatives was to design a new version of Garamond based on original Garamond designs of 1540. Goudy intended his free-hand drawings to be cut exactly as he had drawn them and fought with the workmen at Lanston to keep them from “correcting” his work. This new type was called Garamont (an acceptable alternate spelling) to distinguish it from other Garamonds on the market. (The other Garamonds on the market at that time were later confirmed to be the work of Jean Jannon.) In 2001, Jim Rimmer digitized Garamont in two weights. The display weight is based on the actual metal outlines to compensate slightly for the ink gain that occurs with letterpress printing. The text weight is a touch heavier and more appropriate for general offset and digital text work. Digital Garamont is available to the public for the first time in 2005.

Thawed This is a display font of a narrow specialization, its letters seem to have melted and flowed, but at the same time it retains the shape of the letters and is well read. It is perfect for branding, logos, labels, short display inscriptions and advertising materials from flyers to billboards. This font includes drops of style, they make it possible to make the font more voluminous and give detail.

The origin of this family is the classic French-Belgian comics. The screams and onomatopoeia of these comics have so much personality that I needed to create a typeface family that would allow the designer to really replicate them. But this family has many more applications: packaging, logos, posters, signage, packaging, branding, etc. With its wide variety of glyphs you can make your sound effects, logos, etc. in most Latin languages.

The inspiration for this exuberant exercise in penmanship was found in Frank H. Atkinson's A Show at Sho-Cards: Comprehensive, Complete, Concise, published in 1918, executed with the then-state-of-the-art Payzant Reservoir Pen. It retains its quaint charm, even after almost a century. Both versions of this font contain the complete Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

A square but fair font, or as they say in Germany "kradratisch, praktisch, gut". Because of the simpleness in this font, I decided add two styles less square to the family: funky and zit.

Schoolblock is the typeface German schoolchildren learn to imitate when they are taught the printed letters. I just had to do this one for use in a German schoolbook. Your education-designer, Gert Wiescher