HWT Aetna Regular

Beautifully crafted typography for all of your design needs, from your favorite type designers. Thousands of styles, hundreds of families.

Hamilton Wood Type

HWT Aetna

HWT American Outline

HWT American

HWT Antique Tuscan No. 9 Regular

HWT Antique Tuscan No. 9

HWT Arabesque Regular

HWT Arabesque

HWT Archimedes Regular

HWT Archimedes

HWT Artz Regular

HWT Artz

HWT Bernice Regular

HWT Bernice

HWT Bon Air Regular

HWT Bon Air

HWT Borders One

HWT Borders

HWT Brylski Regular

HWT Brylski

HWT Bulletin Script Two

HWT Bulletin Script

HWT Catchwords Regular

HWT Catchwords

HWT Etta West

HWT Etta

HWT Geometric Regular

HWT Geometric

HWT Gothic Round Regular

HWT Gothic Round

HWT Konop 6 Line

HWT Konop

HWT Lustig Elements Inline

HWT Lustig Elements

HWT Mardell Regular

HWT Mardell

HWT Republic Gothic Outline

HWT Republic Gothic

HWT Roman Extended Lightface

HWT Roman Extended

HWT Showcard Script Regular

HWT Showcard Script

HWT Slab Columbian

HWT Slab

HWT Star Ornaments Regular

HWT Star Ornaments

HWT Tangent Regular

HWT Tangent

HWT Tuscan Extended Regular

HWT Tuscan Extended

HWT Unit Gothic 718

HWT Unit Gothic

HWT Van Lanen Regular

HWT Van Lanen

HWT Aetna Streamer Outline

HWT Aetna Streamer

HWT Etta East

HWT Konop 8 Line

HWT Lustig Elements Regular

HWT Van Lanen Streamer

Hamilton Wood Type Collection-87

Hamilton Wood Type Collection, established in 2012, is a joint venture between P22 Type Foundry and the Hamilton Wood Type &amp; Printing Museum. The founding goal was to safeguard a typographic era and make classic wood type designs available as digital fonts for modern audiences. This historical collection of serif revivals, sans reinterpretations, decorative embellishments, script reclamations, and original chromatic designs is stunningly relevant and usable for any imaginative design practice.

HWT Aetna is a revival of the sturdy Roman style of wood type most often called simply Aetna. This new digital version by Aaron Bell features four widths all based on those variations commonly offered by 19th Century wood type manufacturers. In addition, there is a four-layer all-caps version of Aetna based on the famous Wm. Page Chromatic Types. These allow designers to effortlessly create colorful chromatic streamer and shadow effects for their various projects.

HWT American is a multilayered family. The source material was a 19th-century chromatic family that only included two fonts. This digital version includes eight, and they are designed to be set and arranged, one on top of the other, allowing thousands of imaginable color and pattern combinations. Five of the eight fonts in the set can be used individually as variations of the classic Tuscan style of wood type, defined by its concave stems and serifs.

It is not an exaggeration to say that HWT Antique Tuscan is a very condensed 19th-century Tuscan design. This subtly detailed wood type was first shown by Wm H Page Co in 1859. Thanks to Miranda Roth Kirchmeyer’s work, this is the first digital version to include a lowercase and extended European character set. As lanky as Antique Tuscan is, it can make quite a statement when used at large sizes. Graphic designers everywhere! Imagine the dramatic headlines, posters, book covers, and packaging!

HWT Arabesque is a long-lost Art Nouveau wood type from the Hamilton Museum Collection that evokes the excesses of Victorian design and the equally quirky ’60s Psychedelic era revival of Victorian type styles. Free-flowing designs flourished with Art Nouveau in the late 1800s and were directly referenced and further distorted with phototype in the late ’60s. Arabesque defies most of the basic tenets of type design and what comes to mind when one thinks “wood type.”

HWT Archimedes is a wood type design sometimes known as Mansard. Virgin Wood Type brought this version to life as a wood type font. The variation with screw heads in the design was first seen in 1879 by William H. Page Co. This new digital version features a variety of styles, including the standard screw head option. The result is a sturdy, industrial font with a certain “joie de vivre” attitude. Not for every designer, but you know this is for YOU!

HWT Artz evokes bold early 20th-century European poster lettering. It was designed by Erik Spiekermann for his own print studio, P98a, in Berlin. The rounded corners and robust shapes stand up to the punishing world of backlit signs and bring a bit of levity to all cap texts. At smaller sizes, the softer shapes radiate friendliness without straying toward whimsy. The outside curves are largely clothoidal and always find the smoothest transition from straight to curved.

