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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An upright futuristic double lined font, steady as hell!

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See also Blockhead Illustrations.

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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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Carcel is the typeface to be behind prison bars.

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This informal new brush script typeface was designed by talented Japanese calligrapher Akira Kobayashi, and is named after a song from his favorite film, ‘Little Shop of Horrors’. The unique, streaky appearance was created with a brush and then refined to give the font an even, overall texture. Effective in large display applications where a casual, immediate effect is needed.

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See also Modula.

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Cabaret is the ideal choice where a fun or lighthearted appearance is desired. Everything about it, from its unique letterforms to its highly individual internal decoration guarantees an appealing, eye-catching effect. Designed by the prolific British designer Alan Meeks.

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Designed for ATF in 1913, Morris Fuller Benton’s version of Nicholas Jenson’s roman, the best of the Venetians and a model for regularity in color and fit.

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This monolineal outline script with drop shadow recalls letterforms popular in the 1930’s and 40’s. Eminent Letraset designer Colin Brignall created a strong baseline effect, like that of the old Chevrolet logo, so the lowercase letters would touch or slightly overlap in word settings. The capital letters act as initials.

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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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The Synchronous Font Family was inspired by the IBM logotype, however, instead of dropping linear segments out of a block serif typeface, this typeface is built up by linear segments resembling a bitmap style, expressing a strong nostalgic logotype/computer tech feel to it.

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

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A three dimensional design based on back lighted cafe sign long abandoned. This design has four individually drawn outlines to create multiple solutions with layers, colors, gradients and filters. Ray’s Cafe requires subjective display kerning and compensation.

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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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An elegant, all capital condensed sans serif typeface. Ragtime features thick/thin weight variances and a fine line casing adornment recalling magazine cover styles of the 1940’s. Excellent where a refined look is desired. For best results, Ragtime should not be letterspaced too closely.

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Betabet was drawn using traditional serif fonts as a guideline. The scribbled style and serifs combine to make an unusual font.

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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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Based on the Robert Wiebking design for either Western or BB&S, circa 1918.

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The strong, geometric letterforms of this typeface incorporate a heavy outline and were inspired by college and university sportswear, making Princetown an excellent choice for work associated with sports. Created by Letraset Type Designer Richard Jones.

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

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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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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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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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Handmade Bugler is a font based on the first logo created by Harry Warren in late 1974 for his sixth grade class newsletter, The Broadwater Bugler, at Broadwater Academy in Exmore, Virginia, on Virginia’s Eastern Shore.

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An informal decorative hand-drawn design.

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Gala is the digitization of the one of the most important Italian typefaces of the twentieth century: G. da Milano’s 1935 Neon design for the Nebiolo foundry.

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

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Designed by the outstanding British designer Alan Birch, this dramatic typeface conveys all the immediacy, impact and effect of a stencil or rubber stamp on paper. Suitable for many large display applications, and any work that would be enhanced by a stencil, branding or rubber stamp effect.

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What would happen if one took a rather crude, squared-serifed typeface of the type popular in the 19th century and added medieval and calligraphic ornamentation? Maybe the result would be MedievalGunslinger.

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Ironmonger was inspired by lettering painted on masonry walls and fascia signs of warehouses and factories in older American cities.

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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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Perhaps best described as a logotype style of typeface, this highly unique design with its strong geometric presence is the work of accomplished Swiss designer, Rosemarie Tissi. A striped feature running throughout helps to determine the legibility of the letterforms. Sinaloa was designed to be used a few words at a time for large display requirements.

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This all capital style is reminiscent of a 19th century Victorian woodcut typeface. It was designed with many alternative letters and is ideally suited for work where a period or antique look is desired. Created by Letraset Studio’s talented type designer Phillip Kelly.

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An appealing open slab serif Egyptian display typeface which incorporates a shadow to give it a three-dimensional effect. Talented British type designer Freda Sack created the alphabet to work both in all capital and upper and lower-case settings. Visual impact is maximized when letters are set tightly, even touching where appropriate.

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This condensed, open slab serif typeface was created by New York graphic designer Peter Fahrni, who was inspired by the lettering styles typical of baseball, basketball and football sportswear. It’s condensed feature offers widespread application potential, particularly for sports related advertisements.

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The BATTISTA typeface stands in the long tradition of the designs developed by Giambattista Bodoni, who made his famous typefaces in the end of the eighteenth century. Similar designs can be found on various specimen books e.g. Alexander Wilson, John Bell, Edmund Fry and Alexander Thibaudeau. One of the best italics was available by Stephenson Blake & Co. foundry form Sheffield, England. In the end of the nineteenth century an unknown punch cutter at the German type foundry Schelter & Giesecke made an very bold cut of this Bodoni design. He brought both designs, the regular and the italic to an new level of harmony.

