Zingende is a narrow Art Deco font family with 6 weights and 1 solid, counterless style.

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Mostra Nuova is based on a style of lettering often seen on Italian Art Deco posters and advertising of the 1930s.

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

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The inspiration for Jeeves came from Leslie Carbarga’s wonderful book LETTERHEADS, One Hundred Years of Great Design, 1850-1950. It was based on a secondary type usage for the letterhead for Sutherland in New York. The rest of the letterhead had features that were more typical of the Art Deco period, but this script added a touch of timeless elegance. And since at the time I was reading every scrap of P.G. Wodehouse I could get my hands on, the name Jeeves seemed like a perfect fit.

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Estilo is a very elegant headline typeface in a 30s style with plenty of ligatures for better design possibilities and includes Greek.

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Estilo Script is the perfect companion to Estilo.

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I have completely redone the spacing in this font, making the sidebearings more conventional. And after replacing the kerning with fresh pairs working together with the new spacing the font looks like a real gem. I love it!

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Inspired by a piece of cigarette pack lettering by the great A. M. Cassandre, Nick designed the rest of the characters as an experiment. Geetype evokes the 1920s & 30s and is an unusual, eye-catching display face.

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Inspired by retro lettering on advertising & propaganda posters from the 30s to 60s.

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In typographic design, the term biform refers to the mixing of modified small capitals and lowercase letters. The most popular biform face is Peignot, designed by renowned poster artist A.M. Cassandre in 1937 for the French foundry Deberny & Peignot.

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Bifur was originally designed by poster artist A.M. Cassandre in 1929 as a single font and also as a two-part, two-color font.

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Want to build elegance and sophistication into a font? First, start with a narrow stance. That’s always a strong beginning. Second, look to the past for inspiration. But what if you mix in hints of deco and gently sweeping curves and arches and heavily contrasting thicks and thins? Well, that means it’s August, 1935 all over again, and SIGNS of the Times magazine by ST Publications has just released its 44th alphabet by master sign painter, Alf R. Becker.

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Lazar takes its inspiration from the designs of early Russian designers like El Lissitzky.

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Marquisette is a typestyle full of deco flair, with a dominant caps vs. smallcaps character set.

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Concurso Italian was inspired by travel posters of the 1920s. Use it for travel posters, passports, luggage stickers or an elegant vintage look.

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

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Poster type faces from the twenties and thirties are enjoying a new wave of popularity. The summary, even rather hard principle of the sign is required for a view from a distance. The information appearing on the poster must be readable even from the opposite pavement. And, as is often the case with monumental type faces, these type faces are legible even in small sizes. The name Bahnhof suggests the hypothetical use of the type face on railway station buildings. By overlapping the designs Outline and Solid, a two-colour effect can be achieved.

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Wouldn't it be nice to have an assortment of little hand-lettered words? Words like “The” or “A”; “With” or “At”; “To” or “From”? Headline Helpers are word accents that can go just about anywhere. Set off the title of your next design project with one of these little gems. Or use a Helper with your new product introduction headline. Convenient instructions and character map come as standard equipment with this highly desirable addition to your type library.

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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.

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Cortland JNL was modeled [in part] from lettering spotted in the opening credits of Columbia Pictures 1945 Batman® serial.

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Grafika is a completely original design, done in an “Art Deco” spirit reminiscent of the 1920s and ‘30s. I designed Grafika many years ago to be typeset for title cards, and both opening and end credits for the Merchant/Ivory feature film “Savages”. After the film, the design languished in my archives until I rediscovered it. I have digitally redrawn Grafika, completing it with all the alternates, ligatures, math, foreign accented characters and punctuation that weren’t required of the original design for film. Grafika is strongest when set in upper and lowercase—its unique caps extending below the baseline—although all caps settings are encouraged as well.

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Blandly glowing strings of letters in chemical colors call forth endless memories of bars and restaurants, of beer and hot dogs, of casinos on the Las Vegas Strip, the acme of neon.

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The fine line elegance of this 1920’s and '30’s style typeface was created at Letraset by one of the world’s leading experts in type design, Colin Brignall. The lower case is refined with its long ascenders and complemented by capitals that can also be used alone. An excellent choice wherever a feminine, upscale look is desired.

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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.

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Sparrowhawk, a capitals only titling, evokes a suburban English gentility.

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Inspired by retro lettering on advertising and propaganda posters from the 30s to 50s.

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Sweet Titling No. 11 is a 2009 addition to the Sweet Collection of engraved lettering styles from the 20th Century.

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Salso Mangos is a smooth, deco typestyle inspired by the logotype for an old video game called Kangaroo.

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“Faux” is false or phony in French and Decaux is a spoof spelling of Deco, thus “False Deco”.

