Country Western is a revival of the classic William Page font known as Clarendon Ornamented originally designed in 1859 and again in 1877 by Vanderburgh & Wells.

More…

The revival of this 1932 classic design by W. Schwerdtner for the Stempel Foundry in Germany brings back the fashion and culture of those bygone days.

More…

TipTop Pro’s origin goes back to around 1900 when the font was released by the German foundry Julius Klinkhardt in Leipzig. Ralph M. Unger redesigned this beautiful art nouveau typeface, extended its character set and digitally remastered it.

More…

Ornella is a very typical art nouveau typeface that perfectly fits into the series of URW++ Jugendstil fonts released in the last couple of years.

More…

“Faux” is false or phony in French and Decaux is a spoof spelling of Deco, thus “False Deco”.

More…

How can Teutonia be called “Art Nouveau” with all those straight lines? It seems like a contradiction. In fact, however, Art Nouveau embraces a rather wide variety of stylistic approaches. Five well-known examples in the field of architecture serve to illustrate the range of diversity in Art Nouveau: Saarinen’s Helsinki Railroad Station, Hoffman’s Palais Stocklet in Brussels, Lechner’s Museum of Applied Arts on Budapest, Mackintosh’s Glasgow School of Art and Gaudi’s Sagrada Familia in Barcelona. Only the last fits comfortably within the common perception of Art Nouveau. Whereas Gaudi would avoid the straight line as much as possible, Macintosh seemed to employ it as much as possible. The uniting factor is that they all represent “new art” -- an attempt to look things differently than the previous generation. Even when they draw on the past -- e.g. Lechner in the use of traditional Hungarian folk art -- the totality of the expression in new. Teutonia clearly shows its blackletter roots in the ‘D’ and the ‘M.’

More…

Here is a profoundly delicate and graceful design that has its roots in art deco fashion.

More…

Gradle Nr. 1 is yet another new art nouveau design in the URW++ library. It was reworked, redesigned, completed and digitally remastered by Ralph M. Unger for URW++, based on hand-drawn upper case characters by M. J. Gradl, about in 1900.

More…

A simplified blackletter designed by Peter Behrens, architect and graphic artist who came into prominence around 1900. Issued by Rudhard’s Typefoundry, Offenbach A. M., this face was typical of many in the Jugendstil period.

More…

Roberta goes back to the old poster fonts of the 1930s. It is an excellent alternative and combination to fonts like Arnold Böcklin or Hobo.

More…

Le Havre is a geometric sans serif inspired by the golden era of the passenger ship, when getting to your destination was a delight in and of itself.

More…

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

More…

Mahalia draws inspiration from vintage hand-lettering, but adds a modern, European twist.

More…

Font designed after the face of a few characters of a real old 1913 small portable typewriter.

More…

The Le Havre series is a series of geometric sans serifs inspired by the dignified era of the passenger ship, when getting to your destination was a delight in and of itself.

More…

Distinctively Art Nouveau with a touch of Arts & Crafts, Quaint Gothic is a typographic gem from the late nineteenth century. Also known as Desdemona, this undulating and organic typeface is a versatile and refreshing alternative to many of the font designs on the market today. Quaint Gothic comes complete with an alternate set of caps and a new set of lowercase characters. And for your convenience, a nifty set of small caps and small figures are included in this version. You may also want to access the word-on-a-wave logotypes like “to” and “and” located in the special character slots. They’re great for constructing provocative headlines and titles.

More…

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.

More…

Pauline is a sans serif with a strong influence from retro scripts. Pauline is a geometric face formed with slow and deliberate rounded brush strokes. The tall ascenders give it a useful touch of naïveté. It’s a face suitable for some interesting titling and short bits of copy.

More…

Whether with pen on paper, or in digital, realistically connecting vertical handwriting is never an easy task to accomplish.

More…

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

More…

Willard T. Sniffin designed this extra condensed art deco typeface for American Type Founders in 1932.

