The Old Turkic script (also known as variously Göktürk script, Orkhon script, Orkhon-Yenisey script) is the alphabet used by the Göktürks and other early Turkic khanates during the 8th to 10th centuries to record the Old Turkic language. Words were usually written from right to left. According to some sources, Orkhon script is derived from variants of the Aramaic alphabet, in particular via the Pahlavi and Sogdian alphabets of Persia, or possibly via Kharosthi used to write Sanskrit The texts are mostly epitaphs (official or private), but there are also graffiti and a handful of short inscriptions found on archaeological artifacts, including a number of bronze mirrors.

Dark, spicy & distinctive display typefaces from the nineteenth century I had in mind when creating this font family. Extreme contrasts and sharp endings may remotely remind some blackletters, especially in narrowed styles. The range of interpolated widths is useful for designing a provoking poster, magazine, music or book cover.

PT Unovis™ was designed for ParaType in 2001 by Tagir Safayev. Inspired by the shapes of lettering of the Russian Avant Garde artists of Kazimir Malevich’s circle at the beginning of the 20th century. Based on simple geometric forms. Caps only. For use in advertising and display typography.

At the end of the 19th century, the fin de siècle, both Bauer and Berthold released ‚Herkules‘, a heavy Art Nouveau font for ads and posters. This font was carefully redesigned and makes it a great font in Jugendstil surroundings and a splendid partner of the Carlsbad font family.

Sprint is a forward-leaning display face that was created by the noted Italian type designer Aldo Novarese. The font is a perfect match for 1970s era racecars, or 21st Century e-commerce start-ups. Get with the speed today, and try out Sprint in a headline or two.

This hebrew typeface is inspired in prayer books from the beginning of the XX century. You can apply modern hebrew marks like Kamats Katan, Sheva Na, Dagesh Chazak and Cholam Chaser. It's a classic style with the most modern of a digital font technology and a easy lecture.

'Lenbach' is a revival which was inspired by a late-19th century German font design. It comes with both Western and Central European characters, as well as Baltic, Romanian and Turkish characters. To get access to all ligatures, it is recommended to activate both Standard and Discretionary Ligatures.

This font inspired by classical fraktur who made in the middle of 19th century which featured strong contrast and artistic lines. The font is well-suited for headlines, advertising or artistic purpose. But with your creative idea you can use this font to make your project outstanding and elegance.

Hubbard is based on hand lettering from the Roycroft Arts and Crafts movement of turn-of-the-century New York. The Roycrofters were heavily influenced by the design concepts of William Morris and Charles Rennie MacKintosh. The font takes its name from Elbert Hubbard, leader of the Roycroft movement.

The 1935 sheet music for Shirley Temple's "That's What I Want for Christmas" [from her 20th Century Fox film "Stowaway"] provided the hand lettered sans which became the model for Artistry JNL. A condensed block design with rounded corners, the typeface is available in both regular and oblique versions.

Fette Kanzlei is a beautiful mid-19th century blackletter font with a touch of calligraphy which has been brought back into life again. The long s can be reached by typing alt plus b or by activating the OT feature historical forms. This font also contains oldstyle numerals.

This great Victorian display font of the late 19th century was revived for today’s use. You also find two frame elements. To start setting a frame, type [shift] + [alt] + p for the corner, and continue with typing [alt] + p. Duplicate and mirror the lines to get a fantastic frame.

Here is a wood type from Tubbs & Co., about 1900. Its lack of decoration reflects the changes that were rapidly occurring in the design of printed pieces at the beginning of the 1900s. There were several similar types in metal in the first decade of the 20th century.

XPhyngern is a collection of pointing fingers taken from a variety of sources. Some come from the 19th century, when there were a great many used. Others are based on fingers I found in reproductions of medieval manuscripts. If you need a interesting pointing finger, try this typeface.

Capricho is a warm, comfy, and pleasantly readable typeface. It unites the virtues of a 17th century transitional typeface with its own distinctive and individual flavour. Its large descenders and ascenders make for a distinguished appearance. The complementary Italics with its gently flowing ductus is the contrasting counterpoint.

Designed by Dave West and released in 1960, the name Barnum associates this face with the famous nineteenth-century traveling American circus and showman P.T. Barnum. The wood-cut influence of the letter makes the PL Barnum Block font ideal for posters, signage and creative titling and packaging.

The 1915 sheet music for the tune "Dancing the Jelly Roll Song" by Nat Vincent and Herman Paley featured the title hand-lettered in a sans serif design strongly influenced by the Art Nouveau movement of the early 20th Century. This formed the basis for Jazzy Roll JNL.

Designed for a privately-published luxury edition of The Time Machine, HGWelles Ultralight, Regular and Bold are now being made available to the public. This is the Welles of the early 20th century, seeing many of his predictions coming true and anticipating the shape of things yet to come.

The Vienna Workshop (Wiener Werkstätte) produced a tremendous variety of art from the turn of the century until the beginning of World War II. This set, which includes three typefaces and a collection of graphic extras, draws on both the Art Nouveau and Expressionist traditions of the Workshop.