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Inspired by retro lettering on advertising and propaganda posters from the 30s to 50s.

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Sidewalk Cafe will serve up a look from your Font Menu that’s delectably deco.

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Hadank is a display typeface developed from hand-lettered words in a German printer’s letterhead from the 1920s.

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A font with a strong graphical appeal, based on the logotype lettering for the comic magazine of the same name, designed by Dutch illustrator Joost Swarte.

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Lettering by an uncredited designer on a French travel poster from 1929 provided the inspiration for this ultrabold headline typeface, a curious blend of symmetry and asymmetry. The font’s small descender height allows tight line spacing while maintaining legibility, even in relatively small sizes.

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Inspired by retro propaganda posters from the 60s to 80s.

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A crisp, geometric semiscript, based on the font Adonis, originally released by American Type Founders.

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This typeface was originally designed in 1930 by W.A. Dwiggins as the cover for the book American Alphabets by Paul Hollister. Only the 26 letters of the alphabet were included on the cover, so the rest of the numbers, punctuation, symbols, and accented characters have been crafted in a matching style.

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Inspired by retro lettering on advertising posters from the 20s to 50s.

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Inspired by retro lettering on advertising posters from the 50s to 80s.

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Inspired by retro lettering on posters in 40s-60s.

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Lettering on a 1933 booklet about certain facilities in Italy -- can you guess what they might be? -- by the Bertarelli Design Studio of Milan inspired this decidedly different and engaging monocase face. If you're looking for something that says “casual elegance,” this is it.

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An ultrabold font based on the work of circa 1920s bizarro lettering artist Alphonso E. Tripp. The freeware (TrueType) version has a limited character set. The Pro Set (Postscript) version has a complete character set (Adobe Standard for PC; Macintosh Standard for Mac), and extensive kerning.

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The Italic version of CA Emeralda was inspired by a headline in an industrial advertisement magazine from the early fifties. Starting from a few letters it evolved into a catchy retrofont and was completed with a more modern script style.

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Systematic variation of Art Deco capitals in Cassandre’s posters led to Anisette. Rich contrasts in width and weight of hand-lettered geometry suggested a hidden typographic opportunity.

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Wouldn't it be nice to have an assortment of little hand-lettered words? Words like “The” or “A”; “With” or “At”; “To” or “From”?

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Inspired by retro lettering on propaganda posters from the 30s to 40s.

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Art Deco turned mundane objects into graceful, sensual works of art, with a nod towards the opulent and extreme. Art Deco sought to build upon the elements of Modern Art movements by focusing on the principal object and removing the extraneous elements found in the Victorian era and in Art Nouveau. The concept of “form following function” and the technological advances of the early 20th century played a very important role in defining the direction of Art Deco. Popular images included stylized people, svelte animals, tall buildings, sleek vehicles and exotic scenes. Art Deco typographic designers were also inspired by these diverse themes. P22’s new Art Deco font set shows the influence of a cross section of some of the various European and American Art Deco styles.

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A strong, heavy font that really packs a punch. Muscleman is there when your design needs a little extra lift.

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Inspired by retro lettering on advertising & propaganda posters from the 50s to 80s.

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A new take on the perennial Art Deco favorite, Broadway, interpreted by 1930s lettering artist Harold Holland Day, and named after a 1960s R&B song.

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American Type Founders released the pattern for this typeface under the name “Thermotype”. In the days of cast-metal foundry type, copyfitting headlines could prove problemmatic at times; this typeface, with a wide uppercase and narrower lowercase of exactly the same “color”, allowed stacked lines of type to be composed with uniform width. Clean, crisp and practical.

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Broadveau is retro typeface that embodies the feel of both Broadway and Art Nouveau. The upper case characters are standardized, while the lower case letters contains playful curvy alternates that give the font its character. While most fonts maintain a common baseline, and vary in height, some of Broadveau’s alternates vary on the baseline, making for an interesting, yet surprisingly readable, textual landscape.

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Here’s another mosaic marvel from the New York subway system, to complement Midtown Tessie.

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A breadcrumb trail of highly ornate letters sprinkled throughout Carol Belanger Grafton’s “Art Deco Initials” were the basis for this seriously Art Deco typeface. Best used sparingly, and in large point sizes.

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Handlettering on a 1929 brochure for the P&O British-India Steamship Line inspired this tiddly typeface. Art Deco sensibilities combine with a playful attitude to yield a delightful and amusing headline font.

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Classical has the look and feel of a simplified old English Swash font, but it’s much more legible. It was created for use as drop caps and has a limited character set.

