1913 Typewriter Carbon is the bold version of GLC foundry’s 1913 Typewriter. It is available in two styles: Normal, and Underlined (Bold).
It is a complete alphabetic font.
It is used as variously as web-site titles, posters design or books editing.
More…
With inkjet printers, it may be used the economic or draft option with a good result too.
We have created this family from the numerous derivatives in use for newspapers since the middle of the 1800s to the 1970s, inspired by the well known Clarendon.
Mainly, the patterns are those used to print Le Petit Journal, a popular French Newspaper of the era (published from 1863 to 1937).
The present version contains Normal, Italic, Bold and Bold Italic styles, in two sub families: 1906 French News for texts and titlings with upper and lower case, and 1906 French News Caps (Caps, small caps, small numerals, for texts and titlings).
We have created this family from the numerous derivatives in use for newspapers since the middle of the 1800s to the 1970s, inspired by the well known Clarendon.
Mainly, the patterns are those used to print Le Petit Journal, a popular French Newspaper of the era (published from 1863 to 1937).
The present version contains Normal, Italic, Bold and Bold Italic styles, in two sub families: 1906 French News for texts and titlings with upper and lower case, and 1906 French News Caps (Caps, small caps, small numerals, for texts and titlings).
This script font was inspired from a lot of manuscripts, notes and drafts, written by the famous American poet Walt Whitman. It is a very elegant type, in spite of a few curious ligatures, often concerning the r or z small letters.
Notice the very characteristic th.
It is used as variously as web-site titles, posters and fliers design or greeting cards, all various sorts of presentations, menus, certificates, letters.
This font, in spite of its small size, supports very strong enlargements as well as small sizes ( the original size was about 36 to 48 pts ). When printed, it remains perfectly legible and elegant from 9/11 pts even if using an ordinary inkjet printer.
This script font was inspired from a lot of manuscripts, notes and drafts, written by the famous American poet Walt Whitman. It is a very elegant type, in spite of a few curious ligatures, often concerning the r or z small letters.
Notice the very characteristic th.
It is used as variously as web-site titles, posters and fliers design or greeting cards, all various sorts of presentations, menus, certificates, letters.
This font, in spite of its small size, supports very strong enlargements as well as small sizes ( the original size was about 36 to 48 pts ). When printed, it remains perfectly legible and elegant from 9/11 pts even if using an ordinary inkjet printer.
family of 2 fonts from GLC
This font is a late 19th Century French script overview inspired by numerous French letters, from around years 1850-1860, during the second French empire, under Napoleon the third. Most of them were written with very tiny characters on light sheets of paper, as postage prices were calculated from the letter’s weight.
family of 2 fonts from GLC
This font is a late 19th Century French script overview inspired by numerous French letters, from around years 1850-1860, during the second French empire, under Napoleon the third. Most of them were written with very tiny characters on light sheets of paper, as postage prices were calculated from the letter’s weight.
This family was inspired from a lot of 1848-1850 French engraved documents reproducing handwritten texts talking about the Paris' insurrection days in June 1848 (described by Victor Hugo in Les misrables) .
It seems that all were first written using quill pens, as the strokes are too much heavy and bold for metal pens and even though the engraver work is very fine.
We have added only a few characters, most of them were present in the originals.
The TTF and OTF versions are enriched with more than 50 ligatures or alternate characters.
This family was inspired from a lot of 1848-1850 French engraved documents reproducing handwritten texts talking about the Paris' insurrection days in June 1848 (described by Victor Hugo in Les misrables) .
It seems that all were first written using quill pens, as the strokes are too much heavy and bold for metal pens and even though the engraver work is very fine.
We have added only a few characters, most of them were present in the originals.
The TTF and OTF versions are enriched with more than 50 ligatures or alternate characters.
This family was inspired by the well-known Caslon typeface created by William Caslon, the English font designer, who was, with John Baskerville, the progenitor of English Transitional typeface classification in the mid-18th century (See also our 1776 Independence).
