Paris Serif is an avant-gardist serif handwritten font designed in Paris. It’s an all-caps thin font, with Art Deco ornaments and extended glyphs for many languages. But the little difference of Paris Serif from other handwriting typefaces is the Art Deco feeling that brings it a retro and directly familiar look. We hope you will enjoy our work. Merci beaucoup!

Estravaganza is an elegant, finely crafted script, with an uneven, drizzled paint line. It has the delicacy of gossamer while boasting the extravagance of bold swashes and loops. Think "ballet-like femininity offset by the distressed paint drizzle of a jackson Pollock canvas." Use Estravaganza to brand perfume, clothing, jewelry, and to enhance wedding invitations, greeting cards and book covers. Language support includes all European character sets.

In 1948, Mergenthaler Linotype released the first weights of Trade Gothic, designed by Jackson Burke. Over the next 12 years, Burke, who was the company’s Director of Typographic Development from 1948 through 1963, continued to expand the family. Trade Gothic Next is the 2008 revision of Jackson Burke’s design. Developed over a prolonged period of time, the original Trade Gothic showed many inconsistencies. Under the direction of Linotype’s Type Director Akira Kobayashi, American type designer Tom Grace, a graduate of the MA Typeface Design in Reading, has redesigned, revised and expanded the Trade Gothic family. Many details were improved, such as the terminals and stroke endings, symbols, and the spacing and kerning. Moreover, there are newly added compressed widths and heavy weights perfect for setting even more powerful headlines. Trade Gothic Next brings more features and better quality for today’s demanding typographers. Trade Gothic Next Soft Rounded introduces a new friendliness and warmth to the family.

The Hand Wide is a handwritten font designed by Fanny Coulez and Julien Saurin in Paris. It's the extended version of The Hand, coming in 8 heights finely balanced. We wanted to create the most generic and readable handwritten font, to work well in every kind of design. We hope you will enjoy our work :) You could follow us on our Instagram: instagram.com/sc.type Merci beaucoup!

Gilmore Fahrenheit is a glyphic, sans serif typeface that was inspired from early designs by the renowned English typographer Eric Gill. It was designed in 1992 by A. Pat Hickson (P&P Hickson) and Steve Jackaman (ITF) exclusively for the Red Rooster Collection. It was designed with true small caps, has an italicized geometric look, and possesses legibility reminiscent of Swiss typefaces.

Like another popular “doodle”, Atlantic Doodles can really liven things up. Give your scrapbooking, invitations, gift tags and other creative endeavors the attention they deserve with this versatile collection of 52 hand-drawn swashes, flourishes, spots, and decorations. Designed to coordinate with your favorite Atlantic Fonts. Atlantic Doodles shown with Catbird, Suntea, Rowboat, Mountain Goat, Merci, Once, Trailmap, Farmstand and Steamboat.

Designed by Les Usherwood. Argus is a flared serif font family. Its analog form was designed by Les Usherwood (Typsettra) in the 1980’s, and Paul Hickson (P&P Hickson) and Steve Jackaman (ITF) designed the digital version exclusively for the Red Rooster Collection in 1992. Argus is an expressive, graceful typeface that was inspired by Baroque typography. Its diamond-shaped punctuation shares similarities with other glyphic typefaces, such as Arthur Baker’s ‘Baker Signet.’ The font family gives a beautiful gravitas to any project, whether it be packaging, motion picture, or magazines.

Straight Line is essentially an outline Modern, but drawn without any curves whatsoever. Thin horizontals and thick verticals provide the classic look of a Didone, updated and enhanced by clean, minimalist geometry. In addition to the Straight Line font itself, the package includes Straight Line Solid with matching spacing and kerning. The Solid font can be used solo, or layered with the outline font to provide a colour background. Straight Line is an excellent display face for contemporary, eye-catching headings and sub-headings, and the fonts contain a full complement of Latin Extended-A characters. The typeface was inspired by a 1930s experimental alphabet by the British artist, Percy J Smith.

The first cuts of Trade Gothic were designed by Jackson Burke in 1948. He continued to work on further weights and styles until 1960 while he was director of type development for Mergenthaler-Linotype in the USA. Trade Gothic does not display as much unifying family structure as other popular sans serif font families, but this dissonance adds a bit of earthy naturalism to its appeal. Trade Gothic is often seen in advertising and multimedia in combination with roman text fonts, and the condensed versions are popular in the newspaper industry for headlines.

