I happened to come across a facsimile of a sample of text with typeface made by Sweynheim & Pannartz in 1476.
I scanned the sample, and redraw all the available glyphs from the sample in RobFog.
After that I added the missing characters by copying and pasting the forms of the original characters, and filling in the missing parts.
If Publication JNL looks very familiar, this is no accident of design. It is Jeff Levine’s rendering of De Vinne, a classic typeface designed in honor of T.L. De Vinne (circa 1890-91) and given the gentle nuance of emulating hand-set type.
Richard Lipton’s Bickham Script is a flowing, formal script typeface based on the lettering of 18th century writing masters, as rendered in the unparalleled engravings of George Bickham. This ornate script lends a signature flourish to invitations, menus, annual reports, restaurant logos, and packaging.
With dozens of alternate letterforms in addition to its range of weights, Bickham Script’s personality can range from poised to extravagant.
It is intended primarily for display settings.
U.S.
Patent Designs 407,108 and 426,570.
Misadventures is a heavy-flare, small-cap fashion headline font family in Black and Black Italic
D. Stempel AG released Gudrun Zapf von Hesse’s Ariadne in 1952. Ariadne is purely calligraphic, a set of flourished italic capitals in the Renaissance style. It is best used for initials in chapter openings, book titles, and advertisements.
The Craftsman font is a faithful reproduction of the logo, or Title typeface used for Gustav Stickley’s “Craftsman” Magazine, the foremost journal of the American Arts & Crafts Movement during its publication years of 1901-1916.
It is an All-Caps font, with condensed and closely-spaced characters, specifically designed for titles and headlines. The “Craftsman” font is available in two versions: “Craftsman Regular” and “Craftsman Outline.” Each is two fonts in one, in the sense that the capital letters are contained in a hand-drawn box (as on the cover of “The Craftsman” Magazine).
Lower-case characters are identical, but without the box. Thus, the two may be used separately, or in combination, to achieve a desired effect.
Chevin is a contemporary rounded type family in 6 weights which was designed with functionality and legibility in mind. With it’s open counters and slightly condensed style Chevin can be used for text and is particularly suited to signage.
Erik Spiekermann is a fan, noting that Chevin “is charming without being cute, and very legible even in small sizes because of its restrained shapes and simple construction.” Chevin is named after a hill on the outskirts of Otley in West Yorkshire.
Since 2007 the type family has been highly prominent in the UK as Royal Mail’s corporate font and the typeface that adorns every Post Office in the country.
The Chevin Pro set includes additional Greek and Cyrillic layouts.
Lineare Serif is an attempt at solving the difficult problem of creating readable text type, seeking new ways to provide readers with some pleasure and rest as they walk along each line, creating a space where there is harmony between man and the printed form.
Asymmetric serifs both in their height and width, medium contrast in the stroke, and balanced upward and downward movements make “Lineare Serif” a typeface featuring both attitude and aptitude for editorial purposes.
Albion Signature is a value packed font of exceptional character with lots of old world charm to make your next project personal and special. Containing over 2,200 glyphs, it’s large enough to handle any demanding project big or small.
It also contains over 400 flourishes in three sections (dingbats, geometric shapes, and misc. geometric shapes) in numerous styles that can be used in endless combinations. It’s like several fonts in one.
Everything you need to do a stellar project is included. A script font that lines up perfectly with a few extra endings and hidden treasures spread throughout. It also contains a complete easy to use PDF index so you will be able to find exactly the glyph you are looking for fast.
This font can only enhance the fonts that you already own making them more versatile and useful. On its own it is a very elegant calligraphy script that will make every project you create look great.
The capital letters overlap and intertwine just like in days gone by for a unique style. Also included are tools that that can give you very precise spacing right inside a word processor.
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Imagine, most people used to write letters like these at one time. Now you too can have documents that look like the work of a studied penman.
Seravek Basic is a linear sans serif designed for identity, editorial and information design. Five weights spanning Bold to Extra Light with italics for each allow for a range of applications both typographic and utilitarian in nature.
The Steel Sedan family is tailor-made for fitting lots of information into tight spaces, with grace and slab serifs that mean business.
Take it for a spin on your headlines, banners, and websites.
Stencil Board JNL is another typeface modeled from lettering made by a Diagraph stencil cutting machine. Diagraph was first to make stencil punch machines which are used both industrially and by the military.
Thanks to Neil Haynes for the samples he provided from the company’s machine testing department.
By the time that the 13th edition of the Speedball Text Book appeared in 1938, silent movies were a thing of the past; nonetheless, intrepid author Ross F. George included this typeface, originally intended for title cards, in the volume.
Elegant and inviting, the occasionally quirky letterforms feature subtle diamond-shaped accents that add just the right touch of sparkle.
The PC Postscript, Truetype and Opentype versions contain the complete Latin language character set (Unicode 1252) plus Central European (Unicode 1250) languages as well.
The newest offering from GeoBofonts, this curvy, informal font is called Scimitar. It has a faux Arabic appearance that is very distinct.
This font will make your posters and banners stand out and can also be relied upon for text projects.
Includes all standard and international characters.
Caveman is a very rustic font, its aspect remember the prehistoric art in the caves when the man learned how to draw and to express his emotions through the painting.
It comes in four styles and two sets of very decorative dingbats.
Drawn by Tony Stan, ITC Garamond was first released in 1975 in Book and Ultra weights only. These were intended as display faces to complement existing text designs from other foundries. (In fact, many of ITC’s interpretations of traditional typefaces began as display counterparts for existing text designs.)
These first weights of ITC Garamond became so popular, however, that ITC released the Light and Bold weights and a suite of condensed faces in 1977.
