Fandango
Curlicues galore on this modern version of a mid-victorian display type. We started with the caps from a type called Cellini, altered them considerably, and added a lowercase.
Fairmont
This is one of the Victorian standards for job printing issued by the Barnhart Brothers and Spindler Foundry about 1891. It looks old without being decorative, a good counterpoint to fancier types in ...
Emperor
Another design inspired by Chinese characters, but with a somewhat less obvious treatment than many.
Disco
Each letter or character comes in two forms on this font: One as a complete disc, the other as a disc with a segment removed so the succeeding character can overlap the preceding one.
Tuscan Gothic
This is a Vanderburgh and Wells wood type cap font from 1877. We don't know if the originators made a lowercase for it, but we did. Most effective in larger sizes.
Tourist
MacKeller, Smiths and Jordan had a font called Giraffe Wide which we liked, but like many Victorian display fonts it had no lowercase. We fixed that!
Seminary
This began life as a European font that was copied in the United States by Bruce's Type Foundry in 1885. It was caps only and had a fine line "three-D" shadow. We scrapped the shadow, added a lower ...
Riviera
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.
Moritz
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.
Illyrian
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 the "center ...
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