The first cuts of Trade Gothic were designed by Jackson Burke in 1948. He continued to work on further weights and styles until 1960 while he was director of type development for Mergenthaler-Linotype in the USA. Trade Gothic does not display as much unifying family structure as other popular sans serif font families, but this dissonance adds a bit of earthy naturalism to its appeal. Trade Gothic is often seen in advertising and multimedia in combination with roman text fonts, and the condensed versions are popular in the newspaper industry for headlines.

The Hand is a handwritten font designed by Fanny Coulez and Julien Saurin in Paris. We wanted to create the most generic, readable and finely balanced handwritten font, to work well in every kind of design. We also designed two playful dotted weights to add a fancy touch in your graphic design. We hope you will enjoy our work :) You could follow us on our Instagram: instagram.com/sc.type Merci beaucoup!

Designed by Les Usherwood. Digitally engineered by Paul Hickson. Les never released this completed typeface before his untimely death in 1983.

Designed by Les Usherwood. Digitally engineered by Paul Hickson. Another typeface from Les Usherwood that was released after his 1983 death.

Propaganda in a poodle skirt? Another gem gleaned from Schrifti Alphabeti, a book of Cyrillic alphabets published in Kiev (now Ukraine, then USSR) in 1979. Flouncy, bouncy, perky and quirky, this typeface will add sass and charm to any project it graces. Both versions of this font contain the Unicode 1252 Latin and Unicode 1250 Central European character sets, with localization for Romanian and Moldovan.

Appleyard is a transitional serif font family that combines the elements of a modern serif and old-style typefaces. It is loosely based on an old Monotype design called ‘Prumyslava.’ Appleyard was designed by A. Pat Hickson (P&P Hickson) exclusively for the Red Rooster Collection and produced by Steve Jackaman (ITF) in 1992. The typeface’s rounded serifs give it a sophisticated, warm, and friendly feel; it excels in projects that need a delicate touch. Appleyard was designed with legibility in mind, and is ideal in children’s books and for young readers.

Claremont is a serif font family designed by Les Usherwood (Typsettra). Usherwood originally created four weights – a light, extra bold, light italic, and extra bold italic. Paul Hickson (P&P Hickson) and Steve Jackaman (ITF) digitized the family and created eight new weights, and it was released exclusively for the Red Rooster Collection in 1993. Claremont shares similarities to Bookman Old Style, but also shares properties with slab serif Egyptian-style typefaces. Like all Usherwood typefaces, the family was engineered with great care for maximum legibility and aesthetics. ©1993. International TypeFounders, Inc.

Alghera Pro is a casual script font family.  It was digitally engineered in 1996 by Pat Hickson of P+P Hickson and Steve Jackaman of International TypeFounders, Inc. (ITF).  Jackaman revamped the family in 2017 and added wider language support to include Western, Central, and Eastern European languages. Alghera Pro has a hand-written, antique feel, and was inspired by an old label on a bottle of Portuguese wine.  As with all the Red Rooster “Pro” versions, the family contains a 40% larger glyph set and improved designs.

Basuto is a sans serif typeface that is characterized by its unusual shapes in the counters. It was originally created in 1927 by Stephenson Blake. After International TypeFounders, Inc. acquired exclusive rights to the Stephenson Blake Collection, Paul Hickson (P&P Hickson) and Steve Jackaman (ITF) created a digital revival in 1997. Basuto is an unusual yet highly legible typeface with upturned counters and crossbars. It brings a fresh, quirky feel to any project.

ITC Mona Lisa was designed by Pat Hickson, a stark and elegant typeface originally drawn in the 1930s by Albert Auspurg. The original drawings were long gone and the surviving metal type was already severely worn when Hickson studied Auspurg's design for his recreation. The result is a typeface which melds the flavor of the 1930s with current design standards. ITC Mona Lisa displays all the suave sophistication of Fred Astaire and Greta Garbo.

Keyboard is a condensed and elongated Egyptian font family with thin serifs and a large x-height. Its original design was created in 1951 by Stephenson Blake. International TypeFounders, Inc. gained exclusive licensing rights to the Stephenson Blake Collection, and then Paul Hickson (P&P Hickson) and Steve Jackaman (ITF) created its digital form in 1994. Keyboard excels in display and subhead sizes, and brings a formal feel to any project. Its condensed nature gives it great visual density in the bolder weights, and the lighter weights allow it to retain legibility at both small and massive sizes.

