Tarocco is a typical book face with good readability and rather tall x-height. The origin for this typeface is found in Nordisk Antikva. A typeface especially constructed with attention for the Swedish language. Waldemar Zachrisson was determined to realize his ideas and in 1906 he began to cooperate with the foundry Genzsch & Heyse, based in Hamburg. Some influences of Jugendt can be found and the typeface were released in 1910. It became rather popular until around 1930. The MRF version includes 7 weights all together.

Magazin ST is powerful but delicate. What fascinated me seeing, a couple of letters, in Bob Roy Kelly's book (American Wood Type:1828-1900) were the little squares in the corners that represent a glow from lighting coming from below and from the right. Such ambiguity excited me and I thought that today with digital resources it wouldn't take long to do it. Seeing it working is excellent. Look In the posters what it is for and the effects it produces, including the sensation of relief.- L.S.

Manolo was a Ludwig & Mayer in-house design from the beginning of the 20th century. Though more formal than many others, the design keeps its Art Nouveau air. This beautiful font was completely redrawn and redesigned with giving the numerals more style. Two stippled border elements were added which you can reach by typing [alt] + P and [alt] + p. Like most fonts of this era, RMU Manolo comes with a long s too. RMU Manolo encompasses most European languages, Central and West, plus Turkish.

Blackletter is the classic “German” printing type. Starting in the 16th century and lasting well into the 20th century, most works in Germany were printed using blackletter types. Today, blackletter fonts are mainly used decoratively. If you want to communicate a feeling of old-world quality or nostalgia, blackletter fonts are the preferred choice – use them on signs, in brochures or on invitation cards. “Lincoln Text Pro” is a classic blackletter font of its epoch which inspires you to create vintage-looking designs with ease.

Blackletter is the classic “German” printing type. Starting in the 16th century and lasting well into the 20th century, most works in Germany were printed using blackletter types. Today, blackletter fonts are mainly used decoratively. If you want to communicate a feeling of old-world quality or nostalgia, blackletter fonts are the preferred choice – use them on signs, in brochures or on invitation cards. “Wilhelm Gotisch Pro” is a classic blackletter font of its epoch which inspires you to create vintage-looking designs with ease.

Blackletter is the classic “German” printing type. Starting in the 16th century and lasting well into the 20th century, most works in Germany were printed using blackletter types. Today, blackletter fonts are mainly used decoratively. If you want to communicate a feeling of old-world quality or nostalgia, blackletter fonts are the preferred choice – use them on signs, in brochures or on invitation cards. “Rundgotisch No2 Pro” is a classic blackletter font of its epoch which inspires you to create vintage-looking designs with ease.

Have you seen that new font from Comicraft it's lovely isn't it all soft and spongy it fair warms the cockles of me heart Mrs Robinson at number forty three she has one she got it down at the store on the corner you know the Indian convenience open all night my Albert gets his Heineken down there late of an evening and you know what I saw all manner of strange people down there last week super heroes I think they were Blimey!

Blackletter is the classic “German” printing type. Starting in the 16th century and lasting well into the 20th century, most works in Germany were printed using blackletter types. Today, blackletter fonts are mainly used decoratively. If you want to communicate a feeling of old-world quality or nostalgia, blackletter fonts are the preferred choice – use them on signs, in brochures or on invitation cards. “Schwarzwald Pro” is a classic blackletter font of its epoch which inspires you to create vintage-looking designs with ease.

First partnership between Firmorama.com & dooType studios, Très Très Chic is a display font, developed to be versatile and illustrative, with strong features that provide personality to the drawing. The characters were built based in primary geometric forms and the gentle delicate lines, in their main purpose, make this font very appropriate to the feminine universe. On the other hand, this font has its form filled with black, that could be applied evenly for a composition more dynamic and amazing, with variation of shapes and weight.

