A heavy blackletter; Rudolf Koch’s first type from 1909. On an old page full of type specimen from the 1930s, the type is described as ”Schwabacher (used by the Deutsche Reichsbahn [German Imperial Railway]).“ As a matter of fact, it is the first print of the Offenbach script master Rudolf Koch, who came out with this typeface in 1909. At that time, it was given the name ”Neudeutsch“ (New German). Later, it became very popular under the name Koch-Schrift, and was at times the official typeface of the Deutsche Reichsbahn (German Imperial Railway).

Once again we have added a lowercase to a caps-only type from late Victorian times. We made quite a few changes from the original to make words flow better.

CCS Palmore is a vintage retro condensed display typeface combined with rounded proportions letters forms. The combination of condensed glyphs with large-rounded O and C as well as the few alternates available give the font a strong rhythm, perfectly fit for headline and titles. If you're into classic/vintage letter designs, then this typeface suits best for you. Packed with 300+ glyphs , now it’s your time to go crazy and explore the uniqueness of this typeface!

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.

Based on Roman lapidary writing from 2nd century BC.

Akagi started as a rough sketch while on a really long plane ride to Tokyo in 2007. I wanted to develop a sans that was a complete departure from my successful Aaux Pro (now Aaux Next) sans serif family. Whereas Aaux and its siblings are rather unforgiving and stark in their presentation, I wanted this new sans serif to "smile" at you when it's on the page. When the plane landed and I realized I did not sleep through the 15 hour trip, my brain shut off, the laptop closed and I hopped in the car to the hotel—forgetting the "new sans" folder on my desktop. Fast forward a few months and I found myself seeing a lot of crisp, rigid, robot-like sans serif typefaces everywhere... I enjoy these new crop of faces but wanted to see something "friendlier" and remembered my earlier sketch work. The groundwork was there screaming at me to complete and Akagi arose from the ashes. To be truly satisfied with it personally, a great deal of time was spent trying to create a harmony between line and curve in an attempt to show that you can be crisp, clean and legible and still keep some personality. The Light and Fat weights (regular and italic) are my favorites and I hope to see them as the workhorses of the typeface.

British designer Jeremy Tankard began Blue Island in 1996 with the idea of creating a completely ligature-based roman typeface, an original but complex task that took years to realize. Individually, Blue Island's letters can appear a bit dismembered, but when set together, they are clearly transformed into words which fall in waves down the page. Successfully balancing readability with intriguing decorative forms, Blue Island is especially effective for titling. As for its romantic name, Blue Island is the title of a poem, also by Tankard, which evokes notions of freedom, escape, intrigue, and the undulating beauty of the sea.

Introducing Majadira Font - a beautiful digital font that comes in two versions, Regular and Extrude. When combined, these two fonts give a 3D-like appearance to your designs. With its stylistic alternates, Majadira Font is visually appealing and perfect for wedding designs and Valentine's Day themes. Create stunning invitations, posters, and banners with this elegant font. Whether you're designing for a romantic event or just looking for a stylish touch, Majadira Font is the perfect choice. Features : - Majadira Font Family - Stylistic Alternates - Multilingual, US Roman, Latin 1 Support Hope you enjoy with our font! Attype Studio

Fantasy draws on a series of historical calligraphic traditions: Roman capitals, Lombardic initials, enlightenment era ornamentation and refinement. The user is invited to deploy their imagination playing with the alternates, ornaments and frames in different universes like publications and stationery. Fantasy Pro is the fully-featured OpenType version with two styles of capitals and plenty of swash alternates and ornaments. Each of these varieties is available as a separate font in addition to Fantasy Std, a set of unadorned standard characters for smaller settings. Use professional software that widely support Open Type features. Otherwise, you may not have access to some glyphs. Give a touch of magic to your work!

P22 Yule is a series of display fonts inspired by a mélange of ancient inscriptional writing, with visual references to Anglo-Saxon, Celtic, medieval and even a bit of ancient Greek and roman letterforms. Yule is exotic yet familiar and evocative of winter holidays. It has an Alpine look, lending itself to the thoughts of chalets and fondue. Yule Heavy Snow is blanketed in the white stuff, while Yule Light Flurries is dusted with snowflakes. With the addition of the Klein style, which includes a lowercase, Yule becomes infinitely more usable. The Klein variations can work well as an alternative to Neuland when you need the versatility of a lowercase.