HWT Bernice is a system of ornaments designed by graphic artist Marian Bantjes. Aptly named for Bernice Schwahert, the first female type trimmer at Hamilton Manufacturing, known for her precision. The individual elements are asymmetrical, so symmetry, if that’s what you’re looking for, is found in rotation. Cover art, book endpapers, and fabrics are only a few possible applications. Equally enticing if you go big with wallpaper patterns and stenciled floors.

HWT Bon Air is a Mad Men-era advertising script for streamlined cars, exotic destinations, and boutique motels branded as resorts. Trademarked in 1961, it was one of the last new designs cut by Hamilton until the museum revival this century. Richard Kegler had only photographs and rubbings on which to base his digitization. A photostat proof was found after the project was finished. Bon Air was revived from the past, but it’s just as effective as a foil for the future.

HWT Borders One is a revival of 19th-century typographic borders offering a spectrum from simple to ornate. It features ten decorative borders and eight streamer styles. It has versatility for playbills, certificates, warranties, shop signs, or tiny tickets. The modular construction allows seamless adaptation with the option to enlarge single elements for captivating backgrounds. Borders One showcases Richard Kegler&#x27;s appreciation for ornamental type in this concise yet versatile collection.

HWT Brylski is Nick Sherman’s blend of 19th-century typographic motifs. Named for type cutter and Hamilton Printing Museum volunteer Norb Brylski, it features bifurcated serifs, extended width, with bold tops and bottoms. The mansard sides give the hefty serifs a jaunty air, while the very thin middles showcase the weight they both hold and anchor. Made with an understanding of the era, clever decisions have been taken to incorporate more modern letterforms into the character set. Use it boldly!

Paul D. Hunt&#x27;s HWT Bulletin Script, inspired by the 60s psychedelic style and sourced from the Hamilton Collection, boasts a unique blend of contrasting elements. The heavy bottom halves of its letters sweep into crisp concavity, punctuated by energetic spikes. In contrast, the thin top halves feature intricate details like ball terminals and looped endings. This harmonious fusion of bold and delicate forms produces a coherent, flowing script.

Fonts like HWT Catchwords have always been offered alongside standard alphabets in wood type catalogs. They appear so often on posters as a decorative punch that they have become part of the wood type vernacular. These words could be inserted into a design along with decorative ornaments when space was tight or to add variety to the design. Catchwords features over 80 words based directly on designs offered by Hamilton and other wood type manufacturers of the 19th and early 20th Century.

HWT Etta is a display typeface with two distinctive styles: Etta East and Etta West. These offer versatility in conveying wood type aesthetics, drawing inspiration from the 19th-century wood type era, infused with 1960s phototype sensibilities, and adapted for contemporary design demands. Despite their differences, both fonts are intended for impactful display use, so embrace their individuality and combine them boldly. HWT Etta is a tribute to Etta Shove Hamilton, J.E. Hamilton’s wife.

HWT Geometric is a 19th-century design that conjures up early 20th-century Dutch DeStijl lettering with mostly strict adherence to right angles and minimal stroke modulation. Geometric began life as a metal typeface from the Central Type Foundry, circa 1884. After many adaptations by various foundries, James Grieshaber digitized and expanded it for modern use. Geometric could be considered a quirky slab serif perfect for any more rebellious typographic use.

HWT Gothic Round is a bold, rounded sans digitized by Miguel Sousa. He took inspiration from eight different wood type sources dating back to 1838. Despite its tubular appearance, this typeface surprises with carefully crafted details. Distinct characteristics were emphasized or subdued, resulting in a fun hybrid. Notice the flat top of the ‘j,’ the dimple on ‘1,’ and the solution for minimizing descenders in the ‘g.’ Given its small counters, this face shines when used in larger sizes.

HWT Konop would have been a head-scratcher for old-world printers, but modern-day designers will find inspiration in its modular and rotational features. Mark Simonson named the family for Hamilton Manufacturing retiree and museum volunteer Don Konop. Not only are the letters monospaced, but they are square. They can be arranged tabularly, offering a lot of creative freedom. They adapt to their limitations in charming ways, and the numbers have a lot of personality.

HWT Lustig Elements is a testament to innovative design. Over five years, Craig Welsh meticulously crafted this typeface inspired by the mid-century designer Alvin Lustig’s Euclid. This name also pays tribute to designer Elaine Lustig Cohen, who collaborated on its development. Lustig Elements defies rigidity with unconventional shapes, resulting in unexpected quarter-circle accents and a vibrant neon inline style, adding a touch of surprise to its geometric foundation.

