font_designer: Dan Solo

Our font of the original was only ten point, so we had to use our imagination to a great extent. As specialists in Victorian typography, we have found that many people do not like...

Loosely based on an early 20th century type from the Brussels foundry of Van Loey-Nouri. Many European foundries had fonts of this general design. Schelter & Gieseke of Germany had several.

This is derived from the Marder, Luce foundry’s face called Rivet. A nip and a tuck here and there plus the addition of a lowercase make this into a potentially useful font.

Formalized from some hand lettering by the multifaceted Jugendstil designer Bruno Mauder, perhaps better known for his work in glass and ceramics.

Apparently original with the Lindsay brothers type foundry in New York shortly before they were merged into the American Type Founders Company. A few characters of the original font have been modified slightly to...

Based on one of the earliest Tuscans, from Thorowgood’s foundry. The original was very poorly rendered in 1822, but keep in mind that decorative types were still quite new in the early 1800s. We...

This started out to be a font with an Egyptian hieroglyphic look, but took a detour just beyond the first pyramid. A young lady we know said many of the letters reminded her of...

Here’s a good old Victorian job printing font. Faithful to the original issued by Barnhart Bros. & Spindler about 1880. Nothing wildly decorative about it, yet it clearly looks old.

An ideal face for blocks of copy when you want them to look old. Very readable. Another faithful rendition of the original from the Keystone foundry. Actually several foundries worldwide offered this font.