Proudly Present Reimbrandt - Art Nouveau Type, created by ikiiko. Reimbrandt is a classic typeface that is a perfect representation of the timelessness and romance of the past, inspired by the beautiful Art Nouveau era. This alluring typeface transports you back to a time when elegance and grace were the norm. This font exudes beauty and romance with its simple, decorative shapes reminiscent of the painstaking craftsmanship of the Art Nouveau era. This typeface is perfect for an vintage vibes, classic & vintage poster layout, fashion look book, book cover, packaging, food & beverages and also good for quotes, or simply as a stylish text overlay to any background image. What's included? Uppercase & Lowercase Number & Punctuation Multilingual Support Works on PC & Mac

TagBanger WADE1 is the first in a short graffiti font series. This series will showcase the hand-styles of various mature street artists that Okaycat is working with. This first release highlights the style of one such graffiti writer, WADE1, who has an eclectic writing style after many years proliferating street art. Long-term graffiti artists develop their own style over their careers, spending as many endless hours honing their letter-forms as any full-time professional typographical artist. Style, individuality, and originality are everything. These attributes are key to the graffiti artist's tao. A writer who copies, or "bites" loses respect -- their work will be painted over or "crossed out" by all other writers. Okaycat's TagBanger series aims to demonstrate just how widely these individual styles can diverge, likely due, at least in part, to the social pressures of a community that ruthlessly punishes copycats. WADE1's tags were transformed into vector format from a generous sampling of their most recent scrawls. Our TagBanger series may not be composed of the most legible or beautiful fonts, but we imagine there are uses for these whenever highly unusual handwriting is needed. TagBanger WADE1 is extended, containing the full West European diacritics & a full set of ligatures, making it suitable for multilingual environments & publications.

After the successful release of Encorpada Black, now it’s time of Encorpada Pro type system. Now with seven weights and a lot of curves. Freely inspired by the didones shapes, Encorpada Pro now have a extended character set with more than 40 languages supported, Opentype Features and Amazing Swashes in Italic Version.  Enjoy It.

Tertius, with its high ascenders and clubbed serifs, is a modern interpretation of the classic Carolingian style (7th - 9th centuries AD). There was no capital form in the Carolinian hand and Roman square capitals were originally used with it. The Carolingian hand began, after a while, to develop more cursive tendencies as people looked for a way to speed up the writing process. I have “capitalized” on this trend and have devised an appropriate and dramatic set of flowing capitals for this family. With its elegant swashes and bold letter shapes, Tertius embodies the romance of medieval life, of knights, castles, and chivalry. Tertius comes in four styles:- -- Regular: with elegant, smoothly penned characters; -- Crenellated: written with a scratchy pen over rough parchment -- many drops of ink and blotches have been left on the parchment (“Crenellated” means battlements -- the rough protrusions on the top of castle walls); and -- Romantic: the capitals have been loosely overwritten generating a contemporary version of illuminated capitals. -- Illuminated: richly decorated illuminated capitals for use with Tertius Regular (28 characters) All fonts have been carefully crafted, letterspaced and kerned and contain full character sets of 237 characters.

Brutal Type — is a new sans serif typeface with a distinct manly character. It’s based on the shapes of DIN font, however radically reconsidered. Despite the apparent simplicity and obviousness of forms, the Brutal Type design is original and fresh. This font is universal and familiar to all, emotional and catchy at the same time.

“MEME” Regular is a work in progress designed in a square format. It is all Caps with small caps in the lower case. With over 80 design glyphs for you to use creatively. “MEME” is also a great font to add to your futuristic headline fonts, I am adding new characters all the time.

The Magellan font family is a roman in the Swedish Grace tradition. And since the Swedish language has long words, Magellan is a bit narrower than most romans. Magellan was an honorable prize winner in the Morisawa (Japan) international typeface design competition 1993.

“Due Giorni”, two days in italian language, express a measurement of time, it can be little or a lot, depending on who or what it is used for. “Due Giorni” is a script font very expressive, fresh, agile and dynamic, hand-drawn with connected forms on slanted angle of 23º This font contain 542 glyphs with plenty OpenType features: Standard and discretionary ligatures, stylistic alternates, swashes, Old style figures, small caps, case sensitives and ornaments. It come also, with three kind of capitals: Roman Capitals, Small Caps (different proportions) and Swashes. Roman Capitals are inspired on the beautiful inscription found in the Augustorium’s house in Ercolano, Naples.those letters have been carefully drawn and sculpted. Swashed Cursive Capitals are similar to 18th century penmanship. “Due Giorni” is a versatile font that may give you the chance to create original logos and headlines, specially by many stylistic sets, ligatures and alternates that can be combined with them.

