Hamilton Wood Type Collection

HWT Aetna is a revival of the sturdy Roman style of wood type. This digital version features four widths, plus four Streamer versions that allow the ability to create chromatic layer effects.

HWT American Chromatic is based on an 19th century chromatic wood type by Wm. H. Page. This digital eight-font set that allows for thousands of possible color and pattern combinations when layered.

HWT Antique Tuscan 9 is a very condensed 19th century wood type design, first shown by Wm. H. Page Co. in 1859. This digital version includes lowercase, ligatures, and extended European character set.

HWT Arabesque is an Art Nouveau wood type which evokes the excesses of Victorian design and the equally quirky 1960s Psychedelic era revival of the Victorian type styles.

HWT Archimedes is a revival of a wood type design sometimes known as Mansard. The variation with screw heads in the design was first seen in 1879 by the Wm. H. Page Co.

HWT Artz evokes bold early 20th century European poster lettering. It is a contemporary design by Erik Spiekermann for his own print studio P98a in Berlin, made to be cut into large size wood type.

HWT Bon Air was originally created in 1958 for the Morgan Sign Machine Co. in the mid 20th century. Its lively strokes and odd details give it an exotic flavor suitable for advertising display work.

HWT Borders One contains decorative borders and corner pieces based on 19th century wood type catalogs. These can be modularly assembled in almost any size dimensions needed.

HWT Brylski is a contemporary wood type design by Nick Sherman. It use many themes common in 19th-century type including: split tuscan serifs, angled sides, reverse stressing, and an extended width.

HWT Bulletin is a script style offered by several American wood type manufacturers in the late 19th century. It may be one of the most iconic styles of the 60s Psychedelic Victorian revival era.

HWT Catchwords features over 80 words—like 'The', 'And', 'To', 'For'—based directly on designs offered by Hamilton and other wood type manufacturers of the 19th century.

HWT Etta is a fun display typeface that has two styles: East and West! Its two variations ensure you have maximum wood type swagger in every display size that you might want.

HWT Geometric is a late 19th century wood type design that conjures up early 20th century Dutch DeStijl lettering with a mostly strict adherence to right angles and minimal stroke modulation.

HWT Gothic Round was first seen as wood type by the George Nesbitt Co. in 1838. Digitized by Miguel Sousa from a variety of historical sources, resulted in a contemporary font with a 175 year history.

Explore HWT Konop designed by Mark Simonson at Adobe Fonts.

HWT Lustig Elements is a revival of Euclid originally designed in the 1930s by Alvin Lustig. It combines four shapes to a grid to make letterforms that hold true to the spirit of the original font.

HWT Mardell presents Louise Fili’s wood type design for use in digital applications. "The bold, lively angularity of Italian futurist letterforms made it a natural choice for wood type.” says Fili.

HWT Republic Gothic was among the last original wood type designs made by Hamilton (c. 1920). It features a sans-serif style reminiscent of brush-formed letters popular with sign painters of the era.

HWT Roman Extended Fatface is credited to Robert Thorne just after 1800 in England, is considered to be the first type style designed specifically for display, rather than for book work.

Explore HWT Showcard Script designed by Richard Kegler at Adobe Fonts.

HWT Slab are two extra bold fonts of wood type styles: Columbian featuring bracketed or rounded serif joins, and Antique with true squared off slab serifs.

HWT Star Ornaments are seen as a long standing companion to many wood type poster layouts. This digital font features almost 100 glyphs of mostly stars, but it also features a unique star border.

Explore HWT Tangent designed by Patrick Griffin at Adobe Fonts.

HWT Tuscan Extended is an extremely wide design, with a distinctive slab crossbar running through the center of most characters. Each letter is a complex system in its own right.