The OpenType versions of Applewood and Applewood Alternate have 26 ligature features that when used with OpenType-savvy applications will automatically substitute a unique pair of distressed characters when any lower case letter is keyed twice in a row.

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Fenwick is not just another name on a map. It’s so much more than that. Having just celebrated its 150th Anniversary, Fenwick has become my new hometown and the history is almost palpable here. Situated atop of the Niagara Peninsula and renowned for its fertile soil and excellent growing conditions, all manner of flora and fauna thrive here. Located smack dab in the middle between Lake Ontario and Lake Erie, the region is famous for its wineries and nurseries blessed with an abundance of sun and rain in just the right proportions. Honest, hard-working, happy people whose families have often been here for generations, have nurtured their homesteads and it’s evidenced by every well-managed farm and field, garden full of colourful flowers and a surplus of healthy plants for sale by the roadside everywhere. No one lacks for flowers with so much natural abundance and generosity of local spirit. Local legend says if you push a stick in the ground, it will grow. I wouldn't doubt it.

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Typefaces without serifs were known in nineteenth-century England as Grotesque (or Grotesk in German) because they seemed so unusual to most readers. Monotype Grotesque is a straightforward 1926 design that is among the earliest sans serifs cut for hot-metal machine typesetting.

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Maple is a flamboyant family of types inspired by the irregular grotesques of the 19th and early 20th centuries.

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Originally released by the Stephenson Blake foundry in England, Doric is modeled on one of the sans serifs of William Caslon IV, who was the first to interpret sans serif letterforms into a typeface (1816).

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This font was adapted from an old lettering book, circa 1900. The book got away from us many years ago, but we had made stats of all the potentially useful fonts.

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Twigglee was inspired by the hand lettering on the plates in a 19th century book on ornaments by Owen Jones. The upper-case letters are simply repeated on the lower-case keys.

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Scotch Modern is a revival of the typeface used in the book New York State Cabinet of Natural History.

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The first sans serif types were made in London in the early 19th century. They were severely modern, all caps and bold.

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In 1984 H. Berthold released this redraw of Akzidenz-Grotesk by Günter Gerhard Lange.

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On the sides of freight cars, passenger trains, trolleys, buses and cable cars was once found identifying letters and numbers with a bold, yet quaint hand-painted look.

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Alphacal JNL and Alphacal Black JNL are variants of the same lettering style found in Jeff Levine’s Juneway JNL font... all based on water-applied decals once made by the Duro Decal Company (now Duro Art Industries) of Chicago, Illinois.

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Based on the 1898 Ludlow typeface.

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Kilkenny is a decorative, Victorian-style font based on the metal type named Nymphic that was designed by Hermann Ihlenberg. Ihlenburg was born in Germany in 1843 where he studied art and worked for several German type foundries. He emigrated to the USA in 1866 and worked for the L. Johnson & Co. foundry, later MacKellar, Smiths & Jordan. American Type Founders acquired this typeface when they took over the MacKellar, Smiths & Jordan foundry and Nymphic appears in the ATF catalog of 1896.

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From an old wood type owned by a San Francisco printer.

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In his book of 100 Wood Type Alphabets, Rob Roy Kelly called this face “Teutonic”.

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One in the series of fonts called Whiz-Bang Wood Type, intended to be set large and tight. Pilot Point is based on an older font found in Dan X. Solo’s book on “Circus Type”; the designation fits perfectly. The font gets its name from a small town in Northeast Texas, where several scenes from Arthur Penn’s “Bonnie and Clyde” were filmed.

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As a unique example of late nineteenth and early twentieth century Victorian type, Zinc Italian emits a strikingly beautiful and twinkling luminescence. Oversized initial caps, each containing intricate swirls and curlycues, vibrate stunningly alongside a variety of amusing lowercase letters. Also known as Zinco, this typeface is generously equipped with a charming set of alternate characters including capital figures and some easier-to-decipher lowercase letters.

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This is one of the Victorian standards for job printing issued by the Barnhart Brothers and Spindler Foundry about 1891. It looks old without being decorative, a good counterpoint to fancier types in today¹s old fashioned typography.

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Handlettering on a piece of sheet music from 1903 was the inspiration for this little whimsical wonder. The font features a very sinuous S and teddy-bear bookends in the {brace} positions.

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Old Forge is an antique-effect font, intended to imitate the style and imperfections of 1700s and 1800s printing, in a wide variety of weights.

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A practical yet unique display face designed to offer attention-getting headlines and an alternative to the normal wild west faces.

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Marisco is Portuguese for shellfish. The font arose from the forms of classic tattoo types, especially those of mid-twentieth-century sailors, but it also has something of a nineteenth-century poster type flavor to it.

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This font was inspired by the embossed lettering on cigar boxes. The letters, or entire words, are often surrounded by raised dots, and that was our idea here. We drew this about 1997, and have been refining it ever since.

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This font was inspired by the title logo of the TV show The Wild Wild West (season two). The font was named after the train in the TV show. Wanderer is a combination of my Classic Tuscan Rodeo Clown font and a Robust Slab Serif font.

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Another caps-only font for which we have designed a lowercase. It was originally brought out in smaller sizes for card work, but proved to be so popular that sizes up to 48 point were soon added.

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Silverland is a revival of an old type font from the Bruce Type Foundry of New York, the original font included uppercase only plus 22 end caps. This 21st. century version has been expanded to include many more decorative end caps plus new lowercase, small caps, italic, italic small caps, swash, swash small caps and gothic version. Approximately six months of painstaking work has gone into making this font family over the last twenty two months.

