ITC Out of the Fridge is the work of German designer Jochen Schuss. Its forms look as though they were scratched on rough paper with a pen. ITC Out of the Fridge is, in the designer's own words, fresh and cool", and works well where something modern yet "proper" is desired."

Halloween is a time when perfectly reasonable people choose to reenact some lost pagan rituals. No one seems to know why exactly, but Halloween has been celebrated in its present form for a little over one hundred years. This set of ornaments dates back to the early 20th century and depicts a “classic” Halloween collection of black cats, pumpkins, witches, and other indispensable Halloween ornaments.

Frederic Goudy designed this blackletter face based on Gutenberg's 42-line Bible. The Lombardic Caps were designed as an accompaniment to Goudy Text and are offered paired with the lower case as an alternate option. The Goudy Text Shaded is an inline variant that was added later by Lanston Monotype. Both varieties of capitals, as well as an expanded Central European character set, are offered in the Opentype set versions.

Giambattista Bodoni created this modern typeface in 1790 which served as the structural model for Sol Hess’s faithful rendition. Hess made necessary adjustments for mechanical typesetting on Lanston’s Monotype composition system. Remastered in 2006 by Paul Hunt.

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).

LTC Ornaments Two is the first Lanston Ornament font which uses OpenType features to assist in decorative border creation. The ornaments themselves features designs of Fournier and other classic fleurons and ornaments whose origins date back to the earliest printers.

This series of faces was designed initially by Morris Fuller Benton, circa 1900. The design is a refinement of Taylor Gothic from 1897. It features a sans serif thick and thin design with angular stems. Pre-dating art deco, this design feels quaint, yet it still has a touch of modernism. Frederic Goudy designed a bold version of Globe Gothic in 1905 for ATF. The Bold and Bold Italic digital versions have been added to the LTC library in early 2007.

Goudy Modern/Open was designed by Frederic Goudy, who was inspired by the caption of a French engraving. It is Goudy's first attempt at a "modern" face, but with less contrast and rigidity normally found in Bodoni style Modern faces. Goudy Modern was designed later in 1918 after viewing a proof of Goudy Open with the line filled in. Not a true modern face, but still a Goudy classic. The Pro versions include ligatures, varieties of numerals and Central European character sets.

LTC Bixler Ornaments One includes all designs found in the metal Bixler Type Handypacks #1–6 from P22 that were created using actual Lanston mats to cast these metal type sets. The 14 designs found in the metal type are presented in this digital version—each rotated and optimized to align easily and tightly for digital layouts.? LTC Bixler Ornaments Two incudes all designs found in the metal Bixler Type Handypacks #7–14 from P22 that were created using actual Lanston mats to cast these metal type sets. The 17 designs found in the metal type are presented in this digital version—each rotated and optimized to align easily and tightly for digital layouts.

Goudy Modern/Open was designed by Frederic Goudy, who was inspired by the caption of a French engraving. It is Goudy's first attempt at a "modern" face, but with less contrast and rigidity normally found in Bodoni style Modern faces. Goudy Modern was designed later in 1918 after viewing a proof of Goudy Open with the line filled in. Not a true modern face, but still a Goudy classic. The Pro versions include ligatures, varieties of numerals and Central European character sets.

Goudy Ornate (also known as Ornate Title) was designed in 1931 by Frederic Goudy. He states "It is a simple, decorative face that has been used by some good presses for use on title-pages where size is more important than blackness of line." The new Lanston version includes a lower case and full character set designed in the style of Frederic Goudy.

LTC Keystone Ornaments is a set of over 100 glyphs based on "running border" ornaments from Keystone Type Foundry of Philadelphia, circa 1903. These geometric dingbats can be used individually for decorative emphasis, or combined in repetitive lines or complex patterns.

In researching historic decorative material offered by Lanston Monotype as well as other metal foundries such as Barnhart Brothers and Spindler, there were occasionally ornaments that defied description. Perhaps it was a Victorian sense of humor or someone really thought these were a good idea or perhaps popular taste has just changed so much over the last hundred years, or our forbearers were completely insane. In any case, LTC is somewhat proud to present a collection of the most bizarre, disturbing and baffling printers ornaments we could find. Along with mutant fowl-children and frolicsome amphibians, there are also Masonic and other secret fraternal symbols that may not be creepy to everyone, but just enough to be moderately disturbing.

Unlike previous dingbat fonts released from Lanston Type Co., Archive Ornaments derives from a unique collection of brass ornament plates that were originally used in creating the matrices for casting metal type. Using the plates as a reference point allowed for a more precise rendering of the ornaments. Letterpress prints were made directly from the brass plates, which were then re-drawn and digitized. Each character has been optimized for the combination of decorative borders and patterns as well as individual accentuation. The completed digitized font contains over 100 glyphs, ranging in style from geometric to organic designs.

A very rare metal face made a brief appearance in Lanston Specimen books and has all but vanished from use. In fact no examples of the font in use seem to exist. It shares some of the hand-rendered casual feel of Nicholas Cochin, but much heavier and well suited for bold headlines and package design.

OTC New York is a geometric sans serif font family with support for Latin, Cyrillic and Greek. The display font comes in 18 styles, 9 weights (including italics) and as a variable font which supports two axis variability: weight and italic. It’s ideal for branding, logos, headlines, editorial design, packaging, web and television use. The font family is inspired by the Bauhaus school with its simplified geometric form, balanced layout, harmonious geometric shapes that are simple but strong. OpenType features contain stylistic alternates (for A, a, e & g); old style figures; fraction figures; subscript, superscript, numerator and denominator figure position and tabular figures.

A set of over 50 ornaments, connecting borders, flourishes and decorative motifs originally designed by Frederic Goudy throughout his career. Many of these designs were used by Goudy at his Village Press and offered by his Village Foundry in the 1920s. The styles range from complex title page illustrations to simple linking borders, but all have the unique Goudy style. This set is completely different from the Goudy Ornaments found in the P22 Goudy Aries Set.