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Antique

Antique™ by Storm Type Foundry
Individual Styles from $26.00
Complete family of 6 fonts: $134.00
Antique Font Family was designed by František Štorm, and published by Storm Type Foundry. Antique contains 6 styles and family package options. More about this family
Select style to display all glyphs:
Antique Ancienne Italic
Antique Ancienne Italic
Antique Moderne
Antique Regent
Antique Regent Italic
Antique Ancienne
Antique Moderne Italic

Antique Ancienne Italic - Glyph Count: 404

This is a listing of all 404 glyphs contained in the font, including OpenType variants that may only be accessible via OpenType-aware applications.

Each basic character (“A”) is followed by Unicode variants of the same character (Á, Ä…), then OpenType variants (small caps, alternates, ligatures…). This way you can see all the variations on a single character in one place.

Antique Ancienne Italic image
  • from    $26.00
    Antique Ancienne Italic
  • from    $26.00
    Antique Moderne
  • from    $26.00
    Antique Regent
  • from    $26.00
    Antique Regent Italic
  • from    $26.00
    Antique Ancienne
  • from    $26.00
    Antique Moderne Italic
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Select style to display tech specs:
  • Antique Ancienne Italic image
  • Full Font Name: AntiqueAncienne-Italic
    Family Name: Antique Ancienne
    Sub-Family Name: Italic
    Format: OpenType CFF
    Version: Version 001.001
    Glyph Count: 404
    File Size: 81548
    Character Sets: ASCII
    OT Features: aalt cpsp dlig fina frac hist init kern liga ordn
    Supported Languages: Bosnian, Catalan, Czech, Danish, German, English, Spanish, Estonian, Finnish, French, Irish, Croatian, Hungarian, Icelandic, Italian, Lithuanian, Latvian, Maltese, Norwegian, Polish, Portuguese, Slovak, Slovenian, Albanian, Swedish
  • Antique Moderne image
  • Full Font Name: AntiqueModerne
    Family Name: Antique Moderne
    Sub-Family Name: Regular
    Format: OpenType CFF
    Version: Version 1.000 2005 initial release
    Glyph Count: 395
    File Size: 110428
    Character Sets: ASCII
    OT Features: dlig frac hist kern liga
    Supported Languages: Bosnian, Catalan, Czech, Danish, German, English, Spanish, Estonian, Finnish, French, Irish, Croatian, Hungarian, Icelandic, Italian, Lithuanian, Latvian, Maltese, Norwegian, Polish, Portuguese, Romanian, Slovak, Slovenian, Albanian, Swedish
  • Antique Regent image
  • Full Font Name: AntiqueRegent
    Family Name: Antique Regent
    Sub-Family Name: Regular
    Format: OpenType CFF
    Version: Version 1.000 2005 initial release
    Glyph Count: 401
    File Size: 83872
    Character Sets: ASCII
    OT Features: aalt cpsp dlig frac hist kern liga ordn
    Supported Languages: Bosnian, Catalan, Czech, Danish, German, English, Spanish, Estonian, Finnish, French, Irish, Croatian, Hungarian, Icelandic, Italian, Lithuanian, Latvian, Maltese, Norwegian, Polish, Portuguese, Slovak, Slovenian, Albanian, Swedish
  • Antique Regent Italic image
  • Full Font Name: AntiqueRegent-Italic
    Family Name: Antique Regent
    Sub-Family Name: Italic
    Format: OpenType CFF
    Version: Version 1.000 2005 initial release
    Glyph Count: 403
    File Size: 81708
    Character Sets: ASCII
    OT Features: aalt cpsp dlig frac hist init kern liga ordn
    Supported Languages: Bosnian, Catalan, Czech, Danish, German, English, Spanish, Estonian, Finnish, French, Irish, Croatian, Hungarian, Icelandic, Italian, Lithuanian, Latvian, Maltese, Norwegian, Polish, Portuguese, Slovak, Slovenian, Albanian, Swedish, Turkish
  • Antique Ancienne image
  • Full Font Name: AntiqueAncienne
    Family Name: Antique Ancienne
    Sub-Family Name: Regular
    Format: OpenType CFF
    Version: Version 1.000 2005 initial release
    Glyph Count: 404
    File Size: 92688
    Character Sets: ASCII
    OT Features: dlig frac hist kern liga
    Supported Languages: Bosnian, Catalan, Czech, Danish, German, English, Spanish, Estonian, Finnish, French, Irish, Croatian, Hungarian, Icelandic, Italian, Lithuanian, Latvian, Maltese, Norwegian, Polish, Portuguese, Romanian, Slovak, Slovenian, Albanian, Swedish, Turkish
  • Antique Moderne Italic image
  • Full Font Name: AntiqueModerne-Italic
    Family Name: Antique Moderne
    Sub-Family Name: Italic
    Format: OpenType CFF
    Version: Version 1.000 2005 initial release
    Glyph Count: 404
    File Size: 115552
    Character Sets: ASCII
    OT Features: dlig frac hist init kern liga
    Supported Languages: Bosnian, Catalan, Czech, Danish, German, English, Spanish, Estonian, Finnish, French, Irish, Croatian, Hungarian, Icelandic, Italian, Lithuanian, Latvian, Maltese, Norwegian, Polish, Portuguese, Romanian, Slovak, Slovenian, Albanian, Swedish, Turkish

Licensing Options

You can use this font in any of the following places. Read the full EULA text for details about each license. If you have a usage in mind that's not covered by these licenses, contact us and we'll see what we can do.