More…

Charles Gibbons' Fleischman BT Pro revives J.M. Fleischman's quirky and elegant text faces of the 1730s. Born in Germany, Fleischman worked in Holland, primarily at Enschedé en Zonen where he cut dozens of faces. His types represent some of the earliest examples of the Transitional style, predating and influencing the work of Fournier, Baskerville, and Bodoni. They were wildly popular in their day, used for everything from newspapers to currency, and Fleischman himself has enjoyed a renaissance of late.

More…

Gold Spur is a spurred version of the FontMesa Gold Rush set of fonts.

More…

Graphique-AR is a digital version of a type designed by Hermann Eidenbenz and issued by the Haas foundry in 1946.

More…

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.

More…

The famous Italian type designer and Nebiolo director Alessandro Butti designed Rondine in 1948. Not so surprisingly - given its beauty - it quickly became quite a commonly copied metal type. But for some reason Rondine was spared during the massive “phototyping” that happened with the introduction of film type. Perhaps this is why no digital version of it ever existed until now.

More…

1913 Typewriter Carbon is the bold version of GLC foundry’s 1913 Typewriter. It is available in two styles: Normal, and Underlined (Bold).

More…

Railhead is a revival of an 1870s type style that was originally available from both the Bruce foundry in New York and James Conner’s Sons type foundry.

More…

In 1995, FontHaus came upon a rare opportunity to create a revival of Aries, a little known and previously unavailable typeface by the legendary Eric Gill. Discovering a lost typeface by one of the major designers of the 20th Century, was the discovery of a buried treasure, and being the first type company to release it was an honor.

More…

Wouldn't it be nice to have an assortment of little hand-lettered words? Words like “The” or “A”; “With” or “At”; “To” or “From”? Headline Helpers are word accents that can go just about anywhere. Set off the title of your next design project with one of these little gems. Or use a Helper with your new product introduction headline. Convenient instructions and character map come as standard equipment with this highly desirable addition to your type library.

More…

Introducing Grit Egyptienne, a typeface offering versatility and rugged flair. The grunge historic family features a total of eight fonts.

More…

As seen on Typophile.com, DTD Silvertone Woodtype had its roots in capitals and figures from a specimen of Ludlow 6-EC Gothic Extra Condensed woodtype. Thometz interpreted and expanded on the set, adding an original lower case and a set of alternates.

More…

Frisco Bay JNL is an entirely original design from Jeff Levine with strong Art Deco influences.

More…

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.

More…

Designed by the renowned Robert Hunter Middleton of Chicago’s Ludlow Typograph Company, this “serifless roman” was first introduced in 1929.

More…

Warren Chappell was the original designer of this handsome pen-formed roman typeface introduced by the Stempel Foundry in 1939. It was cast in Germany as Trajanus and named after the Roman emperor whose accomplishments are preserved on the Trajan Column in Rome.

More…

This is yet another Willard T. Sniffin deco-inspired original. Created for the American Type Foundry, Hollywood Deco remains a classic that is still as contemporary today as when it first appeared in 1932.

More…

Sheridan Gothic, also known as Grant Antique, is a quaint design produced in the late nineteenth century.

More…

The ornamented and magnificent type design used with the color plates of Owen Jones' “The Grammar of Ornament” has served as a model for this nineteenth century typeface. Astoria Antique possesses an intricate and spidery-like quality. Its v-shaped wedge endings make it look like something straight out of an old curiosity shop. In addition, lowercase letters have been added for design convenience.

More…

Aviator, also known as Ventura Slim, is based on an old 1930s lettering style popularized by Carl Holmes in his wonderful book on the subject.

More…

Novella has always been one of Fonthaus' more popular period (Art Nouveau) fonts.

More…

In 1939 the Stephenson Blake Company bought a very popular script called Undine Ronde and began marketing under the name Amanda Ronde. Although Undine/Amanda was quite popular and can be seen in many advertisements from the 1930s and 1940s, there seems to be no surviving record stating the original foundry or designer.