The Bitstream version of Linotype Janson. Nicholas Kis (Miklos Kis) was a Hungarian punchcutter who worked in Amsterdam. His types are some of the greatest in the Dutch old face style and have been used as models for a number of developments in this century. The Linotype version of this style, Janson, was created by Chauncey H.Griffith in 1937 and based on an original face cut by Kis in 1670–90. The face is named after Anton Janson, a Dutchman who worked in Leipzig, with whom the face has no connection. The typeface is used for text setting. Cyrillic version was developed at ParaType in 2001 by Vladimir Yefimov.

Gilmore Sans Extra Bold Extra Condensed Titling is a sans serif typeface that was inspired from early designs by the renowned English typographer Eric Gill. It was designed in 1992 by A. Pat Hickson (P&P Hickson) and Steve Jackaman (ITF) exclusively for the Red Rooster Collection. It has a clean, fresh, sturdy feel that is exceptionally powerful at display size. The typeface lends itself well to a variety of projects, including everything from packaging to signage to high-profile advertising campaigns.

Pontiac Inline is a layered Art Deco font designed by Fanny Coulez and Julien Saurin in Paris. This finely balanced inline font can be enhanced to improve your designs and bring an unusual and modern feeling. You could change the inside color, then add a 3D or shadow effect. To do so, you can simply superimpose the elements in compatible softwares (Photoshop, Illustrator...) ; The Regular above, the Inside line below, for example. We hope you will enjoy our work. Merci beaucoup!

Erle Stanley Gardner’s beloved lawyer “Perry Mason” first appeared on screen in a series of six films with Warren Williams starring in four of them. The hand lettered opening title for 1935’s “The Case of the Lucky Legs” is a classic Art Deco sans serif design, and is now available as Courtroom JNL in both regular and oblique versions.

With its tall, slinky letterforms and perky switchbacks, Ziggity may not be your father's typeface, but don't let that fool you. It's ready and willing to step right up and say what's needed with a unique angle on things. Ready to use as-is or with any variety of angles, outlines or shadows, it will make your message memorable if not downright adorable.

The Serif Hand is a handwritten font designed by Fanny Coulez and Julien Saurin in Paris. We wanted to create the most generic, readable and balanced serif handwritten font, to work well in every kind of design. It’s an all-caps font with 5 finely balanced weights with alternates: all the uppercase letters are a bit different from the lowercase letters. We also designed a playful dotted weight, to add a fancy touch if needed. We hope you will enjoy our work. Merci beaucoup!

Here's a font with a special backstory. Prickly Pear is a handwritten font, created in a moving car, on the way to the Simpson Desert. At the mercy of every bump, hump and hole in the road, this font is as rough and realistic as its conception. A unique and messy handwriting font reminiscent of the rugged landscape; it'll be perfect for that design project where you need a little raw authenticity. Prickly Pear has a comprehensive character set of over 160 custom ligature combinations and 56 multi-lingual characters.

Fini. Done. You've just discovered an infinitely useful font that polishes things with youthful and stylish vigor. Fini provides playfulness with double letter ligatures with a twist of friendly sophistication. Fini Things, also designed by illustrator and font designer, Amy Dietrich, is a decorative collection of 26 loopy, spotty repeating border designs and kid oriented icons (like a pea coat, owl hat, hoodie, rubber duckie etc, plus a coffee cup - for mom and dad). Fini Things coordinates with Fini font, and in fact, works very nicely with Merci, and other Atlantic Fonts.

Kraft Stencil is a bold, display typeface that takes a new approach to vintage crate stencils. Utilizing octagon shapes as the backbone, the aim was to develop modernized stencil fonts. The font family comes in three weights, and each style consists of the different edge finishes of the character sets.

Naïve Line Sans is an unusual handwritten sans serif font designed by Fanny Coulez and Julien Saurin in Paris. Our goal was to draw a font with finely irregular lines that give a human and whimsical feeling. We designed five weights, finely balanced, to assure a good readability whatever the size. This font is part of our Naïve superfamily that contains lot of variations: Line, Inline, Serif, Sans Serif, and a special Art Deco one. Just click on our foundry name to see them all! We hope you will enjoy our work. Merci beaucoup!

2018 Update: We extended the language support, added a Black version and added new ornaments. Thank you! Papercute is a cute hand-drawn font designed by Fanny Coulez and Julien Saurin in Paris. Inspired by paper cutting, this font is easy to read, easy to play. Small caps are a little different than caps to create alternative glyphs. We also designed a set of cute paper ornaments, to enhance your designs. We also designed an inline version of this font: Papercute Inline . You could follow us on our Instagram: instagram.com/sc.type Merci beaucoup!