South African designer Gerhard Schwekendiek, acclaimed for his script lettering and logotypes, created this bold copperplate ribbon-like face with white inlines. Capitals can be used for initialling and the lower case links up for word settings. An excellent choice for eye-catching headlines.

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Another in the Whiz-Bang Woodtype series, based on authentic xylographic designs from the late nineteenth century.

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A throwback to the 70s, a graphic design with a lot of different applications.

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An original design.

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An inline gothic display font based in mid-twentieth century showcard and signpainting styles. All caps with some alternates in lower case keyboard positions.

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An inline gothic display font based in mid-twentieth century showcard and signpainting styles. All caps with some alternates in lower case keyboard positions.

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An inline gothic display font based in mid-twentieth century showcard and signpainting styles. All caps with some alternates in lower case keyboard positions.

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In the days before vinyl sign lettering overran the landscape, talented neighborhood sign painters and show card writers made attractive displays for local merchants.

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Jeff Levine’s Eckhardt Inline JNL furthers a “mini series” of fonts and lettering styles popularized by sign painters and show card writers.

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The first of the Algonquin fonts, Benchley was inspired by Robert Benchley, whose dignified, witty exterior failed to disguise his love of the spotlight.

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Viva, designed by Carol Twombly, was released in 1993 as the first open-face design in the Adobe Originals Library.

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Sibyl is a beautiful display letter rich in structure, sumptuous in finish, and exquisitely detailed throughout. What amounts to a rarity among rarities—an inline schwabacher—required many hours study of traditional schwabacher fonts. The resulting Sibyl type hews much closer to authentic schwabacher forms than its “scanned and fonted” progenitor, the Verzierte Schwabacher designed by Carl Kloberg, 1891.

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An Italian travel poster from 1931 provided the inspiration for this attention-getting headline font with a strong architectural feel.

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The formidable partnership of father and son: Demetrio E. Cabarga and Leslie Cabarga, two eminent New York designers, developed this unique, contemporary script typeface. Like most scripts, the capitals serve only as initials and link with a lowercase that includes a number of alternative letters to choose from.

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This traditional display Roman typeface features an open, engraved effect, an ideal combination where a strong classical look is required. The capitals have a monumental appearance and can be used alone, or as a compliment to the lower case which features a top left, bottom right, serif formation for reasonably close letter spacing. Created by the talented British type designer Freda Sack.

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The decorative title typeface was designed at Polygraphmash type design bureau in 1967 by Iraida Chepil.

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Yagi Link Double is a very famous 1970/80s typeface published within some old Letraset catalogues.

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Goudy Handtooled was done in 1922 and is a shaded version of Goudy Bold. Some authorities credit the design to Charles A. Becker and others to Morris Fuller Benton and Wadsworth Packer.

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While not a revival in the strictest sense of the word, Niagara recalls the crisp, elegant geometry found in some of the best American styles from the nineteen-thirties and -forties.

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Toasted Vein is a tight, deco, all-caps typestyle complete with regular, bold, a collegiate inline, and a drop shadow style, offering more range than a traditional art deco font.

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Blackletter engraved display typeface.

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Transcribed from letters designed by Jan van Krimpen for The Curwen Press at Plaistow, London, in 1925; printed on pages 49, 51 & 53 of A Specimen Book of Types and Ornaments in Use at The Curwen Press (1928).

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Originally released in 1929 as “Gravure” by the London foundry of C. W. Shortt, this luminous face has a slightly naïve charm seldom found in incised typefaces.

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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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Brandegoris is a set of traditional split-pen capitals with two forms for most of the letters.

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Gudrun Zapf von Hesse designed Smaragd for D. Stempel AG, who released it in 1952.

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A charming headline font, bold yet feminine, based on an earlier font named Lilith Engraved, discovered in the 1942 edition of “Lettering Alphabets for Draughtsmen, Advertisement Designers, Architects & Artists” by Alfred Bastien.

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This ultrabold headline font is basically patterned after the font Nubian Black, designed by Willard T. Shiffin for American Type Founders in the 1930s, but includes an unusual inline treatment of the caps. Named for the local television show on KFJZ-TV (later KTVT) in Fort Worth, Texas, that introduced a whole new generation of kids to the Three Stooges, and hosted by the erstwhile Icky Twerp.

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These beautifully designed initials were created by talented American designer Steven Albert. Aquitaine looks best when the more straightforward characters are used to set words and the decorative alternatives are used to provide exciting initialling complements. A unique style with subtle historical and religious overtones.

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This typeface was suggested by a 1930s ad for a product called Plantol, designer unknown. It can be either graceful or playful, depending on context.

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Pen drawn in line, outline typeface originally designed for embroidery application. Boott was designed for print media in a wide point size range. Boott requires subjective display kerning and compensation.

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First made for the Ludlow Typesetting machine, Cloister Open Face was designed in 1929 as part of the typeface series called Nicolas Jenson. These types were modeled from the 1470 Eusebius in which Nicolas Jenson’s types were first displayed. The typeface was later revised and commercialized, and released in 1941 as Eusebius. Cloister Open Face is a display version of the Jensonian model, and as such has many desirable qualities, including good proportions, lack of idiosyncratic features, and the correct apportionment of black and white, all of which give it a refined, engraved appearance. Cloister Open Face is an elegant letterform and can be used for book and journal work, sophisticated advertisements, and other display applications that need a classical touch.