Desktop: for use on a desktop workstation

For the most common uses, both personal and professional, for use in desktop applications with a font menu.

For example:

  • Install the font on your Mac OS X or Windows system
  • Use the font within desktop applications such as Microsoft Word, Mac Pages, Adobe InDesign, Adobe Photoshop, etc.
  • Create and print documents, as well as static images (.jpeg, .tiff, .png)

Desktop licenses are based on the number of users of the fonts. You can change the number of users by clicking the quantity dropdown option on Buying Choices or Cart pages.

Please be sure to review the listing foundry's Desktop license agreement as some restrictions may apply—such as use in logos/trademarks, geographic restrictions (number of locations), and products that will be sold.

Adding users later:

Desktop licenses are cumulative. If you require a Desktop license that covers additional users, simply place a new order for the same Desktop package, for the number of additional users.

Antique Desktop EULA

Webfont: for your website

Webfonts can be used on a single domain. Agencies responsible for multiple websites, for example web design agencies or hosting providers, may not share a single webfont license across multiple websites.

Every time the webpage using the webfont kit is loaded (i.e, the webfont kit CSS which holds the @font-face rule is called) the counting system counts a single pageview for each webfont within the webfont kit.

For usage in graphic images shown on the website, consider a Desktop license instead as most allow for it.

This font's webfont license is:

Pay Once

You get a monthly pageview allowance for your webfonts. This license does not need to be renewed.

For example, if you order a license that covers 10,000 monthly pageviews, you will remain within your license as long as you do not get more than 10,000 views per month.

If the website starts getting more traffic, simply place a new order for the additional monthly pageviews you require, as Pay Once webfont pageviews are cumulative.

Antique WebFont EULA

App: for embedding in mobile applications

Select this license type when you are developing an app for iOS, Android, or Windows Phone, and you will be embedding the font file in your mobile application's code.

This font's app license is:

For One Year

Up to 25,000 registered users for one year.

Antique App EULA

ePub: for embedding in e-text products

You can use an ePub license to embed the font in an electronic publication such as an eBook, eMagazine, eNewspaper, or interactive PDF.

An ePub license is based on the number of publications in which the font is used. Each issue counts as a separate publication. Regional or format variations don't count as separate publications.

Updated versions of publications that are free to previous customers do not need a new license; otherwise, each new version that is released counts as a separate publication.

For font usage in graphic images shown as the ePub cover, consider a Desktop license instead as most allow for it.

Antique ePUB EULA

Server: for applications that produce a deliverable with fonts embedded

A server license is required for sites, web apps, or services that allow a non-licensed user to utilize the font to create a product (for example, personalized t-shirts, PDF receipts, business cards, and pictures with captions, et cetera).

This license is valid for one year and is renewed each year that the font remains in use.

The price is based upon the number of servers on which the font is installed. Development servers do not count toward the limit. A font downloaded with this license cannot be used in SaaS, where the service is the product rather that the item that is created.

Not to be confused with…

The 'Server' name can be a bit slippery. Server fonts can be installed on a server and used by remote users or automated processes to create items. These licenses are fairly common for e-commerce websites that allow their customers to interact with the font via the business' webpage interface, customize a printed hard-good product, and they'd purchase/receive the hard-good product.

This is not to be confused with multiple multi-user Desktop licenses. Desktop font licenses are based on the number of users of the fonts; in other words, the number of computers in which the font will be installed.

Antique Server EULA

Digital Ads: for use in HTML5 ads

You can use this type of license to embed fonts into digital ads, such as ads built using HTML5.

We'll supply a kit containing webfonts that can be used within digital ads, such as banner ads. This kit may be shared with third parties who are working on your behalf to produce the ad creatives, however you are wholly responsible for it.

HTML5 ads use webfonts, so why purchase a Digital Ads license rather than a Webfont license?

There are a few reasons, such as the Digital Ads EULA having terms that enable usage in digital ads and on advertising networks.

Digital advertisements also have different usage patterns compared to websites. Most websites generally have consistent pageviews month-to-month whereas advertising impressions can vary wildly month-to-month. Prices reflect this, making it much less expensive to use a Digital Ad license.

If you know the number of impressions the campaign requires, that amount can be ordered before the campaign begins. For campaigns where number impressions is unknown until the end of the campaign, you can true up at the end of each calendar month. Impressions are valid for 4 years.

