The Treasury script waited over 130 years to be digitized, and the Canada Type crew is very proud to have done the honors. And then some. After seven months of meticulous work on some of the most fascinating letter forms ever made, we can easily say that Treasury is the most ambitious, educational and enjoyable type journey we've embarked upon, and we're certain you will be quite happy with the results.

More…

The Treasury script waited over 130 years to be digitized, and the Canada Type crew is very proud to have done the honors. And then some. After seven months of meticulous work on some of the most fascinating letter forms ever made, we can easily say that Treasury is the most ambitious, educational and enjoyable type journey we've embarked upon, and we're certain you will be quite happy with the results.

More…

A three dimensional design has rich textured layers along with a strong drop shadow. This design has four individually drawn outlines to create multiple solutions with layers, colors, gradients and filters. Revenue requires subjective display kerning and compensation.

More…

An original design.

More…

The design of Castellar is patterned after carved letters on a Roman column dedicated to Augustus. It is an elegant all-capitals titling face with an incised or shaded look. Castellar was designed by John Peters for Monotype in 1957, and named after a town in the Alps. Castellar is at its best when used for sophisticated, refined display work.

More…

The BATTISTA typeface stands in the long tradition of the designs developed by Giambattista Bodoni, who made his famous typefaces in the end of the eighteenth century. Similar designs can be found on various specimen books e.g. Alexander Wilson, John Bell, Edmund Fry and Alexander Thibaudeau. One of the best italics was available by Stephenson Blake & Co. foundry form Sheffield, England. In the end of the nineteenth century an unknown punch cutter at the German type foundry Schelter & Giesecke made an very bold cut of this Bodoni design. He brought both designs, the regular and the italic to an new level of harmony.

More…

Great Western is an engraved roman font that reminds you of the old railroad days when steam locomotives made their way across the countryside.

More…

The decorative title typeface was designed at Polygraphmash type design bureau in 1967 by Iraida Chepil.

More…

A great look for formal announcements, business, high-end ads and many other applications.

More…

Based on the Deberny & Peignot, circa 1925. Originally the inline was a capitals only font.

More…

The model for this monocase typeface was issued in the early 1900s by Barnhart Brothers & Spindler with the rather prosaic name of Steelplate.

More…

In 1921, Walter Tiemann designed Narcissus for Klingspor after a suave set of ornamental inline capitals first cut by Simon Pierre Fournier about 1745.

More…

This elegant monocase design is based on a nineteenth-century offering from Britain’s Stephenson Blake Foundry named Fry’s Ornamented No. 2.

More…

Black Pearl is a revival of a middle 1800s ornate calligraphic font possibly created between 1850 and 1870, I spent two years looking for all the letters of this font, once I found them all I immediately went to work on recreating this old classic. I was not able to find any numbers for this font so new to this style are numbers, some punctuation and currency symbols. The Truetype and OpenType formats include an extended character set with Central and Eastern European accented letters.

More…

A black weight decorative typeface with an engraved flare. Merchant was designed for all media and requires subjective display kerning and compensation.

More…

A bold engraver type style with a Wall Street look.

More…

This bold, unique roman typeface has been reworked by Alan Meeks from Rudolph Koch’s 1914 original, Maximillian Antiqua. Ambrose features an aperture in the bold stroke of each letter that gives it an engraved appearance and enhances its classical roman pedigree. Ideal for advertising that requires a look of tradition and quality.

More…

This all capital style is reminiscent of a 19th century Victorian woodcut typeface. It was designed with many alternative letters and is ideally suited for work where a period or antique look is desired. Created by Letraset Studio’s talented type designer Phillip Kelly.

More…

Cactus majestically blooming in the desert is truly a wondrous event! As the landscape cools, nature blossoms into a beautiful rainbow of colors. These same harmonies and contours, plus a dash of ruggedness and legibility, help to make Cactus Flower Open a superb choice for display work. This cowboy boot style is an old Speedball favorite originated by lettering artist Ross F. George. It’s especially useful for creating distinctive headlines and titles where a Tuscan look is desired.