More…

Sweet Upright Script is the first release for Sweet Fonts Collection, published by MVB Fonts. It is an interpreted revival of a vintage, social engraving lettering style that was popular during the 20th Century. It is probably the first digital version of the design.

More…

Belgian is a revival of an old type font from the Bruce Type Foundry of New York, Belgian was first designed as a caps-only font in the 1860s with the lowercase added in 1867.

More…

Black Rose is the plain version of an old Bruce Type Foundry font called “Black Ornamented” created in 1873.

More…

Happy Holly Day is a playful and fun Christmas style font revival, many new characters have been added to make this font complete plus a new Fill font is included.

More…

Alt-Gotisch Verzierte is a typeface of decorative initials that is Victorian in style and bears a close family resemblance to the many ornamental tuscans cut throughout the nineteenth century by British foundries. Instead of the bifurcated terminals of the archetypical tuscan (see Figgins Tuscan by HiH or Stereopticon by Dan X. Solo), these letters display what Nicolete Gray might call a “wedge and bite” design -- as if they started with the wedge serif of a latin form and someone came along and took a perfectly round bite out of the wedge. We need not dwell on the lack of teeth marks. The calligraphic curls and flourishes are often graceful, sometimes a bit contrived, but always complex. There is a busyness that marks the style of the period. If you ever see an old photograph of a well-appointed Victorian parlor, you will recognize that same quality of busyness. Overdone is a word that frequently comes to mind.

More…

Compliment is a script design which is obviously based on H. Matheis' typeface designed for Ludwig & Mayer in 1965.

More…

One of the first messy typewriter fonts to hit the market, Chandler 42 was compiled with forensic care from the voluminous output of a circa 1942 portable.

More…

This 19th century antique typeface comes in two different flavors. Tall, squarish ornate caps center-aligned on a flowery lowercase body comprise the exquisite and memorable Asteroid Primo One classic design. As perfect today for initials and short headlines as it was when it was created.

More…

Graphique was originally created by Swiss designer Hermann Eidenbenz in 1945, and issued as hot metal font by Haas’sche Schriftgießerei, Switzerland.

More…

This Art Nouveau typeface was created around the turn of the 20th century by the Bauer Type Foundry in Germany. A unique foot and head serif treatment is the key design feature in this antique revival. Many vertical stems terminate in what has been called “the swooping, pointy-foot look.” A marvel to look at and a joy to set, Gable Antique Condensed will be a lasting asset to your growing typeface collection.

More…

Willard T. Sniffin designed this extra condensed art deco typeface for American Type Founders in 1932.

More…

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

More…

These four sets are based on the elegant and beautiful work of the German graphic designer Emil Rudolf Weiss.

More…

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.

More…

Veranda Poster was derived from a European art supply manufacturer’s logotype done in the Vienna (Wien) Austria style.

More…

This typeface appears to be straight out of a science fiction movie thriller.

More…

Buffalo Bill is a revival of an old favorite font that’s been around since 1888, the James Conner’s Sons foundry book of that same year is the oldest source I've seen for this old classic.

More…

Advertisers Gothic is bold and brash, like the city it comes from, Chicago. It was designed by the accomplished German-American matrix engraver, Robert Wiebking, for the Western Type Foundry in 1917. As its name suggests, it was designed for commercial headliner work, much as Publicity Gothic by Sidney Gaunt for BB&S the year before. See our Publicity Headline.

More…

Working as a photographer for Lamborghini Automobili was the high point of my photographic career, creating a 21st century version of Bodoni Ornamental is definitly a milestone in my typographic career.

More…

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.

More…

Country Western is a revival of the classic William Page font known as Clarendon Ornamented originally designed in 1859 and again in 1877 by Vanderburgh & Wells.

More…

This set of initial decorated letters was inspired by a font in use in the beginning of 1500s in Paris.

More…

Happy is what happy does, as they say.

More…

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.

