The Old Times American Family is derived from several letterpress books from the 1880s in the midwest. The fonts were painstakingly compiled from over 100 pages of text and optically balanced for optimum results.

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Bertham Pro Family (4 fonts) is a revival of Frederic W. Goudy’s Bertham typeface.

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Daniel Berkeley Updike seems to have stimulated the architect Bertram G. Goodhue to design the prototype in 1896 for Ingalls Kimball at the Cheltenham Press. Six years later Morris Fuller Benton at ATF developed it into the design and then the series that we know today.“Owing to certain eccentricities of form,” writes Updike, “it cannot be read comfortably for any length of time.” But he concludes: “It is, however, an exceedingly handsome letter for ephemeral printing.” Mergenthaler bought composing machine rights to the original design c.1896, but bought the Benton design in 1904.

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Do you love your country as much as you love fonts? Are you a Comic Fanboy? A CFB with a soft spot in your heart for those spangled superheroes willing to fight for the American way of life? Do you joyously celebrate the 4th of July? Do you admire the Pledge of Allegiance, Old Glory, Lady Liberty, the Star-Spangled Banner? Do you hum the National Anthem on your drive home? Do you put country first?

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Koehler Sans JNL was inspired by a set of cardboard sign kit letters made by the Koehler Sign Company of Missouri (presumably) in the late 1940s or early 1950s.

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Paint Store JNL is the third in Jeff Levine’s series of display fonts modeled from actual water-applied decals that were manufactured by the Duro Decal Company of Chicago (now Duro Art Industries).

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Copperplate Classic Light Floral is the latest addition to my Copperplate Classic Group of fonts. The floral decorations go perfectly well together with the classic forms of the Copperplate. Your decorative designer Gert Wiescher.

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Inspired by the over abundance of cowboy-style fonts in signage while on vacation in Northern Minnesota.

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The three fonts in the Prescott series are re-creations of 19th century favorites with an Old West flavor.

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Home Run Script has the formality of 18th-century English roundhands, narrow, tightly fitted and drawn in a very bold weight and inspired by the English Roundhands and my ITC Eclat font. The x-height is large, and the caps are simply drawn with minimal swashes.

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Inspired by the Froben capitals believed to have been cut by Peter Schoeffer the Younger, son of Gutenberg’s apprentice, this design is neither strictly a Venetian nor an Aldine. The archaic approach and lack of the Aldine model lead us to place the face in the Venetian group. The design owes more to Goudy than to Schoeffer.

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Gnuolane Stencil is a serious stencil font in five weights. While it borrows from 19^th Century grotesque models, it possesses a super-elliptical sixties sneer.

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Centennial Script was designed and cut by Hermann Ihlenburg in 1876 (the centennial of American independence, hence the typeface’s name) for the MacKellar, Smiths & Jordan foundry in Philadelphia. Ihlenburg was then only 33 years old, and these beautiful forms put him on his way to become the most prolific and innovative deco, ornamental and script typeface designer and punch cutter of the nineteenth century.

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Frederic Goudy joined Lanston as art advisor in 1920. One of his first initiatives was to design a new version of Garamond based on original Garamond designs of 1540. Goudy intended his free-hand drawings to be cut exactly as he had drawn them and fought with the workmen at Lanston to keep them from “correcting” his work. This new type was called Garamont (an acceptable alternate spelling) to distinguish it from other Garamonds on the market. (The other Garamonds on the market at that time were later confirmed to be the work of Jean Jannon.)

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Roger Roberson skillfully adapted the sanserif to the monospace IBM typewriter at Lexington, Kentucky, in 1956.

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Designed by R.H. Middleton for Ludlow, circa 1929-30. Digitally engineered by Steve Jackaman.

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New Letter Gothic was designed for ParaType by Gayaneh Bagdasaryan based on monospaced Letter Gothic font by Roger Roberson, 1956–62.

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Phinney Jenson is a font with deep historical roots firmly planted in the fertile soil of the Italian Renaissance. Twenty years after Lorenzo Ghiberti finished his famous East Doors, the Gates of Paradise, of Santa Maria del Fiore in Florence and about fifteen years before Sandro Botticelli painted his Birth of Venus, a French printer by the name of Nicolas Jenson set up a small print shop in the powerful city-state of Venice. The fifteenth century marked the end of the plague and the rise of Venetian power, as the merchants of Venice controlled the lucrative trade of the eastern Mediterranean and sent their ships as far as London and even the Baltic. In 1470, Jenson introduced his Roman type with the printing of De Praeparatio Evangelica by Eusebuis. He continued to use his type for over 150 editions until he died in 1480.