Now, the complete ITC Garamond family features sixteen members: four weights of roman and italic in normal width and four weights of roman and italic in companion condensed versions. The family resemblance is there, but ITC Garamond’s unique provenance gives it an unmistakable, one-of-a-kind appeal.
This art deco style typeface is the one that had been used for the signage of the historic Paris metro stations.
This font makes the impression to be a blackletter font (Fraktur) but it really only is little squares and triangles stuck together in a flip or flop way to form the glyphs. Only a few times did I have to leave this system – like for the degree or brève glyphs.
In order to make this experiment somehow useful, I added a set with swings on the capitals. I think it all looks very good and can easily be used like a blackletter.
Your strange typedesigner Gert Wiescher
Helvetica Inserat is a heavy condensed face with short ascenders and descenders. It was released in 1966 by the D. Stempel foundry. “Inserat” is German for advertising and, accordingly, is ideal for display uses such as advertising, billboards, and news headlines.
Here is a wonderfully charming typeface similar in style to the folklore lettering created by Walter Crane, the prolific children’s book illustrator. This English artist created many beautiful, flower-decorated works during the Arts and Crafts movement that flourished between 1860 and 1910.
English Garden SG Regular contains many of Crane’s original whimsical and quirky characters.
Note the inclusion of a spurred capital G, a squat lowercase g, a bending floral lowercase d, and the quaint old style figures. All of which are a delight to use when casting a medieval storybook tone to your project.
You might also take advantage of the enchanting small capitals when setting logos, headlines, and decks. More…
Some new characters have been added to this OpenType version including stylistic alternates, discretionary ligatures, historical forms, and petite figures. Advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress 8.
Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.
Baubles I through IV are the second generation of the Jeweler’s Kit fonts. Each font is great for decorating your graphics with the shine of find jewelry.
Banquet SCF is a rough-and-ready brush font with a “warts and all” appearance. Is has a simple, unsophisticated “believable” look. Use it when you want to make your message more honest, more homespun and more real.
Use it in menus, invitations and advertisements.
When I created it, I was designing a simple brush-written invitation to a medieval banquet. Hence the name: “Banquet”.
It has a full character set with all upper and lower case, special and accented characters.
All characters have been letterspaced and kerned.
The Algerian designer Taouffik Semmad created the fonts in 1997. Taouffik Semmad grew up speaking Algerian-Arabic dialect and French, studied Russian, and is now living in Montreal. This could perhaps explain his current passion, to “find a universal writing”, which he admits is a Utopian idea.
Created with brush and Chinese ink, the characters of ITC Atmosphere came from Semmad’s hand but only after they were fully formed in his mind’s eye.
Ever wonder what language looks like? This type decided to dive into this idea... how audible and visual forms play with each other. The forms you see also hold a physical form which have been waterjet-cut out of stainless steel.
With these physical designs in hand and a day in a recording studio later... we get this.
-The audio files for each lowercase letterform are included in the download file.
- Play before you buy: http://www.vladvertising.com More…
Adapted from Ronsect to make a sans a bit unusual semi-italic in appearance.
An Italic is also available.
It’s 1984 and everything has sideburns. Shoulder-padded “dress for success” is in, with power suits for women, black and white layers for men, neon brights for the youngsters. Maggie’s “enemy within” and “no society” speeches preface the arrival of shopping malls and corporate status symbols.
The economy is a philosophy and accountants carry ambiguous but very sophisticated-sounding titles. Thousands of words and expressions are reduced to initials or monosyllabic sounds. Synthesizers are very refined and the music is very catchy.
The Macintosh and MTV are making waves. Brands are lifestyles. “Yuppy,” Yummy," “Bobo,” “Dinky” and “Woopie” are standard consumer categories in advertising lingo.
The Volkswagen identity, only 5 years old now, is all the rage in design. VAG Rundschrift, by all appearances a rounded and slightly condensed Futura, is everywhere. Tube design is king. More…
Replay, but bigger and much louder. Fab. Let’s dance.
The main font is an all-in-one treatment of the shiny roundness that the 1980s were. Fab White is a tightly packed thick outline font that conveys luscious contentedness like nothing else.
The Fab Trio package is very useful for layered and colorful design, with the Black style serving as a backdrop, the Bold style as the front forms, and the Fill style for inlining.
A collection of over 70 pictograms featuring people doing all sorts of everyday things Signs for allowing or not allowing these activities are also included.
See enclosed PDF for key positions of all characters.
To use the “not allowed” or sign symbols simply type the preferred sign symbol ( either , .
; : ' or # ) followed by the activity or person you want to include within the sign. More…
First designed for a design bureau, Ezzo is now available in 6 weights with italics and alternates.
Includes plenty of OpenType features, like SmallCaps, Alternates, Ligatures and Swashes.
A nice, balanced, elegant Hebrew font highly versatile, as headline in print and also as a web font. Bilingual.
Stephen Chick, of In Your Typeface Productions (IYTP) foundry, has created this rather prickly type design.
Although for display, it is surprisingly legible at smaller point sizes. There is an Inline version, and also an Inline Extra version, which has only the inner contours of the Inline itself, which can be combined with the Regular to create cool two-color effects.
The extended glyph set supports Central Europe.
Future Bugler is a font based on the second logo created by Harry Warren in early 1975 for his sixth grade class newsletter, The Broadwater Bugler, at Broadwater Academy in Exmore, Virginia, on Virginia’s Eastern Shore.
This font can convey several perspectives or moods.
It can suggest a space-age vision of the future, or an art-deco perspective of the future as in the movie “Captain Sky and the World of Tomorrow”. It also communicates the idea of high performance, or extreme sports, without the grunge.
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The Julius Klinger alphabets are extrapolated from lettering in a 1925 fabric advertisement drawn by Austrian poster designer Julius Klinger.
