The designer’s father, Philip Grecian drew a logo for his business, Grecian Creative Services and asked Alex Grecian to expand on the logo. Alex extrapolated from the existing letters, creating a font to compliment his father’s logo.

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This multipurpose display alphabet combines medieval-inspired uppercase letters drawn by famed book illustrator Walter Crane with charming, if somewhat quirky, lowercase letters by J. W. Weekes.

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This unicase typeface, with alternate characters in several of the lowercase positions, is patterned after Mosaik, designed by Martin Kausche for Schriftgeißerei Stempel in 1954.

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Based on the 1922 Klingspor model by German designer Rudolf Koch, this hand-drawn quill roman has an informal and curiously delicate appearance. The typeface was known in Germany as Koch Antiqua and in the rest of Europe as Locarno. Eve, as it was called in the United States, continues to enjoy great popularity in advertising and book publishing circles.

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Arcana Manuscript is a calligraphic exploration of the Victorian gothic aesthetic that created literary classics such as Frankenstein and Dracula. Designer Gabriel Martínez Meave first wrote with a fountain pen, then digitized the results to create this unique typeface. “Arcana ” takes its name from the ultimate secrets that lie behind astrology, alchemy, and magic. In gothic novels, such secrets were written in forbidden books, hidden in the dark and grotesque sanctums of magicians or mad scientists (possibly the ancestors of today’s computer scientists and type designers).

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Temporal is one in a series of fonts designed for use in creating replica vintage newspapers.

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Operina is based on a 16th-century lettering model of the scribe Ludovico degli Arrighi (Vicentino Ludovico degli Arrighi) used in his 1522 instructional lettering book, “La Operina da Imparare di scrivere littera Cancellarescha.” This book contains what is considered to be the earliest printed examples of Chancery Cursive.

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The Norse Gods of Asgard, the Titans of Olympus and the Elders of Middle Earth have spoken! Their pronouncements have been carved in the solid rock across the mountains of Midgard and their Legend will now be known to many...

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Blackletter engraved display typeface.

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Caesar Brute is a Roman Empire style typeface, complete with standard weight variants as well as a detailed Chiseled style for impactful headlines and logos.

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Avast, me hearties!

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Loch Garman is based on Baoithín, designed by Viktor Hammer and Colm Ó Lochlainn; Baoithín was based on Hammerschrift, which was related to Hammer’s American Uncial -- though Loch Garman is more authentic Gaelic font than American Uncial.

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Nana is a classic joining script with long ascenders and descenders, that is based on a set of unique but forgotten initials that were designed in the roaring 20s and 30s in Paris.

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An enchanting design by Otto Hupp for Gebr. Klingspor in 1909 provided the pattern for this timeless classic, which gracefully and seamlessly combines medieval inspiration with Art Nouveau flair.

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This luscious, loopy Lombardic face was inspired by an offering in the 1938 classic, Letters and Lettering by Paul Carlyle and Gus Oring.

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Released by Berthold in 2003, Senatus is the third Berthold Exklusiv designed by Professor Werner Schneider (Schneider-Antiqua, Schneider Libretto).

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The inspiration for AlbertBetenbuch came from a typeface drawn by Albert Duerer, and an interpretation of that face in Arthur Baker’s Historic Calligraphic Alphabets (Dover, 1980). The characteristic common to AlbertBetenbuch and the faces inspiring it is the decorative zig-zag with the upper-case letters.

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The majority of the letterforms in this mono-case font are based on a little-seen titling typeface designed by Frederic Goudy. The lowercase positions contain alternate letterforms, so you can mix and match to obtain just the right look.

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NeuAltisch is a calligraphic version of Fraktur.

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The 1923 Barnhart Brothers & Spindler specimen book called this typeface Cardstyle, and suggested its use at small sizes for business cards.

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Totem Forms is based on a series of aluminum and rubber wall constructions currently showing in Europe and the United States.

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A revival of an unusual wooden type font of the 19th century, a sans serif, suitable for display.

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The uppercase letters of this magical, mystical face is based on various alchemical symbols used from the thirteenth through the sixteenth century; the lowercase letters are based on those found on a 1935 poster, signed simply “Strekalovsky.”

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Dractura is based on a fifteenth century German fraktur typeface.

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Nick Cooke’s G-Type foundry continues to trailblaze and top of the sales charts is the fabulous Olicana typeface.

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LeKing comes with an EPS Set with 24 vector ornaments.

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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.

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Typedesigner Hannes von Döhren created Cowboyslang, a display typefamily with a Wild West flair. It consists of three widths plus fitting ornaments. Although it is based on the slab serif typefaces from the nineteenth century Von Döhren gave it a contemporary feeling.

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Grandma is a lovely hand-drawn serif font.

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The inscription on the base of the Trajan column in Rome is an example of classic Roman letterforms, which reached their peak of refinement in the first century A.D. It is believed that the letters were first written with a brush, then carved into the stone.