This decorative font is based on Cyrillic Vyaz of XV-XVI centuries. This type of letters were used as display faces in sacred texts. In Vyaz, the letters are characteristically fitted to each other so the letter sequences look as one solid ornamental frieze. The font is rich in discretionary ligatures which help to accentuate the style of Vyaz. In addition to letters and standard characters there is a number of monograms and Christian symbols. These and other features are available in OTF format.

Blackletter is the classic “German” printing type. Starting in the 16th century and lasting well into the 20th century, most works in Germany were printed using blackletter types. Today, blackletter fonts are mainly used decoratively. If you want to communicate a feeling of old-world quality or nostalgia, blackletter fonts are the preferred choice – use them on signs, in brochures or on invitation cards. Fraktur No2 Pro is a classic blackletter font of its epoch which inspires you to create vintage-looking designs with ease.

Blackletter is the classic “German” printing type. Starting in the 16th century and lasting well into the 20th century, most works in Germany were printed using blackletter types. Today, blackletter fonts are mainly used decoratively. If you want to communicate a feeling of old-world quality or nostalgia, blackletter fonts are the preferred choice – use them on signs, in brochures or on invitation cards. “Hohenstein Gotisch Pro” is a classic blackletter font of its epoch which inspires you to create vintage-looking designs with ease.

Kantor's modular stroke and humanist axis defines it as an old-style 15th century Venetian serif typeface. At the same time, the lowercase Kantor alphabet is relatively compressed and has the vertical stems of a textura blackletter. However, Kantor has distinct, penformed shapes and has also kept all the organic irregularities of traditional handwriting (or punch-cutting, as it were). Kantor is not happy, not sad - but calm and dignified. Perfect for buddhist poems, fantasy video games and antique scrolls to give that "long time ago"-feeling.

Introducing Kavo Sans Serif typeface - 4 weights Kavo is clean, modern typeface with 4 weight, ligatures and multilingual support. It's a very versatile font that works great in large and small sizes. Kavo is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. Uppercase, numeral, punctuation & Symbol Light Regular Bold Black Multilingual support Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

Tritura is my personal take on textura fonts. Several methods of drawing were used, both analog and digital, to bring its overall rough feel. Each and every character was designed not from historical references, but from my view on this very peculiar typographic style. Instead of following established rules of character construction, I preferred to just keep in mind the mechanics of the pens used in textura drawings, as well as the little I already knew from the style, to create my own characters from there.

Heartstrong Script is a monoline script and carefully crafted with personality. It easily for creating the traditional style logos, labels, package designs, lettering for t-shirts, and many others. Mix and match Heartstrong with a bunch of alternative characters to fit your project. The alternative characters in this font were divided into several OpenType features such as Stylistic Alternates, Swash, Stylistic Sets, and Ligature. The OpenType features can be accessed by using the OpenType program such as Adobe Illustrator, Adobe Photoshop, and Adobe InDesign.

Blackletter is the classic “German” printing type. Starting in the 16th century and lasting well into the 20th century, most works in Germany were printed using blackletter types. Today, blackletter fonts are mainly used decoratively. If you want to communicate a feeling of old-world quality or nostalgia, blackletter fonts are the preferred choice – use them on signs, in brochures or on invitation cards. “Walbaum Zierfraktur Pro” is a classic blackletter font of its epoch which inspires you to create vintage-looking designs with ease.

Blackletter is the classic “German” printing type. Starting in the 16th century and lasting well into the 20th century, most works in Germany were printed using blackletter types.Today, blackletter fonts are mainly used decoratively. If you want to communicate a feeling of old-world quality or nostalgia, blackletter fonts are the preferred choice – use them on signs, in brochures or on invitation cards. “Peter Jessen Schrift Pro” is a classic blackletter font of its epoch which inspires you to create vintage-looking designs with ease.

Butan was originally designed as a typographic project for the Specialization in Typography Design at the University of Buenos Aires, during the years 2013 and 2014. The project was conceived as a “wayfinding” font, that would be functional for bilingual signage systems. The main guideline for its design was to create a font that could be readable from great distances and it could be potentially used in signage systems. Therefore the neutral aesthetics and clean shapes were very relevant in order to create this particular font.