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Isbellium is a sans serif version of Dick Isbell’s Americana type, the last type cut in metal by the American Type Founders Co. (ATF). Isbell’s Americana has a wide stance with a great deal of elegance and Isbellium tries to hang on to that elegance. This is more difficult to achieve in a sans serif than a serif type. It has some of the flair of the serif but with a quieter voice and a polite authority.

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Antique Tuscan No.9 was one of the earlier wood-type designs by William Hamilton Page. It was first shown among the specimens produced in 1859, shortly after Page entered into a new partnership with Samuel Mowry, owner of the Mowry Axle Company. The new company was named Page and Company and was located at the Mowry facility in the Greenville section of Norwich, Connecticut.

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This font is dedicated to the glorious flag of the U.S.A., “Old Glory”.

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A tribute to George Bruce.

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This revival of Harry is based on the original design by Marty Goldstein (and C.B. Smith).

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Michael Doret had been doing lettering in styles similar to Metroscript in his design work for many years, but with the advent of OpenType technology he realized that he could actually put together a script font that would finally do justice to this style, and be almost indistinguishable from hand-lettering.

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It was our initial intention to develop a suitable lowercase for Les Usherwood's Elston typeface, based on a few characters from an old German typeface called Hermes Grotesque (Woellmer, Berlin).

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Wrap your chilly fingers around this ultra cool swingin' typeface! Cocktail Shaker is a swanky retro connecting script born out of 1950s lounge culture. Often referred to as the ‘googie’ look, Cocktail Shaker blends a casual loungy script with clean readability and a twist of modern Atomic Age charm.

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The standard American sanserif of the first two thirds of the twentieth century, prepared for ATF by Morris Fuller Benton in 1908 under the name News Gothic, with a matching lightface known as Lightline Gothic. Linotype’s Trade Gothic follows News Gothic except for its widely-spaced straight-sided boldface based on ATF Alternate Gothic No.3. Linotype matches News Gothic Bold, a boldface version that originated at Intertype, with Trade Gothic Bold No.2. Ludlow Record Gothic follows News Gothic more loosely.

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Whether you prefer Drip or Automatic, there is nothing quite like quality Coffee Service!

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Colo Pro is a custom font which is applicable for any type of graphic design - web, print, motion graphics etc and perfect for t-shirts and other items.

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The typewriter was patented in 1868 by Christopher Latham Sholes, who sold his rights to the Remington Arms Company in 1873. The first typewriters were initially thought to be replacements for printing and so typewriter keybars utilized printing types; monospaced typefaces, that is, those designed so every letter takes up the same amount of space were a more practical alternative and soon replaced printing types.

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Philip Bouwsma’s offbeat mind, always working in mysterious ways, brings us one the unlikeliest syntheses of historical influences in a perfectly fluid, organic, and highly expressive connected script.

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Le Havre is a geometric sans serif inspired by the golden era of the passenger ship, when getting to your destination was a delight in and of itself.

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Designed in 1975 by Tony Stan, ITC Cheltenham is a revival based on a turn-of-the-century design by architect Bertram Grosvenor Goodhue. Typefaces from that period were often thin and anemic in appearance, and Cheltenham was created as an alternative; the original Cheltenham was designed with long ascenders and short descenders as a result of legibility studies indicating that the eye identifies letters by scanning their tops. ITC Cheltenham combines heavier stroke weights with condensed proportions and a large x-height to provide a legible, unusual text type.

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The designer-favorite Blue Goblet series has been extended once again with Blue Goblet Frames and Vignettes.

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The 1974 design for ITC Lubalin Graph is based on Herb Lubalin’s earlier design of ITC Avant Garde Gothic. The basic geometric character shapes are identical in both designs, while Lubalin Graph has the added feature of slab serifs.

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News Gothic was the standard American sanserif of the first two thirds of the twentieth century with narrow proportions and a large x-height.

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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.

