Blanchard is a revival and elaborate extension of Muriel, a 1950 metal face made by Blanchard Trochut for the Fonderie Typographique Française, that was published simultaneously by the Spanish Gans foundry under the name Juventud.

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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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The Vizille family, inspired by French typography of the 18th Century, is the typeface used as corporate identity by the Musée de la Révolution française.

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An early 20th-Century French lettering book displayed at an online image sharing site stood out with a hand-lettered version of a classic Victorian font. The lettering - a spur serif top and a split serif (or "Western-style") bottom is the basis for Jeff Levine’s Les Folies JNL.

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Vernissage, “the typeface which smells like fresh paint”, was originally developed for the Milanese Isola Art Center’s graphic identity.

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The bâtarde flamande is a style of writing used predominantly in France and present-day Belgium in the 15th century. The style shares an ancestry with other writing styles traditionally grouped as blackletter— fraktur, textura, rotunda, and schwabacher. It had evolved, however, into an æsthetic far removed from its relatives.

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Zoe is a hand-drawn script that has a very even flow and is readable down to very small sizes.

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This script font was inspired by the “Ronde” French script. It was in use from 1700s to 1900s (until 1960s in special circumstances) for registers, legal documents and texts, certificates, labels and other documents that must be particularly legible.

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This font set, created for the Philadelphia Museum of Art, celebrates the work of influential French artist Paul Cézanne. P22’s Cezanne font allows you to beautify your documents with a faithful rendition of the artist’s handwriting, while Cezanne Sketches recreates a variety of imagery from the artist’s work.

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Coquette is an unconnected script combining elements of the traditional French script and geometric sans serif styles. The result is at once novel and familiar, evoking both vernacular and commercial lettering of the mid-20th century without being derived from any specific existing source.

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Inspired by a series of handwritten menus produced in 1980, La Carte is a stylish but legible script that sets as well in body copy as it does in headlines.

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Its manuscript and informal profile emphasizes its sweet and feminine style.

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Named after Maurice Ravel’s masterpiece, Bolero likes to find itself in places of classical elegance.

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In 1928, the application of pure geometric form to sanserifs and slabserifs was in full swing. Morris Fuller Benton applied geometry to the Modern letterform to arrive at Parisian and Broadway for ATF.

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This family was inspired from a lot of 1848-1850 French engraved documents reproducing handwritten texts talking about the Paris' insurrection days in June 1848 (described by Victor Hugo in Les misérables) . It seems that all were first written using quill pens, as the strokes are too much heavy and bold for metal pens and even though the engraver work is very fine.

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This font set was developed for the Albright-Knox Art Gallery and their 1999 Monet exhibition, Monet at Giverny: Masterpieces from the Musée Marmattan. Monet Regular is a fairly straightforward script font with an undulating thick and thin stroke. Monet Impressionist is a semi-legible script which can be used for decorative rather than communicative purposes. Monet Sketches features 26 icons related to Monet’s imagery.

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An Adobe Originals design, and Adobe’s first historical revival, Adobe Garamond is a digital interpretation of the roman types of Claude Garamond and the italic types of Robert Granjon.

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Old Claude was drawn by Paul Shaw to simulate an old cut of the classic Garamond type designs of the 16th and 17th centuries. The pronounced rough edges and coarse letter shapes simulate the effect of traditional letterpress printing where old foundry type meets handmade paper.

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

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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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This family was inspired mainly (Normal and Italic style ) by a Didot pattern font used in Rennes (France, Britanny) by Cousin-Danelle, printers, for Antiquités historiques et monumentales ‡ visiter de Montfort ‡ Corseul, par Dinan... Saint Malo... etc. an historic guidebook for journey through a part of (French) Britanny 1820, and many other books.

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Parisine has been designed by Jean François Porchez in 1996 for Ratp to solely fulfil the unique needs of signage legibility. In 1999, the family was revised and extended for use in maps and external communication. Not connected with Ratp, Parisine Plus appeared also in 1999. Much later, Parisine Office was created for Ratp’s internal and external communication.

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Jeanne Moderno is a revisionary type family.