We were inspired by a Caslon style set used by an unknown Flemish printer from Bruges, in the beginning of 1800s, a little before the revival of Caslon style in the 1840s.
Our font covers all Western, Eastern and Central European languages (including Celtic diacritics) and the Turkish alphabet, with a complete small-caps set in each of the two styles. (Please note: The complete character set is available only in TTF and OTF Pro version.)
This family was inspired by the well-known Caslon typeface created by William Caslon, the English font designer, who was, with John Baskerville, the progenitor of English Transitional typeface classification in the mid-18th century (See also our 1776 Independence).
We were inspired by a Caslon style set used by an unknown Flemish printer from Bruges, in the beginning of 1800s, a little before the revival of Caslon style in the 1840s.
Our font covers all Western, Eastern and Central European languages (including Celtic diacritics) and the Turkish alphabet, with a complete small-caps set in each of the two styles. (Please note: The complete character set is available only in TTF and OTF Pro version.)
This font, was created -- inspired from the original manuscript of the French revolutionary song La Marseillaise, becoming later the French national anthem, composed in one night (1792 April 25th) by the 32 year old French captain, Rouget de Lisle.
It is a Pro font containing Western (including Celtic) and Northern European, Icelandic, Baltic, Eastern, Central European and Turkish diacritics. The numerous alternates and ligatures make the font look as close as possible to the real historic hand. Using an OTF software, the features allow variations of each character without anything to do but to select contextual alternates and standard ligatures and/or stylistic alternates options.
This font, was created -- inspired from the original manuscript of the French revolutionary song La Marseillaise, becoming later the French national anthem, composed in one night (1792 April 25th) by the 32 year old French captain, Rouget de Lisle.
It is a Pro font containing Western (including Celtic) and Northern European, Icelandic, Baltic, Eastern, Central European and Turkish diacritics. The numerous alternates and ligatures make the font look as close as possible to the real historic hand. Using an OTF software, the features allow variations of each character without anything to do but to select contextual alternates and standard ligatures and/or stylistic alternates options.
family of 6 fonts from GLC
This family was inspired by numerous documents and books printed in Paris during the end of the 1700s. Mainly, documents printed by P.G. Simon & N.H. Nyon, “Printers of the parliament” were used for the Normal and italic styles and “Caps”. “Titling” characters were coming from a collection of hymns printed by Nicolas Chapart. In France these Fournier characters, as Baskerville in Great Britain, were the most often in use in the late 1700s, just before the Didot designs.
family of 6 fonts from GLC
This family was inspired by numerous documents and books printed in Paris during the end of the 1700s. Mainly, documents printed by P.G. Simon & N.H. Nyon, “Printers of the parliament” were used for the Normal and italic styles and “Caps”. “Titling” characters were coming from a collection of hymns printed by Nicolas Chapart. In France these Fournier characters, as Baskerville in Great Britain, were the most often in use in the late 1700s, just before the Didot designs.
family of 1 font from GLC
This font was inspired from the numerous font-types looking like Hand-carved in the 1700’s. The capitals are mainly inspired from the font carved by Fournier in year 1781, the year of the famous American and French decisive victory at Yorktown, and drawn by Benjamin Franklin himself, and the lower cases are inspired from the well known "btarde coule" style, ornamented with final loops and enriched with alternates and ligatures.
In the late medieval period appeared a "semi-cursive" writing, the French "criture de civilit". Quickly, it is carved and melted down in lead for printing.
It is a very elegant running font, with numerous variants, both final than initial characters, many of the accented small characters were present in the model I was inspired by, after Fournier Le jeune , in his catalogue "Modles des caractres de l'imprimerie et des autres choses ncessaires au dit art nouvellement gravs par Simon-Pierre Fournier le jeune" published in 1742 in Paris. More…
The famous Irish poet and novelist Jonathan Swift (Dublin 1667-1745) has a large personal library of which he noticed carefully the book list by himself. We have used a facsimile from this catalogue to reconstruct this present font, as one exemple of the personal poet’s hands but also as a typical exemple of the British quill pen handwriting from about mid 1600’s to the beginning of 1700’s .