Antique Digital Ads EULA

About Antique Font Family


The concept of the Baroque Roman type face is something which is remote from us. Ungrateful theorists gave Baroque type faces the ill-sounding attribute "Transitional", as if the Baroque Roman type face wilfully diverted from the tradition and at the same time did not manage to mature. This "transition" was originally meant as an intermediate stage between the Aldine/Garamond Roman face of the Renaissance, and its modern counterpart, as represented by Bodoni or Didot. Otherwise there was also a "transition" from a slanted axis of the shadow to a perpendicular one. What a petty detail led to the pejorative designation of Baroque type faces! If a bookseller were to tell his customers that they are about to choose a book which is set in some sort of transitional type face, he would probably go bust. After all, a reader, for his money, would not put up with some typographical experimentation. He wants to read a book without losing his eyesight while doing so. Nevertheless, it was Baroque typography which gave the world the most legible type faces. In those days the craft of punch-cutting was gradually separating itself from that of book-printing, but also from publishing and bookselling. Previously all these activities could be performed by a single person. The punch-cutter, who at that time was already fully occupied with the production of letters, achieved better results than he would have achieved if his creative talents were to be diffused in a printing office or a bookseller's shop. Thus it was possible that for example the printer John Baskerville did not cut a single letter in his entire lifetime, for he used the services of the accomplished punch-cutter John Handy. It became the custom that one type founder supplied type to multiple printing offices, so that the same type faces appeared in various parts of the world. The type face was losing its national character. In the Renaissance period it is still quite easy to distinguish for example a French Roman type face from a Venetian one; in the Baroque period this could be achieved only with great difficulties. Imagination and variety of shapes, which so far have been reserved only to the fine arts, now come into play. Thanks to technological progress, book printers are now able to reproduce hairstrokes and imitate calligraphic type faces. Scripts and elaborate ornaments are no longer the privilege of copper-engravers. Also the appearance of the basic, body design is slowly undergoing a change. The Renaissance canonical stiffness is now replaced with colour and contrast. The page of the book is suddenly darker, its lay-out more varied and its lines more compact. For Baroque type designers made a simple, yet ingenious discovery - they enlarged the x-height and reduced the ascenders to the cap-height. The type face thus became seemingly larger, and hence more legible, but at the same time more economical in composition; the type area was increasing to the detriment of the margins. Paper was expensive, and the aim of all the publishers was, therefore, to sell as many ideas in as small a book block as possible. A narrowed, bold majuscule, designed for use on the title page, appeared for the first time in the Late Baroque period. Also the title page was laid out with the highest possible economy. It comprised as a rule the brief contents of the book and the address of the bookseller, i.e. roughly that which is now placed on the flaps and in the imprint lines. Bold upper-case letters in the first line dramatically give way to the more subtle italics, the third line is highlighted with vermilion; a few words set in lower-case letters are scattered in-between, and then vermilion appears again. Somewhere in the middle there is an ornament, a monogram or an engraving as a kind of climax of the drama, while at the foot of the title-page all this din is quietened by a line with the name of the printer and the year expressed in Roman numerals, set in 8-point body size. Every Baroque title-page could well pass muster as a striking poster. The pride of every book printer was the publication of a type specimen book - a typographical manual. Among these manuals the one published by Fournier stands out - also as regards the selection of the texts for the specimen type matter. It reveals the scope of knowledge and education of the master typographers of that period. The same Fournier established a system of typographical measurement which, revised by Didot, is still used today. Baskerville introduced the smoothing of paper by a hot steel roller, in order that he could print astonishingly sharp letters, etc. ... In other words - Baroque typography deserves anything else but the attribute "transitional". In the first half of the 18th century, besides persons whose names are prominent and well-known up to the present, as was Caslon, there were many type founders who did not manage to publish their manuals or forgot to become famous in some other way. They often imitated the type faces of their more experienced contemporaries, but many of them arrived at a quite strange, even weird originality, which ran completely outside the mainstream of typographical art. The prints from which we have drawn inspiration for these six digital designs come from Paris, Vienna and Prague, from the period around 1750. The transcription of letters in their intact form is our firm principle. Does it mean, therefore, that the task of the digital restorer is to copy meticulously the outline of the letter with all inadequacies of the particular imprint? No. The type face should not to evoke the rustic atmosphere of letterpress after printing, but to analyze the appearance of the punches before they are imprinted. It is also necessary to take account of the size of the type face and to avoid excessive enlargement or reduction. Let us keep in mind that every size requires its own design. The longer we work on the computer where a change in size is child's play, the more we are convinced that the appearance of a letter is tied to its proportions, and therefore, to a fixed size. We are also aware of the fact that the computer is a straightjacket of the type face and that the dictate of mathematical vectors effectively kills any hint of naturalness. That is why we strive to preserve in these six alphabets the numerous anomalies to which later no type designer ever returned due to their obvious eccentricity. Please accept this PostScript study as an attempt (possibly futile, possibly inspirational) to brush up the warm magic of Baroque prints. Hopefully it will give pleasure in today's modern type designer's nihilism.

Designers: František Štorm

Publisher: Storm Type Foundry

Foundry: Storm Type Foundry

Design Owner: Storm Type Foundry

MyFonts debut: Apr 10, 2001

Antique™ is a trademark of Storm Type Foundry.