This is a new and improved version of an old freeware font named Materhorn, hased on a design originally called Fanfare, designed by Louis Oppenheim in 1927 for H Berthold AG. The outlines have been completely redrawn, the entire font has been thoughtfully hand-kerned, and OpenType features have been added. Additionally, the font contains not only the complete Latin language character set (Unicode 1252) plus also support for Central European (Unicode 1250) languages

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.

The 1895 specimen book from Barnhart Brothers and Spindler featured this whimsical typeface, originally called Anglo. An unusual combination of elegance and quirky charm. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

The movable letters used on temporary road signs in the U.K. inspired this utilitarian typeface. Also included in the font are numerous other carriageway symbols and emblems. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

The Ayes have it! The 1909 specimen catalog from the H. C. Hansen Type Foundry of Boston contained a lovely decorative face named Congress, which is the pattern for this font. It's a winning choice for distinctive headlines, and the uppercase letters are also suitable by themselves for use as decorative initials. The PC Postscript, Truetype and Opentype versions contain the complete Latin language character set (Unicode 1252) plus Central European (Unicode 1250) languages as well.

This bouncy beauty was inspired by Walnetto Casual, designed by Dave West for Photo-Lettering, Inc. in the 1970s, and takes its name from a mythical West Texas beastie. This version has been thoughtfully designed to use Contextual Alternates to avoid unsightly serif collisions for best possible visual effect. Both versions of this font include the complete Latin 1252 and Central European 1250 character sets.

Live long and prosper. Barnhart Brothers and Spindler. 1884. Originally named Vulcan. Enough said. Both versions support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

A crisp, geometric semiscript, based on the font Adonis, originally released by American Type Founders.

A Lufthansa Airlines baggage label from 1936 provided the inspiration for this genuinely German typeface, with strong Art Deco influences. Both versions include the complete Unicode Latin 1252, Central European 1250 and Turkish 1254 character sets, as well as localization for Lithuanian, Moldovan and Romanian.

The original sheet music for Ted (Is Everybody Happy?) Lewis’ signature tune, When My Baby Smiles at Me, inspired this whimsical wonder. The sheet music was discovered in the Library of Congress American Memory Collection, an incredible online resource. The typeface gets its name from a slightly loony early 1900s comic strip by Fontaine Fox. This new and improved version has beefed-up outlines, so it renders well even at smaller sizes. Both versions contain the complete Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

In the Dynamic Seventies, "prismatic" typefaces were all the rage, and few were more popular than variants of Paul Renner's Futura and the Herbert Bayer-inspired Bauhaus. This family of fonts features Futura-like forms in the uppercase and Bauhaus-like forms in the lowercase, so you can mix or match to create just the perfect headline. As always, all versions contain the complete Latin 1252, Central European 1250 and Turkish 1254 character sets.

The American Typefounders 1893 specimen book included the pattern for this face, originally called Pontiac. Its subtle idiosyncrasies make it warm and inviting. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

If you wanted to send out a party invitation in 1923, Barnhart Brothers & Spindler recommended this typeface, which was originally called, simply, "Greeting Card". It also appears to be suitable for greetings from Mars. Available in two weights, regular and bold. Both versions of the font include the 1252 Latin and 1250 CE character sets (with localization for Romanian and Moldovan).

A classic late nineteenth-century face from the Dickinson Type Foundry of Boston. Both versions of this font support the Latin 1262, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Barnhard Brothers and Spindler called this typeface Congo when it appeared in their circa-1910 type catalog. The design is characterized by strong Art Nouveau influences, tight spacing and a large x-height.

A rather droll unicase typeface, discovered in a 1970s chapbook of suggested lettering for Soviet propaganda posters, inspired this bouncy beauty. Way more fun than a barrel of Volga Boatmen. The PC Postscript, Truetype and Opentype versions contain the complete Latin language character set (Unicode 1252) plus Central European (Unicode 1250) languages as well.

This unusual face features letterforms inspired by an Austrian travel poster designed by Johann Süssenbek in the 1930s, and rendered in a bold chiaroscuro manner. In case you're wondering, Escondido is Spanish for hidden. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

A whimsical semi-script typeface named Belcanto, designed by Edwin Sisty for Photolettering in the 1970s, provided the pattern for this typeface. Elegant and engaging, this face is sure to put a smile on yours. The PC PostScript, TrueType and OpenType versions contain the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

A signpainter's chapbook called this style Show Card Casual, although "casual" might be understating the case a bit. Guaranteed to put some fun, and a wee bit of mischief, into your headlines. Both versions of this font include the complete Latin 1252 and Central European 1250 character sets.

