This font was created with inspiration from the wood blocks carved for chapbooks, posters, calendars or newspaper in the late 1500s and early 1600s.
We have tried to keep their innocence and rough style. It has been conceived as an homage to the Pilgrim fathers landing in Plymouth Bay in 1620 and celebrating the first Thanksgiving with Native Indians in autumn, 1621. More…
This font was inspired by the Cancellaresca moderna type, which was calligraphed by Francesco Periccioli (published in 1610 in Siena, Italy). It was entirely hand written by the designer for each circumstance, using quill pen and medieval ink on a rough paper, with added characters as accented ones and a lot of ligatures with respect for the original design.
This font includes long s, and also a lot of ligatures as ff, ffi fij pp...
It can be used for web-site titles, posters and flier designs, editing ancient texts or greeting cards, or as a very decorative and elegant font.
More…
This font was inspired by the Cancellaresca moderna type, which was calligraphed by Francesco Periccioli (published in 1610 in Siena, Italy). It was entirely hand written by the designer for each circumstance, using quill pen and medieval ink on a rough paper, with added characters as accented ones and a lot of ligatures with respect for the original design.
This font includes long s, and also a lot of ligatures as ff, ffi fij pp...
It can be used for web-site titles, posters and flier designs, editing ancient texts or greeting cards, or as a very decorative and elegant font.
More…
family of 3 fonts from GLC
This family was inspired by the pure Garamond pattern set of fonts used by Egenolff and Berner, German printers in Frankfurt, at the end of the sixteenth century. All the experts said it was the best and most complete set of the time. The italic style used with it was Granjons, as in 1543 Humane Jenson. A few fleurons from the same printers have been added.
family of 3 fonts from GLC
This family was inspired by the pure Garamond pattern set of fonts used by Egenolff and Berner, German printers in Frankfurt, at the end of the sixteenth century. All the experts said it was the best and most complete set of the time. The italic style used with it was Granjons, as in 1543 Humane Jenson. A few fleurons from the same printers have been added.
family of 2 fonts from GLC
This family was created inspired from the Garamond patern set of fonts used by S. Millanges “imprimeur ordinaire du Roy”, in Bordeaux, circa 1580-1590. Especially for reprint L'instruction des curs (Instructions to parish priests), from Jean Gerson.
This family was created inspired from the Garamond patern set of fonts used by S. Millanges “imprimeur ordinaire du Roy”, in Bordeaux, circa 1580-1590. Especially for reprint L'instruction des curs (Instructions to parish priests), from Jean Gerson.
The set contains two styles, Normal and Italic, the second one with a lot of caps and ligatures variants.
The initials, except a few decorated letters (six in total) where only large caps, covering no more than three lines. Added are a few fleurons. More…
Its original cap height is about five millimeters. Decorated letters like 1512 Initials, 1550 Arabesques, 1565 Venetian, can be used with this family without anachronism.
This family was created inspired from the Garamond patern set of fonts used by S. Millanges “imprimeur ordinaire du Roy”, in Bordeaux, circa 1580-1590. Especially for reprint L'instruction des curs (Instructions to parish priests), from Jean Gerson.
The set contains two styles, Normal and Italic, the second one with a lot of caps and ligatures variants.
The initials, except a few decorated letters (six in total) where only large caps, covering no more than three lines. Added are a few fleurons. More…
Its original cap height is about five millimeters. Decorated letters like 1512 Initials, 1550 Arabesques, 1565 Venetian, can be used with this family without anachronism.
This set of initial decorated letters is an entirely original creation, drawn inspired by Italian renaissance engraver Vespasiano Amphiareo’s paterns published in Venice circa 1568. It contains two roman alphabets : the first of large Initials, the second of small caps.
Both containing thorn, eth, L & l slash, O & o slash.
It can be used as variously as web-site titles, posters and flyers design, publishing texts looking like ancient ones, or greeting cards, all various sorts of presentations, as a very decorative, elegant and luxurious additional font...
More…
This set of initial letters was inspired from French renaissance decorated letters. It is a typical pattern, one among dozen quite similar, but this one was in use in Paris, unchanged, for centuries, and was still in use in the beginning of 1900s.
This explains the difference between I and J, U and V. These characters were engraved years after the original set.
Our font was inspired from a late 1800s publication. It can be used as well with Humane fonts (like our 1543 Humane Janson or 1592 GLC Garamond) as with modern fonts like our 1820 Modern or 1906 French News.