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MVB Solano Gothic Bold was originally designed as a display face for the City of Albany, California, located on the San Francisco Bay facing the Golden Gate Bridge and bordering the the Berkeley hills. Named for the City’s main street, the typeface needed to work on signage in proximity to older buildings, in contemporary settings, and for general print and web use. Rather than creating a neutered design to cover all bases, Mark van Bronkhorst chose to develop a simple, strong, condensed face that would offer flexibility of style by providing both retro and neutral forms.

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In 1992, Red Rooster Typefounders created Block Gothic Extra Condensed based on the TP Collection Block Gothic.

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Buffet Script is based on fantastic calligraphy by Alf Becker, arguably the greatest American sign lettering artist of all time.

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Jezebel is all dressed up for you. And if she can't make your mouth water and eyes light up with love, nobody else can. She’s got bigger hair than Dolly and Elvira together, more tongue than a Kiss concert with Jagger opening, more leg than a Moulin Rouge premiere, more sword than a pirate ship, and more loop than a chartered accountant. She’s the queen of now, the essence of cool, the twenty-first century fox. She’s the ever playful and creative girl with so much talent her art just cannot be restrained. She’s got popular culture on a long but strong leash. She looks gorgeous and positively glamorous no matter what color she wears. And last but not least, she’s got the charisma to make people of all ages want more of whatever it is she feels like offering.

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Morris Fuller Benton’s 1931 design, reworking the model of Memphis for ATF.

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One can never be too tall or too thin, the old adage goes. Sympathique is quite fashionably both.

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Mahalia draws inspiration from vintage hand-lettering, but adds a modern, European twist.

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Weird Bill is Squid’s tribute to his most prominent influence, Bill Campbell, model kit box illustrator extraordinaire and creator of the Weird-Ohs!.

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An elegant face with dashing swash caps, based on an old American Type Founders typeface called Canterbury.

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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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ITC Machine was released in 1970.

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Designed by Les Usherwood. Digitally engineered by Paul Hickson. Les never released this completed typeface before his untimely death in 1983.

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Based on the Keystone Type Foundry design, circa 1919. The l/c ‘g’ appears as an alternate character in our font.

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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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Originally designed by Morris F. Benton for ATF in 1920, it was not completed for production until 1926.

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FranklinGothicHandLight is part of a series of hand-drawn fonts from way back in time – before computers changed the way we worked.

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This font was inspired by Spencer’s patterns, particularly the elegant varieties called “Ladies Hand” in some handbooks.

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Although initially inspired by the neon sign in front of Canter’s Delicatessen in Los Angeles, the design of Deliscript Upright and Deliscript Slant soon took on a life of its own–and its own distinctive look. Like its sibling Metroscript, Deliscript has many features that expand its usability such as the the variable length tails which can be accessed in 6 different styles, and the never before seen crossbars which can be extended outward in either direction from the lower case “t”. Throw in the special “WordLogos”, tons of ligatures and foreign accented characters, and you have a recipe for typesetting that approaches the look of hand-lettering. For a better understanding of its unique features please download The Deliscript User Manual—available in the Gallery section.

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Inspired by Goudy’s original from 1905, Biondi maintains the classic wide and squarish shape that made Copperplate Gothic a design staple and moves it forward to the 21^st Century.

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The Le Havre series is a series of geometric sans serifs inspired by the dignified era of the passenger ship, when getting to your destination was a delight in and of itself.

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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.

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It was our initial intention to develop a suitable lowercase for Les Usherwood's Elston typeface, based on a few characters from an old German typeface called Hermes Grotesque (Woellmer, Berlin).

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The classical nineteenth century engravers’ form, with corners sharpened with a flick of the burin. F.W. Goudy captured the design as a typographic series for ATF in 1901.

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Appropriately named, Americana was designed by Richard Isbell for American Type Founders in 1966 in honor of the then upcoming U.S. Bicentennial.

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Based on an early wood type design. An original creation.

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Designed by the famous English (type designer) Eric Gill, it was created specially for the Silver Jubilee Wedding Anniversary announcement of George VI and Queen Mary.

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Neon Bugler is a font based on the third logo created by Harry Warren in early 1975 for his sixth grade class newsletter, The Broadwater Bugler, at Broadwater Academy in Exmore, Virginia, on Virginia’s Eastern Shore.

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