Halfway between nineteenth century display wood letters and the American grotesk sans-serif of the early twentieth, we can find Ultramarina, a display font for use in large body headlines, which show its power of attraction to quality food, the country’s legume, and gentlemen with a mustache and apron.

An elegant typeface from the turn of the last century named "Venezia", issued by Karl Brendler and Son of Vienna, provided the inspiration for this little gem, with hints of the exotic. Both versions of this font include the complete Unicode Latin 1252 and Central European 1250 character sets.

Discovered within the pages of a turn-of-the-Twentieth-Century specimen book of the Società Nebiolo of Turin, Italy, was this little gem, which shows both antique and Art Nouveau influences. Both versions of this font include the complete Latin 1252 and Central European 1250 character sets.

Stockholm is a contemporary roman typeface designed by Paul Shaw in collaboration with Garrett Boge in 1998. Its strong yet refined roman character shapes were inspired by twentieth century Swedish lettering. The face is appropriate for both text and display settings. Stockholm is part of the LetterPerfect Swedish Set

Goteborg is a an original italic typeface designed by Paul Shaw in collaboration with Garrett Boge in 1998. Its graceful yet sturdy character shapes were inspired by twentieth century Swedish lettering. The face is appropriate for both text and display settings. Goteborg is part of the LetterPerfect Swedish Set

Faktum is an exploration into the geometric sans genre, inspired by Mid-century modern architecture and interior design. Especially the combination of clear lines, organic curves and geometric shapes, highly popular among designers and architects of the second third of the 20th century, gave the impetus for a design with clear modernist roots and a strong contemporary finish. The family comes in 8 weights plus matching italics, featuring a wide range of alternate characters and opentype features like discretionary ligatures, case sensitive shapes, different number sets and many more. Due to its clean lines and slightly organic structure, Faktum functions great in many sizes and surroundings, working either as a restrained supporting font in long paragraphs, or as a main actor in powerful headlines.

Giambattista Bodoni (1740–1813) was called the King of Printers and the Bodoni font owes its creation in 1767 to his masterful cutting techniques. Predecessors in a similar style were the typefaces of Pierre Simon Fournier (1712–1768) and the Didot family (1689–1836). The Bodoni font distinguishes itself through the strength of its characters and embodies the rational thinking of the Enlightenment. The new typefaces displaced the Old Face and Transitional styles and was the most popular typeface until the mid-19th century. Bodoni’s influence on typography was dominant until the end of the 19th century and, even today, inspires new creations. The Bodoni Classico of Franco Luin displays less stroke contrast than the original and is therefore also appropriate for smaller point sizes.

Nicolas Cochin (not to be confused with another font named simply "Cochin") was originally designed by Georges Peignot in the early 20th Century and was based on engraved letters of the 17th Century artist Charles Nicholas Cochin. Many foundries including Lanston released versions in the 1920s. Several digital versions can now be found, but none have kept the irregular details of the metal type which include strokes that cross over each other as if hand drawn (see letters K & y). The new Lanston digitization is the only digital version to retain the idiosyncratic treatment which makes the metal type so alluring. The Opentype version included an expanded Central European character set as well as ligatures, alternates, fractions, superior/inferior numerals (the Italic also has swash characters).

Titul is a display typeface with strong historical connotations. It is based on a series of stylish lettering for book covers, designed by Russian graphic artist Alexander Leo in the 1920s. The historical reference for him was book design of the 1st half of the 19th century. Type family consists of four ornamented and three basic styles: one solid, one inline and one striped. All seven faces have corresponding oblique styles. Also, there is a beautiful vignette font and a style for constructing ornamental borders. Titul suits best for vintage spirited typography, from the 19th to early 20th century. It is perfect for book covers, theater posters, packaging and greeting cards. Typeface was created by Isabella Chaeva and released by Paratype in 2020.

The Kensington Runestone is a rune-covered slab of brownstone that was claimed to have been discovered in central Minnesota in the United States in 1898. Olof Öhman, a Swedish immigrant, reported that he dug it out of a field in the largely rural town of Solem in Douglas County. It was then named after the nearest settlement, Kensington. The inscription claims to be a record left behind by Scandinavian explorers in the 14th century (internally dated to 1362). There has been a long-standing debate as to the stone's authenticity, but since the first scientific review in 1910, scientific consensus has classified it as a 19th-century hoax, and some critics have directly accused Öhman of fabricating it. there is community.