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The numerous alternates and ligatures allow to made the font looking as closely as possible to the real hand. Using an OTF software, the features allow to vary automatically almost each character of a word without anything to do but to select contextual alternates and standard ligatures and/or stylistic alternates options.
The famous Irish poet and novelist Jonathan Swift (Dublin 1667-1745) has a large personal library of which he noticed carefully the book list by himself. We have used a facsimile from this catalogue to reconstruct this present font, as one exemple of the personal poet’s hands but also as a typical exemple of the British quill pen handwriting from about mid 1600’s to the beginning of 1700’s .
More…
The numerous alternates and ligatures allow to made the font looking as closely as possible to the real hand. Using an OTF software, the features allow to vary automatically almost each character of a word without anything to do but to select contextual alternates and standard ligatures and/or stylistic alternates options.
This funny font was created inspired from a contract of sale for a field prepared by a French notary in the end of the year 1682 (December seventh). We have worked to transform the almost illegible original form into a contemporary usable typeface, but keeping the special “writhed” appearance. It is a “pro” font containing Western (including Celtic) Eastern and Central European, Icelandic, Baltic, and Turquish diacritics. The numerous OTF alternates and ligatures(about 5 different glyphs or ligatures for almost each basic lower case letter) made the font looking like a real various hand as closely as we can do it.
This funny font was created inspired from a contract of sale for a field prepared by a French notary in the end of the year 1682 (December seventh). We have worked to transform the almost illegible original form into a contemporary usable typeface, but keeping the special “writhed” appearance. It is a “pro” font containing Western (including Celtic) Eastern and Central European, Icelandic, Baltic, and Turquish diacritics. The numerous OTF alternates and ligatures(about 5 different glyphs or ligatures for almost each basic lower case letter) made the font looking like a real various hand as closely as we can do it.
family of 4 fonts from GLC
This family was created -- inspired from the engraved typeface (Two styles : Normal & Italic) used in the pack of 52 playing cards who was describing the 52 counties forming a small Atlas of England and Wales and depicting English roads for the first time, published by Sir Robert Morden in 1676.
family of 4 fonts from GLC
This family was created -- inspired from the engraved typeface (Two styles : Normal & Italic) used in the pack of 52 playing cards who was describing the 52 counties forming a small Atlas of England and Wales and depicting English roads for the first time, published by Sir Robert Morden in 1676.
font family from Fonts of Chaos, added yesterday
1654 Brown Street, from the street to our font library it’s only one step. This font is inspired by the street typography, the radius of the font is the same than the street marker.
font family from Fonts of Chaos, added yesterday
1654 Brown Street, from the street to our font library it’s only one step. This font is inspired by the street typography, the radius of the font is the same than the street marker.
family of 1 font from GLC
This font was inspired by the hand-written 1648 Munster peace treatise signed by French King Louis XIV and German emperor Ferdinand II. It is a Cancellaresca font style, meticulously written and almost legible.
family of 1 font from GLC
This font was inspired by the hand-written 1648 Munster peace treatise signed by French King Louis XIV and German emperor Ferdinand II. It is a Cancellaresca font style, meticulously written and almost legible.
This font was inspired by a French solicitor’s document dated 1638, written in the special style so named "Civilit".
We have worked to transform the almost illegible original form into a contemporary usable typeface, but keeping the time appearance. It contains Western (including Celtic) and Northern European, Icelandic, Baltic, Eastern, Central European and Turkish diacritics. The numerous alternates and ligatures made the font looking like a real various hand.
This font was inspired by a French solicitor’s document dated 1638, written in the special style so named "Civilit".
We have worked to transform the almost illegible original form into a contemporary usable typeface, but keeping the time appearance. It contains Western (including Celtic) and Northern European, Icelandic, Baltic, Eastern, Central European and Turkish diacritics. The numerous alternates and ligatures made the font looking like a real various hand.
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…
