The font is based on an alphabet from a mid1920s art deco book. The original seemed to have tapering strokes but it was too small to be sure; I made all strokes parallel & orthogonal and slightly modified the original in a number of other ways to bring it into the 21st Century. The designers of the original were Paul Carlyle and Guy Oring. Nocturne has all the elegance of the Deco fonts of the 1930s. It recalls the romantic, sophisticated Zeitgeist of the early 20th century, that nostalgic time "between the wars". Nocturne comes in two styles: Nocturne Regular, which uses the Art Deco convention of small x height, and long ascenders. This style is perfect for headers, posters, labels etc. Nocturne Book, which, with its higher x height and slightly wider characters, is extremely legible and suitable for small size text.

Elegant and easy to use serif font family with contrast in vertical and horizontal strokes. Its variety of weights provides a range of choices that will help you to find the best typographic look. Use all caps to get the classic serif look, like Didones, or use it normally for a playful serif look. Normal and Medium widths are good for text blocks and Thin and Light, or Bold and Black are perfect for Headliners. Every letter in a word looks like as if written specially next to each other, as in hand lettering. You can use it in gentle and minimal projects, and also in projects with bold and heavy typographic base. Also, for more individuality, Organum comes with discretionary ligatures and few stylistic alternates for every caps and some lowercase letters.

This typeface family was inspired by a set of fonts, designed in the Garamond style, used for an edition of Remarques critiques sur les œuvres d’Horace by “D.A.E.P.”, published in Paris in 1689 by two different booksellers: Deny Thierry and Claude Barbin. We can see some differences in comparison with our “pure” Garamond (see our 1592 GLC Garamond), particularly in the lowercase of the Normal style and the uppercase of the Italic. Unfortunately, we know neither the name of the punchcutter, nor that of the printer. This complete font set contains small caps, fractions all the way up to 1999/1999, historical and standard ligatures, and all of the fleurons contained in the edition (Normal style only). The alphabet covers all Western, Eastern and Central European languages (including Celtic diacritics) and Turkish.

The Englishman William Caslon punchcut many roman, italic, and non-Latin typefaces from 1720 until his death in 1766. At that time most types were being imported to England from Dutch sources, so Caslon was influenced by the characteristics of Dutch types. He did, however, achieve a level of craft that enabled his recognition as the first great English punchcutter. Caslon's roman became so popular that it was known as the script of kings, although on the other side of the political spectrum (and the ocean), the Americans used it for their Declaration of Independence in 1776. The original Caslon specimen sheets and punches have long provided a fertile source for the range of types bearing his name. Identifying characteristics of most Caslons include a cap A with a scooped-out apex; a cap C with two full serifs; and in the italic, a swashed lowercase v and w. Caslon's types have achieved legendary status among printers and typographers, and are considered safe, solid, and dependable. A few of the many interpretations from the early twentieth century were true to the source, as well as strong enough to last into the digital era. These include two from the American Type Founders Company, Caslon 540 and the slightly heavier Caslon #3. Both fonts are relatively wide, and come complete with small caps, Old style Figures, and italics. Caslon Open Face first appeared in 1915 from the Barnhart Bros & Spindler Foundry, and is not anything like the true Caslon types despite the name. It is intended exclusively for titles, headlines and initials, and looks elegant whether used with the more authentic Caslon types or by itself.

Gotto, the playful Sans-serif font with an italic twist and multilingual support. Perfect for logos that want to stand out from the crowd. Let Gotto bring some fun and personality to your next design project! Features : - Gotto Family Font - Multilingual support, US Roman, Latin 1 Support --- This Font Support Language: Afrikaans, Albanian,Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Cornish, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kinyarwanda, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, ManxMorisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Quechua, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Uzbek (Latin), Volapük, Vunjo, Zulu, Thank you for purchasing premium fonts from Attype Studio. Follow and explore our work on Pinterest & Instagram. If you have any question, don’t hesitate to contact us. Hope you enjoy with our font! Attype Studio

Chicory is a beautiful new calligraphic typeface with a touch of elegance. The narrow chancery style is perfect for formal invitations, newsletter mastheads, menus and greeting cards.