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Inspired by posters of the early 1900s, Revue was designed for Letraset in 1968 by Colin Brignall.

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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.

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Belgian is a revival of an old type font from the Bruce Type Foundry of New York, Belgian was first designed as a caps-only font in the 1860s with the lowercase added in 1867.

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

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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.

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Based on the Stephenson Blake design.

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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.

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Introducing Rough Egyptienne, a typeface offering versatility and rugged flair while always remaining legible.

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A linear slab serif design consisting of fifteen styles. The design has a large x-height with short descenders and ascenders. Antique Central requires subjective text and display kerning and compensation.

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This would be a Clarendon if it weren't for the cute serifs, which set it apart.

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Spanish Main is a revival of an old MacKeller Smiths & Jordan font named Sloping Black. Like most foundries MacKeller Smiths & Jordan doesn't display all the letters of the fonts in their specimen books so it took a little more time to find the complete character set for this old beautiful classic font.

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This idea of “wrong way weights” was originally called French Clarendon by the Americans, Italienne by the French, and American by the Italians. Sounds like nobody wanted to own up to it.

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Curlicues galore on this modern version of a mid-victorian display type.
We started with the caps from a type called Cellini, altered them considerably, and added a lowercase.

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These six typefaces all have an “Old West” look to them.

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This unusual take on a typical woodtype typeface is based on a 1950s Stenso lettering template and, appropriately, takes its name from a small town in Texas not far from Dallas, locally noted for its grand Victorian homes.

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The Fleurons of Paris were inspired by an iron gate, an iron railing, a Metro tile, a Metro stop, the Eiffel Tower, Notre Dame, a rainy afternoon, a glass of wine, an outdoor cafe and the list goes on and on.

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Typefaces with very thin verticals and fat, square serifs were popular in the 19th century for display. Hollywood helped associate this style with the Old West, but reference books identify some of it as Italian style. WyomingSpaghetti, part of an extended family of typefaces, has a name which combines these two associations. Most typefaces of this type are very condensed, but this one is not. The letter o is nearly circular, which is rather unusual in this style.

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Robert Harling’s 1938 revival of this nineteenth century form, designed for Stephenson Blake.

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Issued from the Haddon Foundry in England. Most of their original faces had names beginning with H, like their own name. Some of their types were designed by Phil May, but we cannot guarantee that this is one of them.

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Diablo Light was originally called Fabric and was issued by the Farmer, Little & Co. foundry in New York.

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You may be familiar with a caps and small caps type called Cruickshank.

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This is based on a mid-Victorian Connor’s foundry font originally known as Manhattan.

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The classical Clarendon form originating in England in 1845 as polished by Edouard Hoffmann and Hermann Eidenbenz at Haas a little over a century later. Haas’ revival of this typeface in 1953 precipitated the revivals that follow.

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Inspired by the Jack Daniel’s Black Label Whiskey logo from 1866, the Black No.7 has over 400 glyphs including ligatures, alternates and special characters.
Download the font for the price of a bottle Tennessee Whiskey.

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LeKing comes with an EPS Set with 24 vector ornaments.

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The sixteen styles of Giza bring back the colorful power and variety of the original Egyptian letterforms, a glory of the Victorian era.

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Clarendon Text is a contemporary remake of the truly classic slab serif typeface with a distinctively clear and legible visibility. It is a widely usable text type suited equally well to advertising, books, publications, and a wide range of corporate literature where large amounts of reading matter call for distinction and style without sacrificing readability.

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If a text is set in a good Egyptienne, we can observe a kind of sparkle in the lines. Egyptiennes are cheerful type faces, possibly due to the fact that they developed simultaneously with sans-serif faces. The design principle of a sign from the first half of the 19th century does not have such firm and long-established roots as for example, the Renaissance Roman type face; it is, therefore, much more prone to mistakes which are symptoms of a “decline”.

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A tasty jambalaya of three different weights, Thunderhouse owes part of its unique flavor and diversity to 26 OpenType ligature features that automatically substitute a unique pairing of characters when any lower case character is keyed twice in a row.

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Bureau Grot is now accepted as the essence of tooth and character in an English nineteenth-century sans. The current family was first developed by David Berlow in 1989 from original specimens of the grotesques released by Stephenson Blake in Sheffield. These met with immediate success at the Tribune Companies and Newsweek, who had commissioned custom versions at the behest of Roger Black. Further weights were designed by Berlow for the launches of Entertainment Weekly and the Madrid daily El Sol, bringing the total to twelve styles by 1993. Jill Pichotta, Christian Schwartz, and Richard Lipton expanded the styles further, at which point the family name was shortened to Bureau Grot.

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A flowing script font set, P22 Dearest was inspired by handwritten characters found in a 19th century German book chronicling a history of the Middle Ages. Both P22 Dearest Script and Swash fonts were designed to be used interchangeably with one another, to create a look that can be tailored to your needs and closer simulate elegant handwriting. There are many snap-on swashes included in P22 Dearest that allow you to embellish your text in many different ways.

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Jeanne Moderno is a revisionary type family.

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Beautiful and elegant, Black Swan BF lives equally in bliss as entrance signage for an exclusive housing subdivision, as it does on the cover of a hot new music CD.

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The OpenType versions of Pacifco and Pacifco Alternate use ligature features to substitute unique glyphs when any lowercase character is keyed twice in a row, as well as for fi and fl.

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Straight from the ‘extras’ drawer at the old West print shop, the mismatched Sluicebox character set is comprised mainly of serif type specimens.

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

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