This elegant face with a few semi-script flourishes is based on Morris Fuller Benton’s Announcement Roman, designed for American Type Founders in 1917. It’s perfect for invitations, programs and all kinds of formal ballyhoo. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

Norma was my second sans serif. You can find a few details in common with Dialog, but the graphic impression of Norma is totally different.Every typeface has some characters that are the favourites. In Norma I simply love the lowercase roman a. Don't you, too, think that it is perfection itself? Norma was released in 1994.

The ITC Blair™ typeface is a revival and reimaging of an early 20th century metal typeface of the same name. Even though only available as single weights of extended and condensed proportions, metal fonts of the face were sold well into the 1950s. In 1997, Jim Spiece resurrected the original extended design for digital imaging and, in the process, added two new weights. Almost 20 years later, he collaborated with Monotype type designers to extend the basic family again. The result was a new suite of three condensed designs and italic complements for all the roman weights. The family also benefits from a large set of alternative glyphs and many OpenType® features.

Modérnica is a sans serif type including roman & oblique styles in 9 weights. Originally published in 2014, then in 2020 we released version 2.0, in which we expanded the language coverage and character set, adding a new Fat weight, tabular figures, smart fractions & arrows. We’ve improved the OpenType features adding new Stylistic Sets. Besides this, we have retuned the letters spacing in the whole family. Seeking for the best performance, we added a bit of spacing between letters in the text versions (middle weights from Book to Bold), while as for the display variants (extreme weights from Thin to Fat) we made them gain space in the light versions and loose it in the blacks.

Birch was designed in 1990 by Kim Buker Chansler, who based her forms on the designs of the turn of the 20th century. The new age needed new typefaces for an ever-increasing commerce and its advertisements. This time period therefore saw a profusion of new typefaces, all of which were meant first and foremost to catch the eye of consumers. To this end, style elements of past ages were reused, changed, and combined. Birch is modelled after a woodtype, a style made famous by its use on wanted posters in western movies. The narrow and space-saving Birch is perfect for headlines in display point sizes.

I remember a tea ceremony I attended in Fukuoka, Japan. The teahouse was set in a small, but beautiful garden and the whole idea of the ceremony was to appreciate the view from the porch. I thought the tea was quite bitter, but the view was unsurpassed. From time to time these memories pop up and I have to use them - that is why I named this font Teacup. Teacup is a slightly eroded all caps font, made entirely by hand with a Japanese marker pen and some high quality textured paper. It comes in a romantic open style and a more solid closed style. Teacup is filled to the brim with diacritics.

In 1925, at the request of Barnhart Brothers & Spindler, the foundry he worked for, Oswald Bruce Cooper designed a wide selection of "screamers", oversized exclamation points used to grab attention in display advertising. The foundry rushed the screamers into production, much to Cooper's dismay. Cooper was disappointed with the final form of the screamers– they were designed in assorted weights to match the assorted Cooper series of typefaces, as well as in a variety of other formal solutions- squaredoff, incised, wavy, Tuscan, and rounded. Cooper's working design methodology was to re-draw his projects a number of times in order to refine the formal results. However the screamer project was hastily cut by the head of BB&S's matrix engraving room in fourteen sizes from the initial sketches, causing Cooper to fire off a fiery missive stating, "Everything I draw is bum the first half-dozen times I draw it; the trouble with these is that I drew them only once!" This typeface is the result of researching Cooper's original drawings and series of engraved proofs for the screamers, as well as the original Screamer type specimen. Cooper Screamers have never been available before in digital format.

Manga Master, the classic Blambot font, is now Manga Master Pro! It has been updated with new spacing, kerning, and hinting as well as new autoligs, manga translation glyphs, CAlts, fractions, barred-I correction and more!

Forum Title was originally designed by Frederic Goudy in 1911. It was intended to be the heading font used for a book set in Kennerley. Based on inscriptional Roman stone cut capitals, this face is true to the early Roman forms which did not have a lower case. Forum exemplifies the classic Roman letterform at its finest. If a lower case were desired, Forum Title can be paired with Goudy Oldstyle for a harmonious hybrid font.