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1st Ave is the most experimental of my typefaces. I took a picture of a metal and neon sign in the East Village of New York City. These signs are slowly being replaced by LED and LCD displays, but if you look hard, you can still find quite a few in the city. The signs give a mid 20th century feel to the city. To design 1st Ave, I took a picture of the sign, scanned it and increased the contrast in Photoshop so that the photographic forms became line art. There weren't enough letterforms in the sign to create the whole alphabet, so I cut up the strokes and collaged them back together to finish the entire alphabet.

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Narcissus Open is a heavy typeface designed by Walter Tiemann in 1921 for the Klingspor Foundry in Germany.

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Black Pearl is a revival of a middle 1800s ornate calligraphic font possibly created between 1850 and 1870, I spent two years looking for all the letters of this font, once I found them all I immediately went to work on recreating this old classic. I was not able to find any numbers for this font so new to this style are numbers, some punctuation and currency symbols. The Truetype and OpenType formats include an extended character set with Central and Eastern European accented letters.

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Caslon Open Face was issued by the Barnhart Brothers & Spindler foundry in 1915. It was originally called College Oldstyle and was initially a reproduction of Le Moreau de Jeune, a type from the France’s G. Peignot foundry; BB&S admitted to taking a liberty when they put it in the Caslon category. Caslon Open Face is nonetheless a useful display face that leaves an impression of elegance when used sparingly in display work.

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The Century typeface family has a long history beginning in 1894 when Theodore Low DeVinne, publisher of Century Magazine, commissioned Linn Boyd Benton to design a new typeface specifically for the magazine. Since then, the Century family has undergone numerous reincarnations, including the standard Century Schoolbook, which is still used for elementary school books. Century typefaces are renowned for their readability. In 1975, International Typeface Corporation commissioned Tony Stan to redraw and extend the Century family; Stan tightened the letterspacing and increased the x-height. ITC Century Handtooled is a variant, designed by Ed Benguiat, using ITC Century Bold as the base for the design. The resulting display face can complement and enhance a large variety of text faces. ITC Century Handtooled is suitable for headlines in advertising, magazines and books, as well as simple job work.

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The PIXymbols™Mejicana fonts are designed to create both single color, and two-color titles. The fonts are designed for use in creating menus for Mexican restaurants, notices of festive occasions with a Mexican theme, promotion of Mexican folk crafts, and of travel to Mexico.

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The Bitstream version of Letter Gothic, designed by Roger Roberson for IBM in 1956–62 for use on IBM electric typewriter.

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Gerry Powell’s stencil version of Clarendon designed for ATF in 1938.

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Think: Studio 54, bad girls, bad boys, a mirrored ceiling above the water bed, Bianca Jagger, hot pants and sunglasses so big they cover your entire face! Macrame Super Triline is the naughty sister of Macrame. It comes with lots of design alternatives for example The upper case S has an extra bit of flourish while the lower case s fits nicely between other letters. It’s an almost unicase font but you can also choose non unicase versions of the p, b and d for better readibility. This font contains the Euro symbol, just use the currency symbol key stroke!

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Grandecort is derived from the OakPark family. It has lost the serifs, and has moved to a more traditional look. The upper case letters are a bit heavier than the lower case letters, but overall the letter shapes are fairly conventional for a bold, display face.

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Stephanie is a rounded geometric display font and works best in display applications, such as posters, headline, magazine, product branding, corporate branding, signage, logos and titles.

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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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LD Appliqué is overlayed with a unique design resembling a decorative sconce, a cutout design, or an ornamented stitch.

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The Treasury script waited over 130 years to be digitized, and the Canada Type crew is very proud to have done the honors. And then some. After seven months of meticulous work on some of the most fascinating letter forms ever made, we can easily say that Treasury is the most ambitious, educational and enjoyable type journey we've embarked upon, and we're certain you will be quite happy with the results.

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The Lined font started out with some scribbles - playing with lines and making shapes fold, underlap and overlap, eventually evolving into letters.

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Kwokwi is a drop-shadow pub font, loosely based on Mikadan’s letterforms.

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This three-dimensional cap only font was inspired by an early Egyptian design. The typeface has four outlines richly styled for wood block effect on newsprint. Wade Vernacular requires subjective display kerning and compensation.

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Dragline is a wild and playful typeface with variants built up of multiple overlapping and criss-crossing lines making up each letter.

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Futura ND is part of Neufville Digital’s BAUER CLASSICS collection.
Futura ND Black was completely digitized anew from the original sources of the Bauersche Giesserei, now hold by FT Bauer in Barcelona.

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