Rosales integrates humanist style with geometry in a typography highly inspired by calligraphy. It has eight weights in round and italic variants, which also have a set of initial capital letters, small caps, Oldstyle and Lining figures, as well as two stylistic sets that allow for more humanist or more geometric versions. Basically, it covers whatever you’re going to need. The family’s extreme weights were designed for titles, while the intermediate weights are for texts. The first ones are perfect for displays and logos.

Blackletter is the classic “German” printing type. Starting in the 16th century and lasting well into the 20th century, most works in Germany were printed using blackletter types. Today, blackletter fonts are mainly used decoratively. If you want to communicate a feeling of old-world quality or nostalgia, blackletter fonts are the preferred choice – use them on signs, in brochures or on invitation cards. Breitkopf Fraktur Pro is a classic blackletter font of its epoch which inspires you to create vintage-looking designs with ease.

Twentieth Century was designed for the cover of 20th Century French Poetry and was drawn with pure geometric shapes. It is the distillation of a broad variety of styles loosely known as Art Deco but, also categorized under such terms as Moderne, Streamline, Machine Age, Futurist, 70s Art Deco, Memphis among others. If there were a source in particular that I would cite as my inspiration, however, it would definitely be the work of Frank Lloyd Wright. I mean, look at the "W" for cryin' out loud!

Down in his secret underground font laboratory, mild mannered John Roshell was tinkering with his iPad when the Apple Pencil suddenly bit him and he found himself feverishly creating letterforms on the tablet... Before long his hand was burning and glowing with superspeed — his penstrokes were longer than one-eighth of a mile; he was suddenly able to letter a twenty-story omnibus with newfound fontastic strength and could create tremendous weights with more leading than an express train... And thus was born: ORIGIN STORY!

The sheet music for the 1934 tune "Two in A Dream" had the title hand lettered in a bold type style that utilized some stencil and some solid lettering. Following through on the stencil portion of the design, Tuxedo Stencil JNL was created in both regular and oblique versions. The 1930s were the era of elegant supper clubs and night spots, and it was not unusual to find gentlemen all decked out in formal wear for an evening on the town, hence the font's name.

Moscow-based designer Julia Borisovna Balasheva created her Lubok face as a pictogram-based font. The term "lubok" refers to a popular style of Russian folk art printing, which dates back to the 18th Century. In Lubok, Bakasheva has digitised several whimsical characters and animals, which were common in these prints. She suggests that you use Lubok's symbols to illustrate fairy tales; we suggest that you use Lubok to decorate everything: from your next office party invitation to comic books of your own design!

Rossika is a four-style typeface designed by Oleg Karpinsky in 2002-2004 for the ParaType company. The general design and some letterforms were borrowed from antique Russian typefaces of XV-XVIII centuries. For example, the upper Cyrillic N has a diagonal stem, a tail of Ц character is attached in the center unlike major contemporary designs. Some characters have alternatives. There are several Latin and Cyrillic ligatures. Rossika is intended for logos, headlines and short text blocks: posters, calendars, post cards, diplomas, certificates and the like.

Blackletter is the classic “German” printing type. Starting in the 16th century and lasting well into the 20th century, most works in Germany were printed using blackletter types. Today, blackletter fonts are mainly used decoratively. If you want to communicate a feeling of old-world quality or nostalgia, blackletter fonts are the preferred choice – use them on signs, in brochures or on invitation cards. “Hans Fraktur Pro” is a classic blackletter font of its epoch which inspires you to create vintage-looking designs with ease.

Strangelove Next is inspired by Stanley Kubrick’s movie “Dr. Strangelove”. The original titles were designed by Pablo Ferro, who is one of the most acclaimed film title designers, especially famous for his hand-drawn lettering. The Strangelove Next family contains the highly successfull narrow version, a new expanded version and finally a mix of the first two, which gives it a surprising and unpredictable look. All three styles have more glyphs than the original family. Looking for a serif version? Have a look at Strangelove NextSlab!