More…

Mark van Bronkhorst designed Celestia as an alternative to Caslon Antique at a time when few rough-edged fonts were available. He borrowed the basic forms from an early attempt he’d made at designing an oldstyle roman typeface, this time redrawing the letterforms with stronger serifs and adding the rough-edges. Designed to be more open and readable in text settings than Caslon Antique, Celestia’s gentle roughness becomes more apparent when used in display settings. An italic design, based on van Bronkhorst’s calligraphy, complements the roman character set.

More…

Based on the William T. Sniffin design for ATF, circa 1928.

More…

Two typefaces called Stencil were released in 1937 within a month of each other; this one was designed by Gerry Powell for American Type Founders. The characters are designed to emulate the look of bold, cut-out stencil letters.

More…

Gerry Powell’s stencil version of Clarendon designed for ATF in 1938.

More…

Based on custom design work by DTP Types Limited in 1990.

More…

Sweet Gothic is a 2009 addition to the Sweet Collection of engraved lettering styles from the 20th Century. 

More…

Sweet Gothic Serif is a 2009 addition to the Sweet Collection of engraved lettering styles from the 20th Century. It is a serif variant of Sweet Gothic.

More…

I don't know what other typedesigners call those long swirling embellishment, but I call them “Monkeytails”. So when I decided on this version of my good old Royal Bavarian, I decided to call the new font “Monkeytails”. I just fell in love with this name.

More…

Based on a specimen of an obscure and uncredited old face called Kitterland, Hamlet is one of those curiosities hardly ever noticed in the world of modern fonts, the kind that infuses a variety of historic Blackletter and calligraphy traits in an otherwise Roman alphabet. Such typefaces, what few of them exist, are almost always classified by typophiles as traditional decorative Roman alphabets. We beg to differ. We think such hybrids are fascinating enough to deserve a classification of their own. And we think today’s aspiring letterers and type designers would benefit from paying special attention to this kind of hybrid alphabet, not only because it has much more hand than machine in it, but also because it is a prime example of how to succeed in mixing different lettering techniques into one self-contained and distinctly functional alphabet.

More…

Based on the design ‘Phosphor’ by J. Erbar, for Ludwig & Mayer, circa 1922-30.

More…

A set of square capitals developing from the interest in geometric forms stimulated by the Bauhaus, Bank Gothic was designed by Morris Fuller Benton for ATF in 1930, the same year that Georg Trump designed City for Berthold.

More…

Based on the earliest ATF/M.F. Benton versions of the Bank Gothic typefaces. ‘Fleshed-out’ into a full family.

More…

A longtime font favorite of his, Michael felt that a set of lowercase characters would make Bank Gothic a more universally useful font. He set out on this ambitious task always mindful of the huge presence of its original designer, Morris Fuller Benton, hoping that whatever he did would live up to the high standards of this former giant of the font world.

More…

Designed at American Type Founders in 1930-33 by Morris F. Benton.

More…

The Latin family of typefaces, first popular in the last half of the nineteenth century, is characterized by its large, sharp, triangular serifs.

More…

Typefaces designated as “Latins” were popular during the last half of the nineteenth century. One of the styles that continued to be popular into the twentieth century is the bold condensed Latin.

More…

A 1926 travel brochure for a steamship line provided the basis for this darkly sparkly spritely font. Smooth curves and an off-center inline treatment gives this typeface a strong architectural feel.

More…

The American Type Founders 1923 Specimen Book and Catalogue called the inspiration for this typeface “Engravers Text”; it could easily be called elegant, enchanting and erudite, as well.