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Concerto Rounded is based on a 1920s concert program lettered by Lucian Bernhard. In many respects Concerto is a toned-down version of the exceptionally light Bernhard Fashion. Concerto makes use of extensive crossbars and rounded terminals. It has two sets of lowercase letters, the alternate letters being slightly higher and wider than the ones in the first set. Cap alternates are consistent in approach with the work of this talented poster artist. His characteristically flamboyant display style is now available where legibility and readability are big issues. Concerto is equipped with lining and non-lining figures.

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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.

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This rather quirky typeface is based on a design by Collette and Dufour, originally called “Independant”, for the Maison Plantin foundry of Belgium.

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Valet is inspired by an uncredited early 1970s all-cap film type called Expression. A very funky lowercase was added and a small caps style was made. The character sets of both styles were also expanded to include support for Central and Eastern European languages, as well as Baltic, Celtic, Esperanto, Maltese and Turkish.

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Pericles Pro is an attractive typeface for headlines and short passages of text which recall inscriptional lettering and playful, art deco design.

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Based on the original design, circa 1927.

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Gatsby SF portrays the formal elegance of Art Deco, using the rounded shapes typical of the Art Deco movement. The upper case characters are decorated with a classical Art Deco motif, while lower case characters have been left unadorned for increased readability.

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Tucked inside the November 5, 1927 issue of a German signpainters' trade paper was a single sheet headed Der Schilder und Schriftenmaler, which featured an alphabet called Neue Fraktur.

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Freezer comes right from, you guessed it, a freezer!

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Esencia, a CastleType original, was inspired by a Spanish stock certificate from 1941 with 11 beautiful art deco style letters for the words “PERFUMES y ESENCIAS”.

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The PIXymbols™DecoGlass font is designed to create black (or single color), and two-color titles, initials as well as decorative characters. It is available in a choice of two weights. Each package includes a document showing the character sets and key codes for the fonts.

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OakPark is a series of decorated typefaces with a bold Art Deco feel to them.

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Handlettering discovered on a 1937 brochure for the Dutch Mails Shipping Company provided guidance in developing this rather unusual but commanding typeface, marked by strong geometric shapes and a very large x-height.

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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.

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PT Unovis™ was designed for ParaType in 2001 by Tagir Safayev.

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A bold, decorative, striped font for display and headlines.

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IronType (formerly known as Ironman) is an extra bold geometric titling face in the Art Deco poster tradition.

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Socialite JNL takes its cue from the Art Deco style of the 1930s with its clean, angular lines and stylized letter shapes.

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Society Dame JNL is a stripped-down version of Jeff Levine’s Florida JNL without all of the extra embellishments.

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Mostra is based on a style of lettering often seen on Italian Art Deco posters and advertising of the 1930s. Each weight of Mostra includes three fonts. The basic font includes the most conventional letterforms. Two secondary fonts provide alternate versions of some characters. The different letterforms represent commonly-found variations in Italian Art Deco lettering. Though they are spread over three fonts, they can be used in any combination to capture a particular mood or style. There are five weights ranging from Light to the ridiculously bold Black. Mostra features a full character set (caps only) and kerning tables for display setting.

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A 1930s ad for—believe it or not—Orion radios provided the inspiration for this ultrabold and slightly sassy face.

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In answer to a number of requests, lowercase characters have now been added to the Anisette Std display series, which was created in 1996. The lowercase characters are based on capitals of an intermediate width, between the two origninal widths, to provide a wider diversity of use. The Anisette Petite lowercase shares the sobriety of geometrical typefaces and the dynamics of the tension in the curves. Subtle imperfections seen in the r, l, and the particular g, help to create an original typeface.

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The pattern for this elegant, if slightly quirky, Art Deco typeface was drawn by Gustav Jensen for the 1931 classic, American Alphabets.

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A quirky font based on Cubist Bold, designed by John Zimmerman for Barnhard Brothers and Spindler, circa 1929. The freeware (TrueType) version has a limited character set. The Pro Set (Postscript) version has a complete character set (Adobe Standard for PC; Macintosh Standard for Mac), and extensive kerning.

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Adapted from lettering found on a poster by an Italian artist with the unlikely name of Marcello Dudovich, this ultrabold Art Deco font, with its graceful curves, commands attention. Primarily an uppercase only font, there’s a variant lowercase m with a strong design element.

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This bold display roman face in the ‘Bodoni’ style features an interior highlight throughout its letters. Talented British designer Tony Geddes developed Spotlight for use in large type styles for prominent pieces such as posters and billboards where it is highly effective. This typeface benefits from close letter and word spacing.

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ITC Anna may seem to evoke an earlier typographic style. Be assured, though, that Daniel Pelavin’s 1990 design is a new display typeface, his very personal interpretation of Art Deco. He originally drew it to use for his wedding announcement and later the announcement of his daughter’s birth. Her name is—that’s right—Anna.

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