A Venetian serif in 6 styles The Apolline typeface family was created by Jean François Porchez as a means to study the transition from Renaissance writing into the first printing types. Rather than sticking to the method commonly used these days for the creation of revivals of Jenson or Bembo types, it seemed more interesting to try and get in the same mindset as those exceptional designers during this pivotal period in the history of typography. Thus Apolline is an exploration of the design methods used by people like Nicolas Jenson and his contemporaries for adapting handwriting with its multiple occurrences (a, a, a, b, b, b…) into single, unique signs (a, b…). Initially Jean François made drawings modelled after his own calligraphy. They were done at a very small size on tracing paper (2 cm high for the capitals) to preserve the irregularity of human handwriting. Besides emphasising the horizontal parts of the letter forms, the serifs were designed asymmetrically to reinforce the rhythm of the writing. The final drawings were produced at a large size (10 cm high for the capitals) to allow for subtle optimisation of specific details. The very narrow and fluid Apolline italic Influenced by various concepts for an ideal italic by Van Krimpen, Gill, etc. Apolline italic was designed at 8° degrees. Although the structure of the letterforms were informed by chancery scripts, the italic has full serifs like the roman. Very narrow and fluid, its unique design creates a good contrast when used in combination with its upright counterparts. Thanks to the presence of the serifs similar to roman typefaces it sets very neatly in large sizes. The next step was digitising the drawings with Ikarus (the pre-Bézier-curves era) to create the final roman and italic fonts. Two years later, when the family was expanded to six series the same method was used, this time with Fontographer. This was necessary for correcting a few problems caused by the conversion to Bézier outlines, and to add intermediate weights. Before the advent of feature-rich OpenType, quality type families consisted of several separate fonts for each weight to provide users with various sets of numerals, an extended ligature set and alternates, ornaments, and so on. Introducing Apolline Morisawa Awards 1993

THE SPARK Uniform started as a spark of inspiration one day while I was shopping at the store. I was looking at some typography on a can of dog food and the idea popped into my head, “What if there was a geometric typeface with a circular O that when condensed, the O became straight sided, instead of becoming an oval?” I quickly sketched out the concept of Uniform and liked what I saw, the only problem was I was working full time as a graphic designer, and as a newly married husband, I didn’t have any time to make the extensive typeface. LETDOWN A year and a half later, shortly after the birth of my first child, my boss cut my hours in half. Although stressful, I saw this event as an opportunity to finally have time to complete the typeface I had in my head. I spent a couple months putting together a Kickstarter campaign, thinking it would be a smashing success, and I would be able to live off the donations long enough to complete the typeface. Wrong! The campaign was a flop and I was left discouraged and dejected, thinking that the great idea I had in my head would never become a reality... PERSEVERANCE At the end of the year, in December 2013, I decided to go for it and make this new type family no matter what it took. I began waking up a few hours before work each morning (getting only four hours of sleep each night) carefully crafting each individual glyph day by day. After nine months of hard work (and just about killing myself in the process!) in October 2014, I finally had a finished product ready to be released to the public! THE PINNACLE Fast forward a few years and now Uniform has reached it's pinnacle, Uniform Pro. Uniform Pro now offers extended language support including Cyrillic and Greek character sets, integrated italic styles, additional weights, and additional OpenType features.

Lewis F. Day, in his Alphabets Old and New, presented these letters as examples of rustic Roman lettering of the first through third centuries, AD. An uppercase-only typeface, most of the lowercase positions are occupied by letterform variants. It should be noted that the name does not refer to a savory dish made from a nocturnal American marsupial; it’s Latin for “I can dance”. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

The origins of Bembo go back to one of the most famous printers of the Italian Renaissance, Aldus Manutius. In 1496, he used a new roman typeface to print the book de Aetna, a travelogue by the popular writer Pietro Bembo. This type was designed by Francesco Griffo, a prolific punchcutter who was one of the first to depart from the heavier pen-drawn look of humanist calligraphy to develop the more stylized look we associate with roman types today. In 1929, Stanley Morison and the design staff at the Monotype Corporation used Griffo's roman as the model for a revival type design named Bembo. They made a number of changes to the fifteenth-century letters to make the font more adaptable to machine composition. The italic is based on letters cut by the Renaissance scribe Giovanni Tagliente. Because of their quiet presence and graceful stability, the lighter weights of Bembo are popular for book typography. The heavier weights impart a look of conservative dependability to advertising and packaging projects. With 31 weights, including small caps, Old style figures, expert characters, and an alternate cap R, Bembo makes an excellent all-purpose font family.