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A font that resembles handwriting done with a watercolor brush? Why not?

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Insigne’s popular Aviano series returns with Aviano Serif.

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Mittwoch is an extended modern serif and a new companion to insigne’s Montag and Dienstag extended sans serifs.

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Here is a sans-serif built up on an old-style design framework especially perceptible in the italic. It is the conjunction of contradictories feelings: pointed / soft, classical / modern. The smaller the typesetting, the better it works.

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Garamond Premier Pro had its genesis in 1988 when Adobe senior type designer Robert Slimbach visited the Plantin-Moretus Museum in Antwerp, Belgium, to study their collection of Claude Garamond’s metal punches and type designs.

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Tribute is a new typeface by German type designer Frank Heine. This is Heine’s fourth release with Emigre Fonts. Remedy, released in 1991, was a major commercial success. It’s curlicue, free-style, comic appearance, provided a perfect counter to Emigre’s then primarily modular type designs. Dalliance, a classic roman and script combo based on handwriting from a photocopy of a 1799 battle map, was released in 2002 and became an instant classic.

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This family was inspired by the Fournier’s font named "Financière". It is a looking like manual font, carved in 1741 by Pierre Simon Fournier (le jeune) and published in his Manuel Typographique... in Paris (1764-1766).

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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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ITC Eras was designed in 1976 by Albert Boton and Albert Hollenstein. The design incorporates highly readable shapes, a slight tilt, and a large x-height, resulting in a unique and legible sans serif typeface.

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Adesso is a humanistic sans serif very generous & comfortable. It has been created for very young readers. With its wide opened & rounded shapes it is particularly peaceful & legible especially in small sizes.

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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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This family is distinguished by its historical forms and by the numerous stylistic effects. Compared to Le Monde Livre, this typeface is not anymore invisible. The italic includes two levels of ornamentation: standard & swash. The bold is a bit lighter than the Bold from the reference, Le Monde Livre.

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Some of the most popular typefaces in history are those based on the types of the sixteenth-century printer, publisher, and type designer Claude Garamond, whose sixteenth-century types were modeled on those of Venetian printers from the end of the previous century.

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Alinea is a typeface in 3 styles (Sans, Incise, and Serif) conceived for being mixed in the same document. Alinea incise is a flare serif (incise in French). It finds its origin in the roman letters carved in stone. The great advantage of such a style is that it can be associated to any other style of typeface. The most famous flare serifs are: Optima of Hermann Zapf, Pascal of José Mendoza, Amerigo of Gerard Unger and Alinea Incise of course!

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The Morris Benton 1918 American classic, Announcement Roman, comes to digital life with more pizzazz than it ever had.

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Inspired by an example of French handwriting ca. 1935.

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Présence is a modern sans serif with a light stroke contrast. The capitals are a bit narrow for a titling use which makes them space-economical without lack of legibility. The lower cases have a normal width for a fluid reading. Its wide range of weights allows it many uses.

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Galette is a contemporary all-purpose sans-serif for printing and online delivery, allowing the use of one layout both as printed material and online without loss of quality or legibility. Not only a high resolution printing font with extensive kerning, it was designed from the ground up for clear and uniform display on the computer screen. It displays more predictably than the traditional fonts: no overhangs are used, the stroke thickness of capitals and lower case letters is identical, making hinting or antialiasing smoother at any point size and zoom combination.

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Eleganza is my most elegant typeface.

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Granjon was designed in 1928 for Linotype by George Jones.

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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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Based on the Morris F. Benton for ATF in 1920, it was not completed for production until 1926. The serif version we released a few years ago was so popular, that we decided to design a complementary sans serif version in three weights, along with three corresponding Swash fonts.

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Enzia is a friendly and flowing sans serif.

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In spite of its name, this font family embodies the ultimate classic modern advertising typeface, rather than concern itself with revivalism or Didone authenticity. Naturally the spirit of the original Didot faces still exists in this family, but over twelve years of work on it have made it more fitting to the luxurious expression of our day and age, rather than nineteenth century Europe.