Inspired by 11th 12th century Carolingian hand drawn cursive. Elegant and clearly legible this italic looks well in large or small sizes for formal or informal use.

Shiva font family is a very narrow family for text and titling. Even though shiva has very thin strokes, the letterforms give a strong, impactful and dignified image. a, e, f, g & y in Roman and g & y Italic have their alternate glyphs that can be used with OpenType salt feature.

Patriot is the sans-serif version of Exocet and, like Exocet, is based upon early Greek and Roman stone-carving, yet it adheres more closely to the shared historical source material. Patriot was developed to include unique forms and alternative characters, becoming a striking original typeface in its own right.

Frenzy evolved from a logo for a Gen X product offered by a very staid company. It is a sythesis of Classic Roman Capitals and American Typewriter—with a bit of frenetic energy stirred in. It is dedicated to the designers son, who is the epitome of the font... contained chaos.

Coliseo is a lively and fun Art Nouveau inspired typeface, inspired by stone lettering seen on facade of the Coliseum Theatre in London. It's beautifully characterful let legible making it ideal for poster work or anything where it's useful to combine Roman display faces with a feeling of life and energy.

Ornate Blackboards is a beautiful collection of ornaments from Intellecta Design, excellent for use in works of art and editorial publications, like book covers, headpieces to sections of books, magazines, packaging works, and many other solutions. Good to use with roman versals, chiseled fonts and many other different kinds of typefaces.

Unitext Variable Regular is a single font file that features one axis: Weight. TFor your convenience, the Weight axis has preset instances from Hairline to Black. This Roman (upright) font is provided as an option to customers who do not need Italics, and want to keep file sizes to a minimum.

Alphabet set made of two white parallel lines. They are looked like infinite looped icons. Ideal for dynamic app, minimalism design, sports identity, technology adv. What's included? Uppercase (lowercase are the same) Numbers Symbols Punctuation Multilingual support Please feel free to request any help you need: kaer.pro@gmail.com Best, Roman.

Sting is a hybrid of Blackletter lowercase with Roman Capitals. This style drawn by Michael Clark in pen and ink evolved over several years and is now avaiable in font form. 12 alternate lowercase characters are included. Great for historical and official document titling as well as many decorative uses.

Catigan recreates classical attitudes by reflecting some of the attributes of transitional typefaces. Catigan does not, however, follow historical models. Catigan is warm with a very personal expression and also with excellent text qualities. The complementary Italic makes a distinctly calligraphic impression and stands in lively contrast to the roman weights.

Antika is a beautiful modern script font featuring flowing letters. It will add a romantic touch to any crafting project!

George Ryan's ITC Migrate is a highly condensed sans serif display face that effectively complements ITC Adderville. Migrate represents what Ryan calls a “more highly evolved version” of a typeface he designed for Bitstream in 1991 called Oz Handicraft. “Both faces,“ says Ryan, “are based on designs of the popular early 20th-century type designer Oswald Cooper.” His inspiration came from drawing samples found in the Book of Oz Cooper, published in 1949 by the Society of Typographic Arts in Chicago. “Oz worked extensively with the sans serif form long before it became popular in the States, eschewing a popular belief of the time that sans serifs were only skeletons of letters.” Where Oz Handicraft was informal and quirky, ITC Migrate has a more restrained feel. “The uppercase characters and figures, in particular, have been reworked,” says Ryan, ”resulting in a more formal and traditional, compressed sans serif typeface.”