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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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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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This typeface was created by writing with a brush pen, selecting the best characters, scanning and tracing exactly to maintain maximum character integrity. Extensive kerning ensures an even flow when set as text, so Gizmo appears as quickly-written handwriting.

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Espectro is a fabulous font full of swashes and alternates.

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This type family can be seen as a historical approach that considers our increasing needs for freedom in a post-historical world. Jana Thork is a synthesis of the stone engraved capital letterforms and the uncial and half-uncial calligraphic styles.

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An original design.

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An antique letterpress typeface digitally recreated with various grunge variations for a versatile font family.

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Carta Marina is based on the titling found on the famous map drawn by Olaus Magnus in 1539. The map of northern Europe took 12 years to complete, and the total size is a huge 1.7 meters tall by 1.25 meters wide. More information about the map, as well as the high resolution reference document used to create the typeface and illustration set can be found at the James Ford Bell Library, University of Minnesota.

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Authentic Ink is an old fraktur font, translated into the 21st Century, with the ease of urban street art. This OpenType font contains 3 styles: Ink Normal, Ink Drips, Ink Initial. Each style contains ligatures, 3 stylistic-sets with alternates and swashes, ornaments and icons.

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Rosadelia is a family of Calligraphic grunge origin, consisting of 4 styles: Uno, Dos, Blanca and Dingbats (Dingbats includes 26 illustration characters).

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Based heavily on Gill Sans especially in the mid weights, Astoria has a subtle top left serif which makes it not quite a Roman and not quite a Sans. Designed specificaly as a text face it still works very well as a headline font.

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This frilly script has been acid dipped, scratched and destroyed for use in grungy design jobs or any other use that calls for a ragged script.

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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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Designed by Les Usherwood. Digitally engineered by Steve Jackaman. Originally in one weight, Steve designed and produced three additional weights.

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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.

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This script font was inspired from a lot of manuscripts, notes and drafts, written by the famous American poet Walt Whitman. It is a very elegant type, in spite of a few curious ligatures, often concerning the r or z small letters. Notice the very characteristic “th”.

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You might call this a Bodoni Ornate font that Bodoni never made, close examination of this old 1800s font and it’s plain to see that the top half of the letters is very Bodoni in appearance.

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A very dirty, and yet legible type. It comes from an old document that was made in the 70s. Every character was developed as an unique design piece. Perfect for titles, credits and display type.

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Blue Goblet Ornaments are the ornament complement to Blue Goblet, a fun and whimsical brush script.

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Dress up your handmade greeting cards, newsletters, programs, scrapbook journaling, and other desktop publications with this vintage style true type font.

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Hickory is the revival of an old unnamed font dating back to 1852 and was sold through a few different type foundries including Bruce, MacKellar Smiths & Jordan and James Conner’s Sons.

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Philip Bouwsma returns with his yet another great manifestation of historical calligraphy.

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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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This font is based on an alphabet published by Luca Pacioli in his 1509 mathematical treatise De divina proportione. In this book, Pacioli describes how to build the Roman alphabet geometrically using lines, squares and circles.

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The name “Parchemin” is derived from the word in old English for “parchment”. Our modern word “parchment” changed its spelling to conform with French spelling practices during the French occupation of England. The font was created to suggest an informal but antique form of handwriting written on parchment with a quill pen. The scratchiness of the old quill pen is conveyed in the roughness of the characters. The font was loosely based on the font Queen>/a>.

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Emulating real handwriting has always been an aim of font designers in the digital age. The standard mainstream scripts and doodles that were available for the longest time have not successfully reached that goal. A letter always looked the same wherever you placed it. Some workarounds, such as letter alternates and ligatures, were used in many fonts, but they were a bit inconvenient to use, and in some cases didn't work correctly because they had to be placed in separate fonts from the main character set. Not until now, with OpenType technology, have we been able to emulate real handwriting, by including multiple character sets in the same font and programming it for smart form changes through letter sequence counting.

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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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Lonestar is a revival of the old classic slab serif font named Hellenic which was very popular in the middle to late 1800s.

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Before the ‘talking’ motion picture was the era of the Silent Movie Stars like Buster Keaton, Lon Chaney, Mary Pickford, Douglas Fairbanks, Clara Bow, Rudolph Valentino, and Colleen Moore. In the early 1900s, star struck movie goers would flock to the local movie houses to see the latest release in glorious black and white. Twenty-five cents bought a ticket, a soda and a bag of hot buttered popcorn enjoyed as the flickering images on the screen transported the audience to another place and time for an hour or two. Short blocks of text told you where the story took place, who the heroes and villains were and other important details. When the actors and actresses, whose expressive faces filled the screen, had more to say, intertitles conveyed their message to the spellbound viewers. Now, you can convey your message with the same glamour and panache with two new fonts created to revive those unsung stars of the silent screen era, the intertitles.

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Although a sans serif, Colosseum owes its style to the original Trajan Roman form. Borrowing some characteristics from Friz Quadrata, in its san serif form it is more adaptable to text usage whilst still having a modern and original look which works well in headlines.

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