Louise Fili did a remarkable thing with her first-ever typeface, the Italian Futurist-inspired HWT Mardell. She made a geometric design without strictly adhering to a system. Fili allowed herself to play, resulting in innovative solutions to problematic characters. Have a look at: E F J K 3 &amp; $. With its angular, constructed letterforms, the no-nonsense design is also a fitting tribute to the woman it was named for: veteran Hamilton Manufacturing type cutter Mardell Doubek.

Originally issued in six sizes as one of the last Hamilton Manufacturing Co. wood types, the digital HWT Republic Gothic is now a single-style affair. Miranda Roth and Richard Kegler based their design on the extended width, creating solid and outline versions. They can be used separately or overlayed to create color effects. The playful nature of Republic Gothic, with its handful of quirky characters, will add levity to any design, making it a lively alternative to every day sans serifs.

HWT Roman Extended is a pairing of opposites in heft, but comrades in expansion. Fatface is a super-high contrast design, while Lightface offers delicate elegance. What they have in common is width. With Fatface, rather than reviving one version, designer Jim Lyles combined the best historical details. Lightface, a rare find in print shops, was recreated by Miranda Roth, maintaining grace and showcasing subtle contrast and wide, bracketed serifs. Both faces are eye-popping in large sizes!

HWT Showcard Script is a dynamic vintage typeface that hints at its origins from the mid-1900s, designed for shop owners to create in-house promotional material. Its brushstroke-based glyphs emulate skilled sign painting, with bold uppercase letters and unique details like the looping in B, E, and R, and open-dot i and j. Designer Terry Wüdenbachs digitized it from the Hamilton Wood Type &amp; Printing Museum, extending the character set so you can create an authentic shop card aesthetic, too!

The HWT Slab family, comprising Slab Antique and Slab Columbian, embodies robust slab serif designs, reminiscent of Dutch’ chocoladeletters.’ Both fonts share traits such as low contrast, a high x-height, short descenders, and occasional rounded endings with a lowercase ‘j’ notch. The only difference you’ll actually find is in the serif structure. Designer Tim Martin meticulously sourced material from various manufacturers and supplemented it with additional characters, punctuation, and accents.

HWT Star Ornaments, curated by typographic sage Richard Kegler, offers a mixed collection of historical ornaments ideal for modern design. With dozens of stars in two orientations, typographic whirligigs, ornamental brackets, and a versatile modular border system, these elements can be used for illustrations, patterns, or map markers. The modular border pieces, including stars and stripes, come with connectors and endings for creating intricate designs, from letters to free-form frames.

HWT Tangent, a modern font with a 200-year-old legacy, features nesting letters, numerous alternates, and double-Os. Inspired by the 1800s wood type Tangent from the Cary Graphic Arts Collection at RIT, designer Patrick Griffin expanded it to over 500 glyphs, including ten alternates for the letter A. The font’s ascenders and descenders support smaller letters, allowing for creative spacing and versatility. The dynamism of Tangent lies in its unique letterforms and your skill in combining them.

HWT Tuscan Extended is an exercise in exuberance: bifurcated terminals, stem spikes, crossbars, and that ampersand… oh my! There are some relatively simple letters (o, c, s), but ornamentation is otherwise omnipresent, especially in the w, x, and z. At least four different versions of this 19th-century typeface were made, so designer Frank Grießhammer had a lot of material to work with as he expanded the character set so Tuscan Extended would function in a modern, multi-lingual world.

HWT Unit Gothic, originally published in 1907 by Hamilton Manufacturing Co., is, historically speaking, one of the first multi-height typefaces with seven fonts ranging from sturdy and small to thin and tall. This revolutionary design allowed for various lengths of harmonious text and headline compositions, pre-dating Adrian Frutiger’s system by fifty years. James Todd’s digital revival includes alternate characters, Greek and Cyrillic sets, and punctuation, totaling 600 glyphs per font.

Sturdy triangular serifs yet light on its feet, HWT Van Lanen is a modern classic. Originally commissioned in 2002, it was Matthew Carter’s first foray into wood type production after a half-century of designing typefaces. With a low contrast, boxy design and inspiration from the interplay of positive and negative forms, Carter imagined how two versions might be used together. You can create chromatics by layering the two or stacking lines on top of each other to create lively blocks of text.