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Inspired by logotype of the Paris Resort and Casino in Las Vegas comes the Paradiso typeface, complete with an unusual array of leaning and unusually large capitals versus a petite lowercase that have a loosely drawn feel.

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Pauline is a sans serif with a strong influence from retro scripts. Pauline is a geometric face formed with slow and deliberate rounded brush strokes. The tall ascenders give it a useful touch of naïveté. It’s a face suitable for some interesting titling and short bits of copy.

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Hand Cursive design is a cute cursive font, written by hand—careful writing with a steady pen!

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

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In spite of its name, this font family embodies the ultimate classic modern advertising typeface, rather than concern itself with revivalism or Didone authenticity. Naturally the spirit of the original Didot faces still exists in this family, but over twelve years of work on it have made it more fitting to the luxurious expression of our day and age, rather than nineteenth century Europe.

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Eterna is a very beautiful font with diverse uses.

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Sweet Upright Script is the first release for Sweet Fonts Collection, published by MVB Fonts. It is an interpreted revival of a vintage, social engraving lettering style that was popular during the 20th Century. It is probably the first digital version of the design.

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Exquisite design, delicate but yet strong enough to make a statement just right for that special occasion.

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This family was inspired by numerous documents and books printed in Paris during the end of the 1700s. Mainly, documents printed by P.G. Simon & N.H. Nyon, “Printers of the parliament” were used for the Normal and italic styles and “Caps”. “Titling” characters were coming from a collection of hymns printed by Nicolas Chapart. In France these Fournier characters, as Baskerville in Great Britain, were the most often in use in the late 1700s, just before the Didot designs.

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Novella has always been one of Fonthaus' more popular period (Art Nouveau) fonts.

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From 1702 to 1811 the French “Royal”, then “Imperial”, Printers, neglected Garamond and Fournier's designs and used only the font called “Romain du Roy”, carved (1693 to 1723) by Philippe Grandjean by order of the king Louis XIV.

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In 1995, FontHaus came upon a rare opportunity to create a revival of Aries, a little known and previously unavailable typeface by the legendary Eric Gill. Discovering a lost typeface by one of the major designers of the 20th Century, was the discovery of a buried treasure, and being the first type company to release it was an honor.

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Angie Sans is a low contrast incised sans serif family which was issued one year before FF Angie (won a Morisawa awards in 1990) published by FontFont in 1995. Legibility is improved by keeping letter shapes open and distinct from one another. The Italics are lighter, narrower and more flowing than the romans.

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A font where “each word that’s set approaches becoming its own logo” is how some have described this unique typeface.

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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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Doria was developed from my handwritten script Xan that has a definite Japanese touch.

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Linoscript was designed by Morris Fuller Benton in 1905 and released by American Type Founders as Typo Upright; when it was integrated into the Linotype technology in 1926, it was renamed Linoscript.

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Georges Auriol designed this display typeface in 1901 for the Parisian type foundry, Deberny & Peignot. Auriol has a stylized stencil/brush look that reflects the Art Nouveau period. Most notable about Auriol is the unusual winged M, the large capitals, the short ascenders and descenders, and the white gaps appearing in the middle of some letter strokes. Use Auriol for display settings evocative of turn-of-the-century design and style.

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Principe is the Bodonian idea driven to the limit by abolishing most of the hairlines! The shape is completed only by the eye of the reader.

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Nicolas Cochin (not to be confused with another font named simply “Cochin”) was originally designed by Georges Peignot in the early 20th Century and was based on engraved letters of the 17th Century artist Charles Nicholas Cochin.

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Old Paris Nouveau is based on letterpress stylings of modern roman alphabets from the 1920s. Adapting the nouveau sensibility to the digital age required several conventions, including several alternate glyphs for specific individual letterforms as well as creating consistent stem weights and x-heights for more effective body copy.

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In the late medieval period appeared a "semi-cursive" writing, the French "écriture de civilité". Quickly, it is carved and melted down in lead for printing.

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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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Based on the original Stephenson Blake drawings.

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Designed by Les Usherwood. Digitally engineered by Steve Jackaman.

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A cousin of Galette, Tertre derives its inspiration from the French signage tradition.

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