More…

Tramp Steamer JNL is a re-interpretation of an old metal typeface that’s been around for years.

More…

In 1543 was published in Bâle (Switzerland) the well-known “De humani corporis fabrica” treatise on anatomy by André Vesale, printed by Johann Oporinus. A various types of faces were used for this work, mostly in Latin but including Greek characters. Its Jenson-type font was the one who inspired this font software. It is a very elegant one, including “long s”, a few abreviated characters and ligatures. As it was a Latin text, there were any accented characters and a few capitals were to be lacking. I had to reconstruct them.

More…

Antimony is a stylized grunge font offering strong, legible vertical height.

More…

Introducing Rough Egyptienne, a typeface offering versatility and rugged flair while always remaining legible.

More…

This font is a collection made with the largest part of the ornaments contained in the GLC foundry medieval and renaissance period fonts. It was made for the use of customers who wish to embellish their works without buying our complete catalog!

More…

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

More…

Designed by Heinz Konig, Waltari was released by the Rudhard'schen Giesserei of Offenbach A.M., Germany in 1900, and reflects all the flamboyant exuberance of that period. Waltari is a Jugendstil rotunda, combining its blackletter roots with a strong Roman influence in an effort to achieve a broader appeal than the traditional forms. As a rotunda, Waltari is easily read by readers who are not comfortable with the schwabachers and frakturs in common use in German printing. Waltari, with its decorative flourishes, has the amazing ability to be both traditional and youthful at the same time. Especially useful for for scrapbooks and invitations.

More…

Pekin is an unusual design with an oriental flavor. It was originally designed and released as “Dormer,” which is similar to the French verb ‘to sleep,’ not exactly a marketing triumph.

More…

Diploma is a revival of Diplomat, a metal type made by the in-house team of Ludwig & Mayer and first published in 1964.

More…

Splendor was originally produced and released in 1930 by Schriftguß AG, Dresden.

More…

Escoffier Capitaux is named for culinary legend Auguste Escoffier (1846-35) and inspired by lettering used in vintage French advertising – including the work of commercial illustrator/fashion designer Ernst Dryden (1887-1938)

More…

Edelgotisch is a bold Jugendstil design that shows its strong blackletter roots. This typeface, along with a set of initial letters, was released by Schelter & Giesecke of Leipzig, Germany about 1898 and is very similar to Eckmann-Schrift released by Rudhard'schen Giesserie (later Klingspor) during the same period. One suspects they may have been in direct competition.

More…

This script font was inspired by a lot of autographs, notes and drafts, written by President Abraham Lincoln, mainly the Gettysburg address, first draft and copies, but also the emancipation proclamation. It is an attempt to offer a typical manual script from this American period, not to propose the exact writing from A. Lincoln himself.

More…

Jugendstil Initials were designed by Heinrich Vogeler around 1905, based on the German blackletter tradition. A similar set of initials by Vogeler, but based on roman letters was released by Rudhardsche Geisserei of Offenbach at about this time. I believe the originals were woodcuts. The backgrounds to the letterforms may be seen as examples of Heimatkunst, an art movement within Germany that drew deliberate inspiration from the rural countryside. Like the Arts and Crafts Movement in England a little earlier, Heimatkunst may be seen, in part, as a romantic rejection of urban industrialization, while at the same time representing a back-to-roots nationalism. Like any river, it was fed by many streams.

More…

Twigglee was inspired by the hand lettering on the plates in a 19th century book on ornaments by Owen Jones. The upper-case letters are simply repeated on the lower-case keys.

More…

Frank H. Atkinson was a popular Art Nouveau sign painter in Chicago, Illinois designed signs for the Cadillac Motor Car Co., Chicago Academy of Fine Arts and the department store Marshall Field.

More…

Larisch is a hand-lettered design by the Austrian calligrapher and teacher, Rudolf von Larisch. The original was used for the title page of the 1903 edition of Beispiele Kunstlerischer Schrift Examples of Artistic Writing).

More…