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The Roos family is a digitization and expansion of the last typeface designed by Sjoerd Hendrik De Roos, called De Roos Romein (and Cursief). It was designed and produced during the years of the second World War, and unveiled in the summer of 1947 to celebrate De Roos’s 70th birthday. In 1948, the first fonts produced were used for a special edition of the Dutch Constitution on which Juliana took the oath during her inauguration as the Queen of the Netherlands. To this day this typeface is widely regarded as De Roos’s best design, with one of the most beautiful italics ever drawn.

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The Player family started as a straight-forward revival of a film face called Ivy League, an early 1970s VGC classic that was very popular with designers of sports paraphernalia. A few hundred liters of coffee later, the revival of a single condensed font has become an 11-font ambitious attempt at being the last word in athletic lettering.

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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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Designed in 1984 by British designer Neville Brody for a magazine called The Face, Industria is an ultra-condensed sans serif display face that comes with an inline version.

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Reinstaedt is a fancy new display font family designed from scratch by Andreas Stötzner.

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Many variations of these two decorative display type styles have existed for over a century. Most are either similar to the Adam Gorry duo but plainer, or of the retro variety (1940’s - 1950’s roadside diner or ‘Hotel Reno’ style). The Adam Gorry duo differ with semicircular stroke ends and a dual upper case letter set, including some useful alternates and ligatures.

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Letraset’s talented type designer, Vince Whitlock, was inspired by the elegant Caslon series when he created Academy Engraved. The exquisite letterforms of this traditional Roman typestyle make it ideal wherever a refined, classical appearance is desired.

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The design of Castellar is patterned after carved letters on a Roman column dedicated to Augustus. It is an elegant all-capitals titling face with an incised or shaded look. Castellar was designed by John Peters for Monotype in 1957, and named after a town in the Alps. Castellar is at its best when used for sophisticated, refined display work.

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

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Inspired by American sportswear graphics, this ‘Comstock’ or inline san serif style incorporates wedge-like cut-outs instead of curves. An excellent graphic option for work related to sports. Designed by Colin Brignall in the Letraset Type Studio.

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Formal in appearance, this elegant, condensed, modern Roman typeface is is suitable for a variety of advertising needs. The capitals can be used alone or with lower-case letters. Designed by the important British lettering artist Alan Meeks.

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Based on an engravers’ pattern plate, this outline form deriving from an English roundhand was fitted to linecasting matrices by Intertype about 1940.

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A revival and major expansion of a 1926 Ludwig Wagner Schriftgiesserei typeface called Titanic, Lexington is the ultimate art deco expression of the high times of signage and theater during the first half of the twentieth century. Big feminine caps and cozy direct minuscules make for a unique combination rarely found in other deco faces.

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Originally cut in metal in 1937, Bernhard Modern seems to presage the demise of letterpress printing and the eventual rise of digital typography. Witness this comment on the typeface by its designer, Lucian Bernhard: “My aim was to get all the spice and contrast into the contour ... without counting on the ink spread.” Lucian Bernhard was one of this century’s eminent graphic designers, and Bernhard Modern is his enduring masterpiece of type design.

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Bellas Artes is what happens when the brush of Angel Koziupa and the technical expertise of Alejandro Paul go face to face with the Art Deco aesthetic. The recognizable Koziupa curves become players of a game of halves, where there is no such thing as a better half, but both sides complete each other like in that perfect romance you will never forget.

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A small x-height typeface, originating with engravers near the start of the twentieth century, appearing in type in the 1923 ATF specimen.

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Bernhard Modern was designed in 1937 by Lucian Bernhard for ATF. It is his personal version of the small x-height engravers’ old styles popular at the time. A perennial best-seller, Bernhard Modern remains popular in a wide variety of design and typesetting uses more that 60 years after its initial release. Bitstream’s version offers a wide array of typographer sets, including alternates, extensions, small caps and italic swashes.

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Based on the William T. Sniffin design for ATF, circa 1928.

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An original design.

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Blackletter engraved display typeface.

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P22 Yule by James Grieshaber is a series of display fonts inspired by a mélange of ancient inscriptional writing, with visual references to Anglo-Saxon, Celtic, medieval and even a bit of ancient Greek and roman letterforms.

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A casual, lighthearted script created by talented Letraset designer Vince Whitlock. The capital letters function as initials for a lowercase that connects by overlapping the linking elements on the bottom right side of each letter to the next. In order to achieve this effect however the last character in each word will appear incomplete. To overcome this problem a special ‘ending’ element has been included in the font to ‘finish off’ each word set. It can be found in the special characters window of the Character Chooser and can be inserted in the text in the usual way.

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Cactus majestically blooming in the desert is truly a wondrous event! As the landscape cools, nature blossoms into a beautiful rainbow of colors. These same harmonies and contours, plus a dash of ruggedness and legibility, help to make Cactus Flower Open a superb choice for display work. This cowboy boot style is an old Speedball favorite originated by lettering artist Ross F. George. It’s especially useful for creating distinctive headlines and titles where a Tuscan look is desired.

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