Wind Factor is a display typeface with rough features and roman italic essences. This type features elements of crafting and design along with a bold elegance.

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Captain Quill is a lively calligraphic style script font designed by Jim Ford, based on the handwriting of a fictional pirate figure named Paul Pierce, aka Captain Quill.

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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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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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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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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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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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Eleganza is my most elegant typeface.

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Fable is an elegant, hand-crafted typeface that evokes the magic of fantasy weddings, of castles and wizards, of dragons and dungeons. Among others it combines elements that are suggestive of Greek mythology, of runic scripts, of Scandinavian tales and of the stories of King Arthur. Difficult to categorise, Fable effectively combines features of uncial, calligraphic and script fonts.

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The Torquemada family marks the return of eminent American calligrapher Philip Bouwsma to the type scene after almost 7 years of hiatus, and he is certainly coming back with a lot of bells and whistles!

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Raven hair and ruby lips, it may have been a trick of the light but I'm sure sparks flew from her fingertips. I definitely heard echoed voices in the night, of a restless spirit on an endless flight. If I remember correctly she held me spellbound in the night, with dancing shadows and firelight.

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The Iron Family is a revival of two classic wood type fonts, but with a modern necessity: the addition of a lowercase character range.

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There are Rum doings in the harbor tonight, me hearties! Black-hearted buccaneers are gatherin' in the tavern and there’s talk of gunpowder, treason and plot. Even if there are ladies in the room, we advise that you Pass the Port, put away your pieces of eight and weigh anchor until the Pirates have Caribbean and gone.

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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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Lionheart is the digitization and expansion of Saladin, a neo-gothic typeface designed by Friedrich Poppl, long after he established himself as one of the greatest German designers of all time with some of the most “ausgezeichnet” scripts and text faces to ever come out of Europe. This typeface, though lesser-known among Poppl’s other masterpieces, was one of the first in its genre to abandon blackletter influence and attempt letter variations based strictly on Roman alphabet shapes. Poppl’s idea spawned a whole generation of neo-gothics that can now be found on many a movie poster or book cover where the design must hint at secrets and dark sides.

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I loved the look of this font so much that I couldn't resist reworking it - although it probably had the most basic character set I've ever used as a starting point. But here it is in its complete, professional, multilingual state. I hope this wonderful swashbuckling font now finds many new users and uses. Celebrate!

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Abaddon has been one of our most popular fonts since it was first released in the mid-90s.

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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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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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Assembled for those less commercialized holidays, LTC Holiday Ornaments features over 80 printers' ornaments from Lanston Monotype and other historical foundries such as BBS and ATF.

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Based on drawings of Medieval versals (capitals used at beginning of verses in manuscripts) by G.W. Goudy. Works beautifully as initials with Goudy Text Oldstyle. Uppercase only, no numerals or punctuation; several letters have alternates. Framed, inversed caps are also included. This version of Lombardy Capitals is purposely less regular and clean-cut than some available to maintain a more hand-drawn look similar to the irregularities that would be found in a Medieval manuscript. The alternates help contribute to that look.

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Mikadan is a tribute to Stephenson Blake’s Verona from 1948, which was in turn based on William Dana Orcutt’s Illumanistic from 1904. The sharp corners are bladelike in appearance to suit fantasy themes. Mikadan has some of the legible qualities of Morris Fuller Benton’s Motto from 1915.

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Draculon is an animated casual inspired by the letterforms of William Orcutt’s Humanistic font from 1904 . . . which was in turn based on an Italian manuscript from 1485. The subject of the manuscript was probably something about vampires and pirates or even worse: the dreaded vampirates. Draculon is available in OpenType, Mac PostScript and Windows TrueType format.

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Spanish Main is a revival of an old MacKeller Smiths & Jordan font named Sloping Black. Like most foundries MacKeller Smiths & Jordan doesn't display all the letters of the fonts in their specimen books so it took a little more time to find the complete character set for this old beautiful classic font.

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Hortensia, designed around 1900 by Emil Gursch for his own Berlin foundry, is a typeface most expressive of the post-Victorian aesthetic that was all the rage in both Europe and America during the second half of the 19th century and up until the Great War. It is a reduced aesthetic of sharp points and natural curves that almost want to apologize for their own elegance, but clearly embody the simple excitement about the blossoming of industry and crafts during the period. This deco script trend would get a re-run for about a decade on either side of the second World War — especially in the entertainment and financial industries — before giving way to art nouveau and big brush faces.

