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

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Blackletter engraved display typeface.

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Journalistic is one in a series of fonts designed for use in creating replica vintage newspapers. It is inspired by the nameplate of a New England newspaper from the 1920s. Its rough character is apparent at headline sizes, and it remains nicely legible at smaller sizes for diplomas and other formal documents.

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Stuttgart Gothic is based on early 20th century hand lettering samples developed by Ernst Schneidler at the Stuttgart School of Design.

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An ultra black blackletter, Avebury Black and Avebury Open were inspired by an early blackletter from the Caslon Foundry. Early blackletters from the Bruce Type Foundry are also reflected in this slightly modernized and more readable typeface. Caution. For display only.

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Cabazon is a slightly informal blackletter inspired by handlettering samples from many sources, and various time periods. Works by Rudolf Koch and Friedrich Heinrichsen are clearly reflected. Samples by showcard lettering artists Ross Gerorge and Samuel Welo as well as early manuscript samples also contributed to this design.

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This bold, bodacious blackletter typeface is based on an offering from the 1832 Boston Type Foundry catalog.

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Based on character shapes with origins rooted in the work of 19th Century American wood type makers, DST Mechanic Gothic draws influence from the poster types found in the impactful advertising during the Industrial revolution.

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Beautiful and elegant, Black Swan BF lives equally in bliss as entrance signage for an exclusive housing subdivision, as it does on the cover of a hot new music CD.

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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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In the United Kingdom, Virgin Trains uses various weights of Generation Gothic extensively.

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Olidia is a script with tall sweeping ascenders packed with alternates and ligatures.

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Neon Bugler is a font based on the third logo created by Harry Warren in early 1975 for his sixth grade class newsletter, The Broadwater Bugler, at Broadwater Academy in Exmore, Virginia, on Virginia’s Eastern Shore.

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Future Bugler is a font based on the second logo created by Harry Warren in early 1975 for his sixth grade class newsletter, The Broadwater Bugler, at Broadwater Academy in Exmore, Virginia, on Virginia’s Eastern Shore.

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Based on a turn of the century design.

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Newcomen is a highly versatile titling face that includes 87 OpenType alternates and 38 ligatures. Newcomen titling, in its default form, evokes the Victorian era and is named for the British inventor of a steam engine for pumping water.

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Natalya Swashes provides a diverse set of flowing swashes and ornaments originally designed to complement the popular insigne script Natalya.

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Digitally engineered by Steve Jackaman. Ludlow, circa early 1900.

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Condé Nast commissioned the FB version of this popular oldstyle for Traveler magazine.

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From nautical folklore the Flying Dutchman is a ship that can never go home and doomed to sail the seas forever as a ghost ship. The story of the Dutchman appeared in print in the 1820s. With different versions writen over the years, some versions date the legend to the 1640s or the early 1700s.

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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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Another variant of Bayer’s Universal Alphabet, resembling ITC Bauhaus in design, ITC Ronda in proportion and fit, prepared by FotoStar in the mid 1970s.

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

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Stefania is an elegant chancery script, designed with wedding invitations specifically in mind.

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Amity is a unicase type design in the spirit of Bayer Universal and its 1970’s child, Bauhaus. The lower case combines capital and lower case letterforms in a slick, inherently chuckable set led by a bespoke monocular “a”. An upper case of lining “capitals” compliment the lower case. The deftly-worked-out modular structure, employing quarter rounds and the seldom-used principle of overhead underhang, ensures great fit with very little need of kerning—most letters are strictly lining and occupy a square footprint.

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Insigne Fleurons offers a wide range of diverse text ornaments to enhance your designs. These 52 ornaments can be used as components of a logo, background patterns or elements, border patterns or to add flourishes and refinement to your designs.

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In the early 1980s, Steve worked at Typographic House in Boston, Massachusetts. At the time, ‘Typo’ House, as it was affectionately known, was the largest type house in New England. This font was designed and produced during his tenure. The design was so popular that it became available commercially through VGC, and was known as TH Alphabet Soup.

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An original design.

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Based on the Carlos Winkow typeface ‘Electra’ from the Spanish foundry, Nacional and the Adrian Williams version that he created, that was called ‘Casablanca.’

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A great look for formal announcements, business, high-end ads and many other applications.

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Based on the popular VGC typeface from the early 70s.

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

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Two typefaces called Stencil were released in 1937 within a month of each other; this one was designed by Gerry Powell for American Type Founders. The characters are designed to emulate the look of bold, cut-out stencil letters.

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Based on the original design, circa 1927.

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A revival of “Gras Vibert”, a French fat face originally cast by the Didot typefoundry in Paris. It was cut in 1840 by Vibert, an engraver employed by the foundry.

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Xalapa is a wavy and rugged script.

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An original design, loosely based on a typeface from an old wood type specimen book from the turn-of-the-century.

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