Quill-formed roman/gothic with an olde-worlde flavor. Some background in the designer's own words: "A series of fonts came to mind which would be rooted in the medieval era -for me, a period of intense interest. Prior to Gutenberg's development of commercial printing with type on paper in the mid-1400s, books were still being written out by hand, on vellum. At that time, a Bible cost more than a common workman could hope to earn in his entire lifetime. Men like William Tyndale devoted their energies to translating the Scriptures for the benefit of ordinary people in their own language, and were burned to death at the stake for doing so. Those in authority correctly recognized a terminal threat to the fabric of feudal society, which revolved around the church. "This religious metamorphosis was reflected in letterforms: which, like buildings, reflect the mood of the period in which they take shape. The medieval era produced the Gothic cathedrals; their strong vertical emphasis was expressive of the vertical relationship then existing between man and God. The rich tracery to be seen in the interstices and vaulted ceilings typified the complex social dynamics of feudalism. Parallels could be clearly seen in Gothic type, with its vertical strokes and decorated capitals. Taken as a whole, Gothicism represented a mystical approach to life, filled with symbolism and imagery. To the common man, letters and words were like other sacred icons: too high for his own understanding, but belonging to God, and worthy of respect. "Roman type, soon adopted in preference to Gothic by contemporary printer-publishers (whose primary market was the scholarly class) represented a more democratic, urbane approach to life, where the words were merely the vehicle for the idea, and letters merely a necessary convenience for making words. The common man could read, consider and debate what was printed, without having the least reverence for the image. In fact, the less the medium interfered with the message, the better. The most successful typefaces were like the Roman legions of old; machine-like in their ordered functionality and anonymity. Meanwhile, Gutenberg's Gothic letterform, in which the greatest technological revolution of history had first been clothed, soon became relegated to a Germanic anachronism, limited to a declining sphere of influence. "An interesting Bible in my possession dating from 1610 perfectly illustrates this duality of function and form. The text is set in Gothic black-letter type, while the side-notes appear in Roman. Thus the complex pattern of the text retains the mystical, sacred quality of the hand-scripted manuscript (often rendered in Latin, which a cleric would read aloud to others), while the clear, open side-notes are designed to supplement a personal Bible study. "Tyndale is one of a series of fonts in process which explore the transition between Gothic and Roman forms. The hybrid letters have more of the idiosyncrasies of the pen (and thus, the human hand) about them, rather than the anonymity imbued by the engraving machine. They are an attempt to achieve the mystery and wonder of the Gothic era while retaining the legibility and clarity best revealed in the Roman form. "Reformers such as Tyndale were consumed with a passion to make the gospel available and understood to the masses of pilgrims who, in search of a religious experience, thronged into the soaring, gilded cathedrals. Centuries later, our need for communion with God remains the same, in spite of all our technology and sophistication. How can our finite minds, our human logic, comprehend the transcendent mystery of God's great sacrifice, his love beyond understanding? Tyndale suffered martyrdom that the Bible, through the medium of printing, might be brought to our hands, our hearts and our minds. It is a privilege for me to dedicate my typeface in his memory."

Quintet is a narrow, stylized sans serif font made up of thin, looping lines. This font tries to walk the line between retro and modern and to incorporate some hand drawn imperfections without being too obvious about it. I kicked off designing without any particular inspiration in mind but, as time went on, started associating it in my head with an old-timey, swingy jazz aesthetic. So hopefully it captures the spirit of the Jeeves and Wooster throwback theme song and opening credits, the music of Stéphane Grappelli and Django Reinhardt (who the name is a nod to), and countless album covers from that era.

When this font slips on a pair of ordinary, over-the-counter spectacles, applies a little hair gel and straightens its red, white and blue tie, it disappears amongst common mortals like you and I... But when danger raises its ugly head, when Truthiness, Justice and the American Way are threatened, MildMannered abandons its secret identity, rips open its shirt and takes to the skies to fight evil... ... and, of course, to help sell colorful paper plates, halloween costumes and happy meals.

Brohillo font is created from the frequent use of typeface for wedding needs. This font has an elegant and bold concept. It is perfect for designs with romantic themes such as wedding properties, Valentine cards, romantic quotes and others. This Dio font when combined is really good with a bold and bold serif combined with an elegant and spontaneous script to create an awesome design.

Lichtspielhaus Slab is an ultra condensed handwritten typeface based on Lichtspielhaus. It still transports you back to a time where neon lights and marquee letters decorated cinema facades. This time with Slab. There are 8 styles: Hairline, Thin, Light, Regular, Medium, Bold, Black and Heavy. “Lichtspielhaus Slab” is the third part of a Type Noir Quadrilogy.