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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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Sultan is a revival and expansion of a 1954 Matrin Kausche typeface called Mosaik. This design highlights the unmistakable Arabic/Moorish calligraphy influence on Celtic lettering, by way of the highly active Andalusian culture from the ninth century until the crusades in the early eleventh century.

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Named after the famous French fairy tale, Bluebeard is a surprisingly legible, slightly worn-out mix of majestic blackletter majuscules and roman minuscules.

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It’s Creepy and it’s Kooky, it’s Altogether Ooky; it’s the Addams Family font!

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Centennial Script was designed and cut by Hermann Ihlenburg in 1876 (the centennial of American independence, hence the typeface’s name) for the MacKellar, Smiths & Jordan foundry in Philadelphia. Ihlenburg was then only 33 years old, and these beautiful forms put him on his way to become the most prolific and innovative deco, ornamental and script typeface designer and punch cutter of the nineteenth century.

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

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Shiver me Timbers and Splice me Mainbrace! There’s strange goings on in Smugglers' Cove... A gathering of thieves, brigands, piratefolk and back-stabbing blackguards the likes of which have not been seen since the days of Redbeard!

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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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‘X’ marks the spot -- and the height of the lower case letters -- in this cartographic calligraphy mapped out for you by lettering landlubber Jolly ‘JG’ Roshell and his trusty crowquill.

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The archetype of the Brush Script, designed for ATF by R.E. Smith in 1942.

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Simeon’s Handwritten Blackletter is the result of my desire to have my handwritten old English style writing available for my computer. It is a basic Gothic style font with my own touch to the lettering.

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Philip Bouwsma is concerned about the survival of calligraphy in the computer age. The last time there was a technology shift of this magnitude, in Gutenberg’s day, the metal workers shouldered out the scribes and set their own stamp on type design, relegating calligraphy to a niche role where it still languishes. Now we are faced with another crisis, surely our last chance to integrate the classical broad pen technique into mainstream typography; but this time we have the tools to convey the subtlety of the finest calligraphy. The machine doesn't simply make a snapshot or a still-life of the calligrapher’s expression; it has now become the tool that can inspire and help the designer with the task on hand.

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Raymond is a raw, textured script.

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Schreibweise is a pirate-flavored font inspired by a hand-lettered manuscript dating from 1492.

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Versals is based on Lombardic style letters which are sufficiently broad to allow for decorated piercing and flourishes.

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Adieu is an old-fashioned display font traced and modified from a group of Victorian fonts. It is very stylized, but it is very attractive to many of my clients.

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Based on the Medium weight of Ludlow Tempo.

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We know what you're thinking... This is not a new font, just an old one with a few bullet holes in its helmet, dirt on its shins and some carbon scoring on its breastplate. You're thinking this is like a variant cover by Joe Madureira or J. Scott Campbell -- handsome and rugged on the outside but weak and effete on the inside.

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AdieuTwo is a radical revision of Adieu which was a revision of my original font, Chivalry, that was traced from Chevalier back in the mid-1990s.

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Brush Script was designed in 1942 by Robert E. Smith for American Type Founders. It has a spontaneous, brush-written look, and the lowercase letters are connected as in handwriting. Brush Script is ideal for casual display work where an informal, handwritten style might be advantageous, such as posters and signage.

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The Bentele-Unziale letters are transcribed from letters drawn by Prof. Ernst Bentele which are displayed in Hoffmanns Schriftatlas (1952).

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Caslon Antique was designed by Berne Nadall and brought out by the American type foundry Barnhart Bros & Spindler in 1896 to 1898. It doesn’t bear any resemblance to Caslon, but has the quaint crudeness of what people imagine type looked like in the eighteenth century. Use Caslon Antique for that “old-timey” effect in graphic designs. It looks best in large sizes for titles or initials.

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The font, Arnold Boecklin, appeared in 1904 with the font foundry Otto Weisert. Traces of the floral forms of the Jugendstil can still be seen in this typeface. Alphabets of this type were mainly meant for larger point sizes, as on posters. A decorative feel was much more important than legibility, and Arnold Boecklin was of particular importance to the book design of the Jugendstil movement.

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