More…

Linotype’s Engravers Bold Face—with its wide set, extreme contrast, and sharp serifs—is instantly recognizable as a turn-of-the-century American business typeface. It is based on a typeface designed for the American Type Founders in 1902 by Morris Fuller Benton. It was frequently seen on broadsides, business cards, and letterheads and suits those purposes equally well today.

More…

The 1907 Barnhart Brothers & Spindler type specimen catalog called this unique typeface simply “Umbra”. Since that name is already taken, it now has another.

More…

The Poole Chiselcut faces are a useful companion to the regular Poole fonts.

More…

This unusual headline font is based on lettering found on a travel poster, advertising passage to Morocco on the Paris-Lyon-Méditerranée line, designer unknown, circa 1930.

More…

This font has been on the range so long it smells like chipotle chilis, cracked leather and 5-card stud.

More…

Designed by the outstanding British designer Alan Birch, this dramatic typeface conveys all the immediacy, impact and effect of a stencil or rubber stamp on paper. Suitable for many large display applications, and any work that would be enhanced by a stencil, branding or rubber stamp effect.

More…

Narcissus Open is a heavy typeface designed by Walter Tiemann in 1921 for the Klingspor Foundry in Germany.

More…

Inspired by American sportswear graphics, this ‘Comstock’ or inline san serif style incorporates wedge-like cut-outs instead of curves. An excellent graphic option for work related to sports. Designed by Colin Brignall in the Letraset Type Studio.

More…

Caslon Open Face was issued by the Barnhart Brothers & Spindler foundry in 1915. It was originally called College Oldstyle and was initially a reproduction of Le Moreau de Jeune, a type from the France’s G. Peignot foundry; BB&S admitted to taking a liberty when they put it in the Caslon category. Caslon Open Face is nonetheless a useful display face that leaves an impression of elegance when used sparingly in display work.

More…

Railhead is a revival of an 1870s type style that was originally available from both the Bruce foundry in New York and James Conner’s Sons type foundry.

More…

Designed by M. Fahrenwaldt for the Schriftguss foundry in 1929, Minister is a contemporary design based on Garalde types.

More…

Designed by Les Usherwood. Digitally engineered by Steve Jackaman. A few weights were originally released by another foundry; but this complete version of the family is a better match to Les’ original drawings!

More…

Black Rose is the plain version of an old Bruce Type Foundry font called “Black Ornamented” created in 1873.

More…

Letraset’s talented type designer, Vince Whitlock, was inspired by the elegant Caslon series when he created Academy Engraved. The exquisite letterforms of this traditional Roman typestyle make it ideal wherever a refined, classical appearance is desired.

More…

A small x-height typeface, originating with engravers near the start of the twentieth century, appearing in type in the 1923 ATF specimen.

More…

Based on Iberica by Carlos Winkow for the Spanish foundry, Nacional, circa 1942.

More…

LineDrive was inspired by an obscure 19th century type design. It has no curved lines. It might work best with only upper case, which have a Victorian feel to them.

More…

British designer Alan Meeks has brilliantly captured the sophisticated elegance of the 1920’s and 1930’s jazz era with this Art Deco typeface. The bold roman style is enhanced with an interior design reminiscent of a piano keyboard. An excellent choice where an Art Deco look or a refined, polished effect is desired.

More…

Youngblood is a non-connected formal script with tall, sweeping ascenders and two alternates. These alternate forms can be mixed and matched for a custom look, and Youngblood is stronger in weight and is better suited for display work than most script fonts.

More…

An inline gothic display font based in mid-twentieth century showcard and signpainting styles. All caps with some alternates in lower case keyboard positions.

More…

An inline gothic display font based in mid-twentieth century showcard and signpainting styles. All caps with some alternates in lower case keyboard positions.

More…

This unusual display face is another in a series of works based on the work of lettering artist Samuel Welo. The sinewy curves and radiant inline decoration give this typeface a cozy, warm and inviting charm. Named after the informal radio addresses popularized by Franklin Delano Roosevelt.

More…