Dr066 is a display font that simulates the appearance of typewritten text. Each letter in Dr066 has been carefully designed to resemble the effect you get with a typewriter. This effect adds a sense of nostalgia to the text, as if it were from a bygone era, adding an authentic charm to the designs. Dr066 retains its varied and extravagant style, giving the text a lightness and a certain nonchalance. Its distinctive and daring letters make it ideal for projects that strive for a unique look.

Sacred Bridge is an old fashioned display typeface, inspired by vintage signage combined with ornaments that were inspired by certain Indonesian tribe ornament feels, because our little type foundry is focused on vintage display fonts. Till now at least. Sacred Bridges offers a layered system, with regular, rough and slant versions from each style. And don't forget about the Extras (ornaments) we offer. You'll get separate ornaments and objects that you can mix and match. We also give you most of our ornaments seen in our display.

Violant fonts are designed as a tribute to Queen Violant, wife of Jaume 1st, king of Aragon, a woman of strong character, who supported her husband in the conquest of Valencia in 1238. Probably, Violant read texts in Gothic letters, which at that time were subjected to a stylization process in Castile and Aragon. Violant family comes with 736 glyphs, with OpenType features, swashes for all glyphs, stylistics sets, stylistics alternates, a lot of ligatures and a generous set of ornaments to play with your texts.

The Troyer AR ornaments are based on the first series of ornaments designed for American Type Founders by Johannes Troyer (1902-69). They were cast in 36 and 48 point in 1953 by ATF who said that they ‘mark a distinct and refreshing departure from the motif of earlier ornaments, and add a crisp touch to your finer printing’. Kenneth Day, in The Typography of Press Advertisement (1956), found them 'clean-cut and bright and clearly showing their calligraphic origins . . . useful for single decorative touches'.

Zootype –the first original single font– was designed in 1997 by Victor Garcia of Argentina and as a winner of Linotype's Second International Type Design Contest is included in the TakeType Library. The three additional family styles –Zootype Air, Zootype Land, Zootype Water– were added in 1999. In the words of the designer, the design concept is meant to display the funny, happy joy of animal nature.’ Animal heads peek into the block forms of the letters, giving the font a unique whimsical character.

Blackletter is the classic “German” printing type. Starting in the 16th century and lasting well into the 20th century, most works in Germany were printed using blackletter types. Today, blackletter fonts are mainly used decoratively. If you want to communicate a feeling of old-world quality or nostalgia, blackletter fonts are the preferred choice – use them on signs, in brochures or on invitation cards. Coelnische Current Pro is a classic blackletter font of its epoch which inspires you to create vintage-looking designs with ease.

The Brunette font was created with the sole purpose to serve companies that want to express character, emotion, and personal touch through their logotypes (think Bakeries, Juice Bars, Cafes, Jewelry stores, etc.) Brunette was made entirely from scratch (handwritten letters on paper), which were then vectorized and tweaked to gain consistency. The charm of the font is in its irregularity and resemblance to real handwriting. Brunette is perfect for businesses that want to convey a casual and organic image while making their products more human and approachable.

Why use a simple emoticon to express unhappiness or sadness when you can have an entire font proclaiming your feelings? This is a font that may work for notes of sympathy, whether real or in jest. For the smiley version, see AllSmiles, and if you only want to proclaim a only a little sadness, you can temper the feelings with a plain version of the typeface, FebDrei. In the update of 2011, emoticons were added in the appropriate unicode slots (unicode 1F601 to 1F640 slots)

Blackletter is the classic “German” printing type. Starting in the 16th century and lasting well into the 20th century, most works in Germany were printed using blackletter types. Today, blackletter fonts are mainly used decoratively. If you want to communicate a feeling of old-world quality or nostalgia, blackletter fonts are the preferred choice – use them on signs, in brochures or on invitation cards. “Theuerdank Fraktur Pro” is a classic blackletter font of its epoch which inspires you to create vintage-looking designs with ease.