Venetic is an extinct Indo-European language, usually classified into the Italic subgroup, that was spoken by the Veneti people in ancient times in northeast Italy (Veneto and Friuli) and part of modern Slovenia, between the Po Delta and the southern fringe of the Alps, associated with the Este culture.[3][1][4] The language is attested by over 300 short inscriptions dating from the 6th to the 1st century BCE. Its speakers are identified with the ancient people called Veneti by the Romans and Enetoi by the Greeks. It became extinct around the 1st century when the local inhabitants assimilated into the Roman sphere. Inscriptions dedicating offerings to Reitia are one of the chief sources of knowledge of the Venetic language

Veteran designer Bo Berndal has created Cartesius, an oldstyle serif typeface with roots in the 16th and 17th centuries, France and Venice. Bo Berndal: "Rene Decartes, the great French philosopher, was invited to Sweden in the 17th century, when the country was at the height of its power. In the university city of Uppsala he used the Latin name form Cartesius. The typeface that carries his name is inspired by letterforms from the 1600s, but upper case letters are of pure Roman type". Cartesius holds up well even under less than perfect circumstances, and is suitable for magazine and book design. It comes with a full range of styles, including small caps. Swedish type foundry T4 premiere new fonts every month. Cartesius is our fifth introduction.

Historical influences coalesce with a contemporary twist to form the striking slab serif typeface Regime. In the early 19th century, as the Industrial Revolution began to transform Britain, the slab serif was born. The impact of new technology created a demand for a visual language that was compatible with mass-production and that could capture the attention of a newly-literate consumer. The design of the first slab serif typeface is credited to British punchcutter and typefounder Vincent Figgins and was released under the name Antique in 1815. In the same year, Napoleon was defeated at Waterloo. The name Regime alludes to this moment in history, when Britain emerged as the principal naval and imperial power of the 19th century.

The hand composition typeface was developed at the Ossip Lehmann type foundry (St. Petersburg) in 1904-07 (after designs by Alexander Leo?). It was redeveloped at Polygraphmash in 1960s for slugcasting composition. Named after Russian Empress Elizabeth I (1709-61). Based on typefaces of George Revillon type foundry of 1840s, though some characters’ shapes were redrawn similar to Russian Academy of Sciences typefaces (mid-18th century). Sharp contrast, strong weight Modern Serif with archaic flavor. The typeface is useful in text and display composition, in fiction, historical, and art books, especially connected to the 18th or 19th centuries. It looks great in Russian classical literature such as Pushkin and Gogol works. The revised, improved and completed digital version was designed at ParaType in 2001 by Lyubov Kuznetsova.

The typeface was designed after seeing a photocopy of some News Gothic text where the ink had faded on the bottom of each character. As character recognition is generally based on the top half of a character, readability was never compromised. Rather like Antique Olive the characters have a top heavy look when viewed straight on, however, as most type is read at an angle with the top further away than the bottom this top heavy look is diminished.

ATF Agency Gothic was designed by Morris Fuller Benton in 1932 as a lone titling typeface. In 1990, David Berlow saw potential in the squared forms of the narrow, monotone capitals. He designed a lowercase and added a bold to produce Font Bureau Agency, an immediately popular hit. Sensing its potential to be than just a useful condensed face, Font Bureau developed Agency into a major series offering five weights in five widths; FB 1990-95

Inspired from Cambodia’s alphabet, Khmer. I tried to explore the visual of the original character in Latin characters. Inspired by 2 gothic fonts, Old London (for the modern/straight feel) and Berliner (for the dynamic between thin and bold line). The letters are made with pencil in a millimeter block book, then scanned into clean vector format. And the result can be use for Display or a Headline with traditional or ethnic theme, including film, game, event, etc.

If you're in need of a sophisticated sans serif font, look no further than type designer Jason Castle’s Carisma (Paul Shaw in HOW magazine). Carisma, a CastleType Original, combines the elegance of classic capitals, the simplicity of clean-cut, geometric lowercase letters and the warmth of sensuous curves, subtle contrasts and sensitively tapered terminals, making it the perfect typeface for an understated, modern, sophisticated look. Available in two styles: Carisma Classic (the original), and Carisma Gothic, plus Carisma Inline.

HU Storyserif is a textual font in the form of a slab serif and contains a concise and neat feeling through the round conclusion of straight lines and lines. It is a typeface designed to contain a distinctive feeling by adding a round topknot, not a typical square topknot of slab serif, and a gothic solidity through a straight straight line. There is 1 weight of HU Storyserif : Regular Features : Uppercase & Lowercase Numbers & Puncuatuion Multilanguage 882 Glyphs

Figgins and Caslon may be names familiar to many as Type Founders. Indeed they are, but they are perhaps less well known for the emergence of Sans Serif type styles which have become part of our lives since 1889. The first hundred years of this style is celebrated with this design by Adrian Williams, completed in 1989. It echoes many features of the Gothic, Grotesque and Sans Serif models of the period, based particularly on the 1870 Figgins.

Cruz Quaste is a calligraphic medieval type, drawn by Måns Grebäck between 2018-2020. While traditional in character it is yet original, and could be described as a reinvented Gothic style. Its blackletter style it works great in historical contexts, or to give projects a tough feeling. Cruz Quaste contains OpenType features such as alternates and ligatures. The font is multilingual and supports all Latin-based European languages. It contains numbers, punctuation and all symbols you'll ever need.