Spirrevip is for that moment when you need something legible, organic and obviously handmade at the same time. The letters are straightforward, yet variable in thickness of strokes, height and width. Spirrevip is definitely playful and serious at the same time. I have added 5 slightly different versions of each letter, and they automatically changes as you type!

If you want your designs to be prominent, you will need a unique, prominent, yet professional, legible font. However, it may be hard and take some time to find the right one due to a lot of options available causing difficulty to figure out the suitable one you desire. With Mirey, you can easily create a unique identity for your design. Mirey is a display serif font in thick weights with small lines on the letters’ edges to look formal and classic. In addition, it expresses unique, artistic touches from its combinations with display font characters. This display font has thick lines and strong contrasts, so that it is perfect to attract attention and to show strong impressions. Due to its high legibility level, this font is applicable for a variety of text sizes. In addition, you can enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Mirey fits best for various design projects, such as brandings, posters, banners, headings, magazine covers, quotes, invitations, name cards, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Bookseller Bk is a typeface designed for books and legible text at a small sizes, with an old book feeling. This typeface is the reinterpretation of a sample found in a French book, published between 1882 and 1893 and its author —Ernest Michel— lived between 1837 and 1896. This sample has influence from Didot, Scotch Roman and Clarendon (typefaces which were in use at that time). This reinterpretation expands the basic set for the contemporary era. Bookseller Bk includes small caps, old style figures, lining figures, fractions and basic Cyrillic alphabet. Everything in 3 different optical widths. You can save some lines with Reduced weight or fill some lines with Ample weight. All of them with italics, bold and bold italics. Bookseller Bk is also available in Caption size. 12 fonts for legibility at smaller sizes. Subhead & Title sizes are now in development. Finally this typeface was the result of the course Digital Reinterpretation of Classic Typography by Oscar Guerrero Cañizares at Domestika. Do you require additional glyphs? Please contact me to consider your request in order to expand Bookseller in further updates.

Polydot is an experimental Font, built following its own rules. It has interesting letter shapes, making it a perfect choice for creative packaging and magazine design. At the same time it makes a beautiful, neat but vivid text pattern when used in smaller sizes: Use it for children’s books, food and beverage, cosmetics or health topics. Each Glyph is based on at least one dot on the body line, and has up to two more on the lower case level and the ascender level. Since they have the same size and are on the same height on all letters, no matter what weight and shape, these dots give a strong structure to the typeface, allowing for dynamic and easy letter shapes, inspired by brush strokes. It’s not a hand font but it has the dynamics of one. It has no serifs but provides the structure and readability of a roman type. It has an extensive choice of weights, but it’s characteristic dots have the same size and it has the same tracking through all weights. Try it, it’s special.

Bookseller Cp is a typeface designed for books and legible text at a smaller sizes, with an old book feeling. This typeface is the reinterpretation of a sample found in a French book, published between 1882 and 1893 and its author —Ernest Michel— lived between 1837 and 1896. This sample has influence from Didot, Scotch Roman and Clarendon (typefaces which were in use at that time). This reinterpretation expands the basic set for the contemporary era. Bookseller Cp includes small caps, old style figures, lining figures, fractions and basic Cyrillic alphabet. Everything in 3 different optical widths. You can save some lines with Reduced weight or fill some lines with Ample weight. All of them with italics, bold and bold italics. Bookseller Cp is also available in Book size. 12 fonts for legibility at small sizes. Subhead & Title sizes are now in development. Finally this typeface was the result of the course Digital Reinterpretation of Classic Typography by Oscar Guerrero Cañizares at Domestika. Do you require additional glyphs? Please contact me to consider your request in order to expand Bookseller in further updates.

Tamba Sans has strong geometric frames. Somewhat condensed and somewhat squarish letterforms can create a powerful atmosphere. At the same time, the very clear, neutral and distinguishable letterforms make it legible and readable. With the spread of the internet, the digital world is overflowing with “designed” stuff. To survive this chaotic world as a designer, you should use a strong typeface to catch the eyes of an unspecified large number of visitors/customers. This is why it is so important to be strong and powerful. One more important thing is the legibility, but the eye-catching design has a tendency to be unusual. Those two things conflict with each other. Tamba Sans solved this problem with an exquisite balance. Tamba Sans consists of 7 weights and their matching Italics for a wide range of usages. Farther, Tamba Sans is supporting international Latin languages and basic Cyrillic languages including Basic Latin, Western Europe, Central and South-Eastern Europe. Also CSS covers Mac Roman, Windows1252, Adobe1 to 3. This wide range of international characters expands the capability of your works.