This set of initial letters was inspired from French renaissance decorated letters. It is a typical pattern, one among dozen quite similar, but this one was in use in Paris, unchanged, for centuries, and was still in use in the beginning of 1900s.
This explains the difference between I and J, U and V. These characters were engraved years after the original set.
Our font was inspired from a late 1800s publication. It can be used as well with Humane fonts (like our 1543 Humane Janson or 1592 GLC Garamond) as with modern fonts like our 1820 Modern or 1906 French News.
family of 1 font from GLC
Italic type was invented by Aldus Manutius in 1499 or 1501, first, before to be a style name, it was a plain font familly name. This Italique style font was inspired from these who was used by Jean de Tournes in Lyon (France) to print La mtamorphose d'Ovide figure, a splendid book with numerous gothic style wood carved pictures.
family of 1 font from GLC
Italic type was invented by Aldus Manutius in 1499 or 1501, first, before to be a style name, it was a plain font familly name. This Italique style font was inspired from these who was used by Jean de Tournes in Lyon (France) to print La mtamorphose d'Ovide figure, a splendid book with numerous gothic style wood carved pictures.
family of 1 font from GLC
Font inspired by the decorative elements and opening capitals frequently in use in the early 1500s, under Geoffroy Torys book Champfleury influence, especially in Lyon (France). It is an entirely original design.
family of 1 font from GLC
Font inspired by the decorative elements and opening capitals frequently in use in the early 1500s, under Geoffroy Torys book Champfleury influence, especially in Lyon (France). It is an entirely original design.
family of 2 fonts from GLC
This family was inspired from the French edition of Hypnerotomachie de Poliphile (“The Strife of Love in a Dream”) attributed to Francesco Colonna, 1467 printed in 1546 in Paris by Jacques Kerver. He was using a Garamond set (look at our 1592 GLC Garamond), including two styles: Normal and Italic (Normal carved by Claude Garamond, Italic we don't know; it was an Italic pattern very often in use in Paris at that time).
family of 2 fonts from GLC
This family was inspired from the French edition of Hypnerotomachie de Poliphile (“The Strife of Love in a Dream”) attributed to Francesco Colonna, 1467 printed in 1546 in Paris by Jacques Kerver. He was using a Garamond set (look at our 1592 GLC Garamond), including two styles: Normal and Italic (Normal carved by Claude Garamond, Italic we don't know; it was an Italic pattern very often in use in Paris at that time).
This family was inspired by the set of fonts used in Paris by Ponce Rosset, aka Faucheur to print the account of the second voyage to Canada by Jacques Cartier, first edition, in 1545. It is a Garalde set, the punchcutter is unknown, certainly it was not Garamond himself.
In our two styles (normal and italic), fontfaces, kernings and spaces are scrupulously the same as in the original. This Pro font covers Western, Eastern and Central European languages (including Celtic) Baltic and Turkish, with standard and long-s ligatures in each of the two styles.
family of 3 fonts from GLC
The regular style of this family was inspired from the typeface used in Nuremberg, Germany, by Johannes Petreius in 1543 to print the famous De Revolutionibus Orbium Coelestium, the well-known mathematical and astronomical essay by Nicolaus Copernicus. Petreius was also using an original italic style, as he did for the De Sculptura by Gaurico Pomponio, in 1542. Unfortunately, nobody seems to know who was the punchcutter of this Jenson-style font. Also included is a title file, containing initials (without diacritics) and small caps (with diacritics).
family of 3 fonts from GLC
The regular style of this family was inspired from the typeface used in Nuremberg, Germany, by Johannes Petreius in 1543 to print the famous De Revolutionibus Orbium Coelestium, the well-known mathematical and astronomical essay by Nicolaus Copernicus. Petreius was also using an original italic style, as he did for the De Sculptura by Gaurico Pomponio, in 1542. Unfortunately, nobody seems to know who was the punchcutter of this Jenson-style font. Also included is a title file, containing initials (without diacritics) and small caps (with diacritics).
In 1543 the well-known De humani corporis fabrica treatise on anatomy by Andr Vesale, was printed by Johann Oporinus in Basel (Switzerland). Various typefaces were used for this work, mostly in Latin but including Greek characters.
Its Jenson-type font was the one which inspired this font. It is a very elegant one, including the long s, a few abbreviation forms and ligatures. As it was a Latin text, there were no accented characters and a few capitals were absent.
I had to reconstruct them.
