The Englishman William Caslon punchcut many roman, italic, and non-Latin typefaces from 1720 until his death in 1766. At that time most types were being imported to England from Dutch sources, so Caslon was influenced by the characteristics of Dutch types. He did, however, achieve a level of craft that enabled his recognition as the first great English punchcutter. Caslon's roman became so popular that it was known as the script of kings, although on the other side of the political spectrum (and the ocean), the Americans used it for their Declaration of Independence in 1776. The original Caslon specimen sheets and punches have long provided a fertile source for the range of types bearing his name. Identifying characteristics of most Caslons include a cap A with a scooped-out apex; a cap C with two full serifs; and in the italic, a swashed lowercase v and w. Caslon's types have achieved legendary status among printers and typographers, and are considered safe, solid, and dependable. A few of the many interpretations from the early twentieth century were true to the source, as well as strong enough to last into the digital era. These include two from the American Type Founders Company, Caslon 540 and the slightly heavier Caslon #3. Both fonts are relatively wide, and come complete with small caps, Old style Figures, and italics. Caslon Open Face first appeared in 1915 from the Barnhart Bros & Spindler Foundry, and is not anything like the true Caslon types despite the name. It is intended exclusively for titles, headlines and initials, and looks elegant whether used with the more authentic Caslon types or by itself.

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as "modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. The Bauer Bodoni was done by Heinrich Jost for Bauer Typefoundry in 1927. This version has finer details of the original Bodoni types. It works well for headlines, logos, advertising.

Cove is a very modern wide type design sure to jazz up what ever you use it on.

a free digitization of ancient types of Ottaviano Scotus, from incunabula times, printed in Germany by Anton Koberger

A revival of an unusual wooden type font of the 19th century, a sans serif, suitable for display.

A revival of one of the popular wooden type fonts of the 19th century, extra bold, slab Antique.

A compressed wood poster type from the mid-1800s. Certainly handy for excessive copy on a single line.

Adelon Serial is a classic flare serif typeface. Use it for titling, packaging, and other types of headlines.

A unique semi geometric type that is inspired by natural round forms that flow in a sweet harmony.

a classical wood type era box ornament using blackletter... a beautiful arrangement for publishing edition and other jobs

A revival design by Malcolm Wooden of DTP Types Limited with associated Small Capitals and Old Style Figures.

BillieBob was made by cramping straight shapes into squares. Somewhat reminds me of pre cold-war Russian type.

Champina is handwritten font, Recommended uses for simple write, wall type, decoration, and poster. Free for personal use.

One of the classic display types of the 19th century, a slab font, suitable for text and display.

Evil Type in its purest form Multiple Weights, Alternates, Ready for t-shirt production non-readable NORD weight

Lemonsalt Script! This is a handwritten font made with care and sweetness. With upright calligraphy text form and dancing as well as some additional alternate characters will make it more interesting. Thanks!

Polo is one of Ralph M. Unger's original designs, a very beautiful non-slanted script font, quite lively despite its upright characters. Polo is reminiscent of the wild brush typefaces of 1960s.