It's a very happy day when we stumble upon beautiful alphabets that were never digitized. It is even a happier day when the beautiful alphabet finds its way to us through friends and people who like our work. Some two months ago, the forms of this gorgeous font were pointed to us by a friend who saw it in an old Dover Publications specimen book showcasing historical alphabets. It was there under the name Vanessa, with nothing else to go by. We looked and researched for further information but found nothing else. So this gem comes to you like a coal that winked its way out of the ashes because it wanted to shine again. Flirt is very authentic art deco with a noticeable element of artistic pride, swashy delicate majuscules and very aristocratic, fashionable and flirty minuscules. The majuscules can be used as every other capitals usually are, or as initial caps. The minuscules can very nicely stand on their own quite independently from the caps whenever desired. These letters are quite similar to the hand lettering used on of the kind of theater posters, specifically burlesque and opera entertainment, which are now considered very retro-chic and fashionable to see hanging on walls in home or office. The initial specimen we worked from showed a single basic art deco alphabet with numerals which seemed as they belonged to another font. That alphabet became the base Flirt font, the numerals were redrawn to fit much better with the minuscules, and the character set was greatly expanded to include punctuation, accented characters, and many many alternates, especially for the majuscules. Majuscules with a descending right vertical stroke were a common artistic touch in the high days of theater posters, so we thought they would be great additions to the character set. These alternates can be found all over the font. So to maximize the design fun, have a character map or glyphs palette handy when you use Flirt. After the base font was finished, we thought it would be a good idea to give it a bold treatment unlike anything seen out there, and the farthest thing from the mechanical bolds seen everywhere now. This bolding treatment consisted of thickening the lowercase's vertical strokes inwards, but leaving the horizontal stroke weight as is, and thickening only the thicker vertical strokes of the uppercase. The result is quite the visual feat. We encourage you to test both the regular and bold weights and see for yourself.

Oxford Street is a signage font that began as a redrawing of the capital letters used for street nameplates in the borough of Westminster in Central London. The nameplates were designed in 1967 by the Design Research Unit using custom lettering based on Adrian Frutiger’s Univers typeface, a curious combination of Univers 69 Bold Ultra Condensed, a weight that doesn’t seem to exist but which would flatten the long curves of glyphs such as O, C and D, and Universe 67 Bold Condensed with its more rounded lobes on glyphs like B, P and R. Letters were then remodelled to improve their use on street signs. Thin strokes like the inner diagonals of M and N were thickened to create a more monolinear alphabet; the high interior apexes were lowered and the wide joins thinned. The crossbar of the A was lowered, the K was made double junction, and the tail of the Q was given a baseline curve. K-Type Oxford Street continues the process of impertinent improvement and includes myriad minor adjustments and several more conspicuous amendments. The stroke junctions of M and N are further narrowed and their interior apexes modified. The middle apex of the W is narrowed and the glyph is a little more condensed. The C and S are drawn more open, terminals slightly shortened. The K-Type font adds a new lowercase which is also made more monolinear so better suited to signage, loosely based on Univers but also taking inspiration from the Transport typeface both in a taller x-height and character formation. The lowercase L has a curled foot, the k is double junctioned to match the uppercase, and terminals of a, c, e, g and s are drawn shorter for openness and clarity. A full repertoire of Latin Extended-A characters features low-rise diacritics that keep congestion to a minimum in multiple lines of text. The font tips the hat to signage history by including stylistic alternates for M, W and w that have the pointed middles of the earlier MOT street sign typeface. Incidentally, Alistair Hall (‘London Street Signs’, Batsford, 2020) notes that when the manufacturer of signs was changed in 2007, Helvetica Bold Condensed was substituted in place of the custom design, “an unfortunate case of an off-the-peg suit replacing a tailored one” and a blunder that has happily since been rectified, though offending nameplates can still be spotted by discerning font fans.