The origins of Bembo go back to one of the most famous printers of the Italian Renaissance, Aldus Manutius. In 1496, he used a new roman typeface to print the book de Aetna, a travelogue by the popular writer Pietro Bembo. This type was designed by Francesco Griffo, a prolific punchcutter who was one of the first to depart from the heavier pen-drawn look of humanist calligraphy to develop the more stylized look we associate with roman types today. In 1929, Stanley Morison and the design staff at the Monotype Corporation used Griffo's roman as the model for a revival type design named Bembo. They made a number of changes to the fifteenth-century letters to make the font more adaptable to machine composition. The italic is based on letters cut by the Renaissance scribe Giovanni Tagliente. Because of their quiet presence and graceful stability, the lighter weights of Bembo are popular for book typography. The heavier weights impart a look of conservative dependability to advertising and packaging projects. With 31 weights, including small caps, Old style figures, expert characters, and an alternate cap R, Bembo makes an excellent all-purpose font family.

The renowned American illustrator and graphic designer Milton Glaser designed Glaser Stencil in 1970. Glaser Stencil is a perfect summation of both Modernist proportion and New York-style solidity and self-assurance. An all capitals font, the shapes of the letters are reminiscent of popular sans serif faces of the time, such as Futura and ITC Avant Garde Gothic. Like everything New York-related, Glaser Stencil should be used big, in headlines and display applications, where it can play a bold, proud, and confident role.

Empyrean is a display Roman typeface which sets out to be deliberately different. Its letterforms explore white space and the art of leaving things out. Empyrean is a futuristic Roman design which builds in respect for typographic tradition with an exploration of design possibilities.

A sign at the 81st Street (Museum of Natural History) New York subway stop provided the pattern for this mosaic tile face. The font features a full-tile background at the bar position (shift-backslash) and left-and-right pointing fists at the brace positions as well as complete Latin 1252 and Central European 1250 character sets.

One design sparks another. As Alejandro Paul experimented with the strokes and curves of the monoline script Business Penmanship, he discovered interesting new forms and shapes that didn't fit the Spencerian theme of that typeface. These forms simmered in Ale’s subconscious over the next three years, during which time he visited New York City, pored over rare type specimen books in the New York Public Library, and explored Brooklyn’s neighborhoods. Brownstone, the face born from these explorations, is an original 21st-century design, yet one subtly infused with historical and cultural references -- keen observers might spot influences from decorative typefaces of 19th-century foundries. And just as faces from that era were influenced by contemporary architecture, the frames included with Brownstone echo the ornate iron railings of Park Slope’s row houses. (There’s also a slight 1960s vibe to Brownstone, of novelty swash-sans photocompositing faces, that can be played up at your discretion.) Influences aside, Brownstone has broad appeal to modern audiences. A soft, monoline sans-serif, with elements of Swiss geometry (see the ‘k’ and ‘x’), its marriage of highly legible, draftsman-like letterforms with decorative swashes and ornaments reflects the old-meets-new aesthetic of the DIY craft culture seen in Brooklyn and other urban centers. It’s ornamental but unfussy, romantic but understated. Brownstone includes character sets for Latin-based languages, including Western and Eastern European, Baltic, Turkish, Maltese, Celtic and Welsh. Over 1500 glyphs, including small capitals, swash characters, alternates, and ligatures, in both Light and Thin weights. Ornamental frames are also included in both weights. The Brownstone Frames fonts are available as separate fonts in the new Brownstone Slab family.

Cerulea is a unicase from the world of the sky. Drawing inspirations from Art Nouveau, Classical Roman, and Uncial styles, Cerulea's wide, spacious bowls, sharp points, and subtle wandering curves evoke airiness, flight, and fantasy. Seven weights, and true italics for each, range from zephyrous to thunderous. Vary the mood every time you choose between the serious capital form of a letter, the more fanciful lowercase form, or another variant in the stylistic sets. The more than 800 glyphs cover pan-European Latin, Greek, Cyrillic, fractions, circled numbers, planet and zodiac symbols, card suits, chess pieces, ornaments, and more.

Originally released in 1995 as a three font family, Paradigm forcefully addressed the emaciating effect that digitization was then exerting upon traditional serifed typography. Investigating the new media of a much previous era, Nick Shinn deconstructed the first roman type, designed by Sweynheym and Pannartz in 1467, and gleaned, from its minuscules, the low contrast and discreet serif treatment (portrayed by a novel convex effect), which he subsequently applied to both capitals and lower case of a classically proportioned Venetian invention. Now in 2008, the glyphs, metrics and hinting of the 1995 fonts have been refined, Extra Bold and Light weights added, a full range of OpenType features instituted, and the number of characters per style increased almost threefold. It is a major upgrade to a unique typeface.