Relato Sans is the other face of Relato Serif (a typeface with much idiosyncrasy) nevertheless, the sans version of this typeface is more austere and aseptic. A humanistic type, with a contemporary cut, created for general use in texts and holders and with a great variety of weights, which allow enough flexibility for projects of great magnitude. Although leading with an independent family it maintains many of the characteristics of its homologous such as proportions, the “x” height, the construction based on air lines of the italic, ornaments and so on. These details show coherence with the serif version, and at the same time reinforce its personality. Being a multifunctional type, the “kerning” has been worked to function in small sizes as well as in larger ones such as holders. The contrast between weights, was optimized to be used in pairs (Light with Semibold, Regular with Bold and Medium with Black). Relato Sans is presented in 6 different weights, in Roman, Italic, Small Caps and Small Caps Italic with three different styles of numerals, Old style figures, Lining figures and Small Caps figures.

The Englishman William Caslon punchcut many roman, italic, and non-Latin typefaces from 1720 until his death in 1766. At that time most types were being imported to England from Dutch sources, so Caslon was influenced by the characteristics of Dutch types. He did, however, achieve a level of craft that enabled his recognition as the first great English punchcutter. The original Caslon specimen sheets and punches have long provided a fertile source for the range of types bearing his name. Identifying characteristics of most Caslons include a cap A with a scooped-out apex; a cap C with two full serifs; and in the italic, a swashed lowercase v and w. A few of the many interpretations from the early twentieth century were true to the source, as well as strong enough to last into the digital era. These include two from the American Type Founders company, Caslon 540 and the slightly heavier Caslon #3. Both fonts are relatively wide, and come complete with small caps, old style figures, and italics.

This family was inspired by the beautiful roman font used by Aldus Manutius in Venice (1499) to print for the first time Hypnerotomachia Poliphili..., the well known book attributed to Francesco Colonna. Francesco Griffo was the punchcutter. The present font contains all of the specific latin abbreviations and other ligatures used in the original. The Italic style, carved by Francesco Colonna, the so called "Aldine" style, was inspired from various documents, all printed with this first Italic font. We offer the complete set of ligatures (about 60) we have been able to find, contained in the original font. In the two styles, we have made differences between I and J, V and U, to make easier a modern use. Added are the accented characters and a few others not in use in this early period of printing. The Italic style may be used as a complement to our 1470 Jenson Latin. The font contains all characters for West European (including Celtic), Baltic, East and Central European and Turkish language.

ITC Merss proves that sometimes accidents work out just fine. Late one evening Eduardo Manso, an Argentinean graphic and type designer, spilled coffee on his desk. When he began to wipe up the mess, he noticed that one of the splashes looked like a roman letter 'l' - complete with serifs. This triggered his imagination. “What if a complete alphabet was created with this same irregular flow to the character designs?” ITC Merss was the result of Manso's experiments with “fluid” letter shapes. The oddly handsome design looks aged and spontaneous at the same time. Its irregular texture is striking-the result of careful modeling of character shapes. While Manso wanted to maintain the free-form character of spilled liquid, he also knew the individual letters had to work together with an underlying harmony. When not experimenting with typefaces - or spilled coffee - Manso creates award-winning graphic and publication designs. A contributor to the design magazine el Huevo (the Egg), he also writes articles on type and typography and is part of the publication's design team.

Persimmon is elegant and semi-formal with some very unusual letter shapes. Calligraphic in nature, Persimmon can be used where you want a distinctive and unique lettering style.

Melcheburn is a classic late-medieval gothic font based on original lettering by Samuel Welo. It has strong, formal lower case letters and extremely ornate and decorative capitals.

Agnia is a formal font that combines serif and sans-serif fonts into one, Agnia has a modern minimalist style that is suitable for luxury and classy needs.