A render sheet, in the font file, makes all characters easy to identify on the keyboard. More…
and anything else you want! One of the most elegant types ever cut, it stands up very well to enlargement, remaining as readable as in its original small size.
In 1543 the well-known De humani corporis fabrica treatise on anatomy by Andr Vesale, was printed by Johann Oporinus in Basel (Switzerland). Various typefaces were used for this work, mostly in Latin but including Greek characters.
Its Jenson-type font was the one which inspired this font. It is a very elegant one, including the long s, a few abbreviation forms and ligatures. As it was a Latin text, there were no accented characters and a few capitals were absent.
I had to reconstruct them.
A render sheet, in the font file, makes all characters easy to identify on the keyboard. More…
and anything else you want! One of the most elegant types ever cut, it stands up very well to enlargement, remaining as readable as in its original small size.
This font was created inspired from a handwritten copy of the “Brief story of the second journey in Canada” (1535) by French explorer Jacques Cartier. It is an early "Civilit" manual style, closely looking like the "Civilit" script font carved by Robert Granjon a few years later and still strongly influenced by blackletters forms, clearly visible in the capitals or long s, d, e, f or t forms.
(Look at our “1557 Civilite Granjon Pro” and the latest “1638 Civilite Manual”). It is containing Western (including Celtic) and Northern European, Icelandic, Baltic, Eastern, Central European and Turquish diacritics.
Historical forms, titling alternates and the numerous lower alternates or ligatures made the font looking like a real various hand.
family of 1 font from GLC
In 1525, Albrecht Drer, the well known German great artist, was publishing the so-called Underweysung der Messung mit dem Zirckel und Richtscheyt, printed in Nuremberg. This handbook explained with numeral figures how to draw with a compass and ruler. A large part is devoted to the drawing of Roman characters, which can be used as decorative initials.
family of 1 font from GLC
In 1525, Albrecht Drer, the well known German great artist, was publishing the so-called Underweysung der Messung mit dem Zirckel und Richtscheyt, printed in Nuremberg. This handbook explained with numeral figures how to draw with a compass and ruler. A large part is devoted to the drawing of Roman characters, which can be used as decorative initials.
This set of initial decorated letters was inspired by a font in use in the beginning of 1500s in Paris.
Exactly, we have used the set that Barthlmy Verand employed for the printing of Triumphus translatez de langage Tuscan en Franois, (from Triumph of Petrarque) in the year 1514.
Some letters, lacked, have been reconstructed to propose a complete alphabet. It appears that the printer used some letters to replace others, as V, turned over to make a A, or D to make a Q.
More…
Its original medieval hight is about one inch equivalent to about four lines of characters.
family of 2 fonts from GLC
This script font was inspired by the type used in Leyden by Jan Seversz to print Breviores elegantioresque epistolae [...], author Francesco Filfelo, circa 1509. The original font contains all lower case characters, except w, eth, thorn, lslash, oslash and so... and almost upper case. In addition, one set of small lombardic initials were also nearly complete. It take place instead of the Bold style (in only one package)offering a real and rare complete historical printing set...
family of 2 fonts from GLC
This script font was inspired by the type used in Leyden by Jan Seversz to print Breviores elegantioresque epistolae [...], author Francesco Filfelo, circa 1509. The original font contains all lower case characters, except w, eth, thorn, lslash, oslash and so... and almost upper case. In addition, one set of small lombardic initials were also nearly complete. It take place instead of the Bold style (in only one package)offering a real and rare complete historical printing set...
This script font was inspired by the type called “Bastarde Flamande”, a very appreciated one in the Duke of Burgundy’s court in the end of 1400s for hand written books. A book titled Histoire Romaine (Roman history), from roman author Tite Live, translated in French by Pierre Bersuire, circa 1475, was our main source for drawning the lower case characters and a lot of upper case.
Each character was written by hand with quill pen on rough paper to look like the originals as better as possible. More…
Instructions for use, enclosed in the file, helps to identify them on keyboard.
This script font was inspired by the type called “Bastarde Flamande”, a very appreciated one in the Duke of Burgundy’s court in the end of 1400s for hand written books. A book titled Histoire Romaine (Roman history), from roman author Tite Live, translated in French by Pierre Bersuire, circa 1475, was our main source for drawning the lower case characters and a lot of upper case.
Each character was written by hand with quill pen on rough paper to look like the originals as better as possible. More…
Instructions for use, enclosed in the file, helps to identify them on keyboard.