J. M. Bergling called the inspiration for this typeface “modern”—at least, it passed for modern in 1914. Its bold, sinuous forms and unusual decorative treatment suggest stained glass of a certain era, and so its name is German for “Arts and Crafts”. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

A French lettering chapbook from the 1920s, entitled "Art du Tracé Rationnel de la Lettre," provided the inspiration for this decidedly Deco exercise in alternative letterforms. Both flavors of this font feature the 1252 Latin, 1250 Central European, 1254 Turkish and 1257 Baltic character sets.

Originally released as Éclair by the French foundry Deberny, Peignot & Cie., this face is pure Art Deco in motion. Both versions of this font support the Latin 1262, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

The pattern for this graceful, subtly modulated Art Deco typeface was designed by Willard T. Sniffin for American Type Founders in the 1930s. True to the original design, the Swash Caps version features Sniffin's twelve decorative variants. The Postscript and Truetype versions contain a complete Latin language character set (Unicode 1252); in addition, the Opentype version supports Unicode 1250 (Central European) languages as well.

The 1905 Barnhart Brothers & Spindler catalog featured an ultrawide face called "French Antique Extended". The letterforms have been faithfully rendered here, but this font’s kerning calls for a lot of overlapping and interlocking that the original cast-metal face wouldn't have been able to duplicate. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Based on the 1932 typeface Newport, designed by Willard T. Sniffin for ATF, this Art Deco standard packs a lot into multi-line heads and subheads due to its very short descenders, cleverly accomplished by “fudging the baseline” on the g, p, q, and y. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

Waste Of Time 1: The base version. Waste Of Time 2: The champagne bubble version! Waste Of Time 3: The alien version! Waste Of Time 4: The homeboy version! Waste Of Time 5: The shadow version! Waste Of Time 6: The zit version! Waste Of Time 7: The speedline version!

Wasted Growth is a display font with a strong style is back. There are 2 styles, Regular & Blur. Suitable for merchandise designs, covers, posters and others. Features: Uppercase, Lowercase, Numeral, Punctuation & Multilingual. For any questions please contact me 🙂 Thanks!

Waite Park JNL is based on the smallest of the die-cut letters and numbers contained in the Webway Sign Cabinet - once manufactured by the Holes-Webway Company of Minneapolis, Minnesota. The largest of the set's sizes (2 inch) was the model for Sign Kit JNL, the medium size (1-1/8 inch) was used to make Sign Production JNL and this font is a version from the 3/4 inch size. Each size of alphabet and numerals have their own unique characteristics, although they all follow the same basic font style, which is reminiscent of classic Art Deco-era sanserif typefaces. The name Waite Park JNL was derived from a division of Holes-Webway that (for some reason lost to time) distributed their sign kits under the name Waite Park Sign Company, located in the Minnesota city of the same name.

I've worked together with the fabulous Rachelle Smith of What the Teacher Wants to come up with a new kid-friendly, teacher-friendly font. Rachelle's highly-popular teaching blog, What the Teacher Wants (http://whattheteacherwants.blogspot.com/) is a great resource for elementary teachers. She also sells educational products at Teachers Pay Teachers: http://www.teacherspayteachers.com/Store/Rachelle-Smith This font is exactly "What the Teacher Wants"- it is neat, legible, friendly, and contains enough glyphs to cover 86 languages and little extras like math symbols!

Ante Cf serif is an modern and elegant serif font family. This font is still included in the Ante Cf Family, created with a modern and vintage feel A very versatile font in a variety of designs you want. It is also suitable to be paired with Script / Handwritten / Minimalist Sans Serif Fonts for your project. We recommend that you have all types of Ante Cf Family Fonts (Serif / Sans Serif) to make your project even more amazing with a large selection from this Ante Cf Font Family. With Ante Cf Serif which has a large selection of alternative letters and ligatures, combined with Ante Cf Sans Serif which has a lot of weight, makes all your design projects seem complete and perfect, whether it’s for tagline, branding, editorial, magazine titles, poster design, logotypes, wedding invitations and other creative design projects.