P22 Mucha - designed in 2001 and published by International House of Fonts. #fonts #artnouveau
Virile - designed in 1890 and published by Creative Alliance. #fonts #artnouveau The Virile and Virile Open fonts are late nineteenth-century typefaces in a rustic style. Use the Virile fonts to add charm to book covers and posters relating to natural history and decorative arts.
Artistik - designed in 1992 and published by Monotype. #fonts #artnouveau Artistik, a late nineteenth-century face, is reminiscent of Asian calligraphy, and has the appeal of the turn-of-the-century Art Nouveau are. Based on brush-drawn letters, the Artistik font looks good in many display situations. Use the Artistik font on packaging, posters and signs.
Croissant - designed in 1978 and published by ITC. #fonts #artnouveau Phillip Kelly first drew the Croissant typeface in 1978 for Letraset. Back in the 1970s and 80s, Letraset's rubdown lettersheets were a popular means of designing with type. This experimental typeface is built up out of round, brush-like strokes, creating heavy, and black letters. These forms are best used for display signage and headline text.
Arnold Boecklin - designed in 1904 and published by Linotype. #fonts #artnouveau The font Arnold Boecklin appeared in 1904 with the font foundry Otto Weisert. Traces of the floral forms of the Jugendstil can still be seen in this typeface. Alphabets of this type were mainly meant for larger point sizes, as on posters. A decorative feel was much more important than legibility and Arnold Boecklin was of particular importance to the book design of the Jugendstil movement.
Eckmann - designed in 1900 and published by Linotype. #fonts #artnouveau The font Eckmann is named after its designer, Otto Eckmann, and appeared with the Klingspor type foundry in 1900. The influence of the Jugendstil is clear to see in the flowing floral contours of the letters. This font was made for larger point sizes, like on posters, and while relatively legible, it is not meant for smaller print. The font was often used in book titles and advertisements of the 19th century.
URW Art Gothic - designed in 1995 and published by URW. #fonts #artnouveau
Greeting Monotone - designed in 1927 and published by Monotype. #fonts #artnouveau Based on Art Nouveau models, Greeting Monotype was created by M.F. Benton in 1927. The Greeting Monotone font works well for titling, packaging and greeting cards.
P22 Art Nouveau - designed in 2002 and published by P22. #fonts #artnouveau
URW Metropolitaines - designed in 1905 and published by URW. #fonts #artnouveau
ITC Stoclet - designed in 1998 and published by ITC. #fonts #artnouveau ITC Stoclet is the work of British designer Phill Grimshaw. It is a condensed, angular typeface, and its sharp angles, swooping curves and long forms are reminiscent of Art Nouveau. The font includes a number of alternative characters which enhance its flexibility. ITC Stoclet is ideal for large, ornamental designs as well as short blocks of text.
ITC Noovo - designed in 1997 and published by ITC. #fonts #artnouveau ITC Noovo is from British designer Phill Grimshaw and grew out of his work on ITC Rennie Mackintosh. He says, "I still had 'Nouveau' coming out of my ears" and he drew it after a series of computer-intensive projects, "when I was missing the smell of permanent marker pens and the feel of paper." ITC Noovo is highly stylized yet works as both a text and display typeface.
ITC Motter Corpus - designed in 1983 and published by ITC. #fonts #artnouveau ITC Motter Corpus was designed by the Austrian type designer Othmar Motter in 1993 to combine the display advantages of a sans serif extra bold design with the legibility of a roman weight. ITC Motter Corpus is remarkabley legible in display applications and will give text a nostalgic feel. A similar typeface is Linotype Bariton.
Eccentric - designed in 1881 and published by Creative Alliance. #fonts #artnouveau Eccentric was designed in 1881 by Gustav F. Schroeder. It is an all-capital, narrow-bodied, monoline display face that could be described as high waisted. With cross-bars and main junctures more than halfway up the letterforms, every letter - except the W - has a long-legged appearance. Eccentric has a wide range of display uses, from playbills to fashion advertisements.