The Griffith Initials font was inspired by a set of highly stylized capital letters from the remarkable hand of one of Americas foremost penmen, dating back to 1927. They combine a large degree of accuracy, grace, strength, and freedom. This font includes one set of graceful A-Z initials conveniently assigned to both the upper and lower case alphabet characters.

Binary Groove is a bold and dynamic font that captures the essence of the 1980s retro-futuristic style. The geometric shapes and sharp edges of each letterform evoke a sense of technology and progress, while the rounded edges add a touch of playfulness. The font features a sleek and modern design that is perfect for headlines, posters, packaging, and branding projects.

This font started life in 1893 at the Boston Type Foundry, but was also cast at the Central Type Foundry. Both were members of the ATF combine formed in 1892. Like so many interesting fonts of its day, it was issued without a lowercase, limiting its use to display headlines. Sometime in the early 1990s, we designed a lowercase to go with it.

With a large variety of stencil fonts contained within the Jeff Levine Fonts library, Another Stencil JNL is simply another stencil design added to this growing collection. Modeled from a lettering guide manufactured in the 1970s, the style is influenced by Franklin Gothic, but has enough differences in the shapes of the stencil characters to be considered a cousin to that classic design.

Becka Script was designed by David Harris in 1985 and is a wide running typeface with varying stroke contrasts. This font looks as though written with a broad tipped pen and its slight slant to the right makes clear its similarity to callipgraphy fonts. Becka Script is reminiscent of the 1950s and its strong strokes make it best for headlines or shorter texts.

HGB Memento was designed to replace 12 bronze plaques with the names of those who died in World War I. The 12 plaques were stolen in 2016. Stone tablets were made on which the original writing was engraved using sandblasting. Memento is therefore suitable for commemorative plaques and for texts of a sacred nature. Extremely short ascenders and descenders allow very narrow lines. The design language of the Memento comes from the 1920s with echoes of Art Nouveau and Art Deco.

Toward the end of the 1920s, Art Deco influences were starting to creep into modern design. The hand lettered title on the cover of the1928 sheet music for “Fascinatin’ Vamp” not only embraced the new Deco movement, but sent it on a wild typographic ride. Letters of mixed thicknesses and stylings made up the two word title, and this unusual group of letter shapes became the inspiration for Free Form Deco JNL, which is available in both regular and oblique versions.

Occasionally a type design is started - then set aside for whatever reason - before eventually being completed. More often than not, the original source material is forgotten, so proper attribution cannot be made. Such is the case for a hand lettered Art Nouveau alphabet likely found within the pages of an early Speedball lettering book from around the 1920s. This playful and casual design is now digitally reproduced as Nouveau Signage JNL, and is available in both regular and oblique versions.

Maison Luxe is a revival of a very old font designed in France in or around the year 1820. You may have seen this font in the past under the names of Circus, Roma, Madame and Gillé Classic. As of November 2016 we have changed the name of this font from Gillé Classic to Maison Luxe which means Luxury House in French. For many years Joseph Gillé was credited as the original designer of this font however we've recently been contacted by a type historian in France reporting that he could not find any evidence supporting Joseph Gillé as the designer and to the best of his knowledge an artist by the name of Sylvestre may be the true designer. If you love this classic font then you're sure to enjoy the alternate version also with a matching lowercase available from FontMesa under the name of Home Style. This version of the classic with its squared off shadow is true to the original design where Home Style has diagonal lines creating a cast shadow. New in 2016 for Maison Luxe is a new matching lowercase, an uppercase German Double S (versal eszett), Greek character set, opentype features including case sensitive forms and old style numerals. We know you'll enjoy the new additions to this timeless classic design.

This family was inspired by the early Fraktur style font used circa 1530 by Jacob Otther, printer in Strasbourg (Alsace-France) for German language printed books. Although it is an early Fraktur pattern, it is easy to see the characteristic differences with the Schwabacher style (look at 1538 Schwabacher), like in the small d, o or y... and the capitals (look at the H, K, T...). Frequently, Schwabacher and Fraktur were used together in the same book : Fraktur style for the main and Schwabacher for marginalia and comments. This font contains standard ligatures and German historical ligatures (German double s, long s, ts...) and diacritics (special ummlaut "e superscript" and "∞" instead of dieresis with letters a, o and u,) naturally, we have added numerous letters lacking in the original to permit a contemporary use of the font.

The famous Irish poet and novelist Jonathan Swift (Dublin 1667-1745) has a large personal library of which he noticed carefully the book list by himself. We have used a facsimile from this catalogue to reconstruct this present font, as one example of the poet’s personal hands but also as a typical example of the British quill pen handwriting from about mid 1600’s to the beginning of 1700’s . It is a “Pro” font containing Western (including Celtic) and Northern European, Icelandic, Baltic, Eastern, Central European and Turquish diacritics. The numerous alternates and ligatures allow to made the font looking as closely as possible to the real hand. Using an OTF software, the features allow to vary automatically almost each character of a word without anything to do but to select contextual alternates and standard ligatures and/or stylistic alternates options.

Carolina is a part of the 1990 program Type before Gutenberg, which included the work of twelve contemporary font designers and represented styles from across the ages. Linotype offers a package including all these fonts on its web page, www.fonts.de. Gottfried Pott designed his Carolina in the tradition of the Carolingian Minuskel. The rhythmic flow of the font gives text a light and elegant feel.

Following to Swiss design principles, Alessandro Butti and Aldo Novarese designed the Microgramma font for the Nebiolo typefoundry in 1952. Microgramma is wide, almost like an extended" font, and it has the typical look of 1950s industrial design. The font has been immensely popular as a display face ever since its original release. Use it in large sizes to help get your message across to readers."

This font consists of thin lines, we get very delicate impression.The straight lines are regularly arranged, at the same time, this font has very beautiful curved lines. So its overall atmosphere is intelligent and sophisticated. Holiday Type Project offers retro hand drawing scripts. Inspired by retro script on shopfront lettering, wall paint advertisements in Italy around 1950s. Check out the script fonts from Holiday Type!

A roman face designed in the early 1980s by Ed Benguiat for ITC, ITC Benguiat shows a strong Art Nouveau influence. As with ITC Korinna, the stress of the ITC Benguiat font family occurs in the upper half of each capital. This distinctive typeface is particularly useful for display and advertising work. ITC Benguiat® font field guide including best practices, font pairings and alternatives.

In order to give new imput to the art of typeface design in Italy, Nebiolo Company held, in March 1910, an artistic competition for a new alphabet conception, so the best-ranked design would be transformed into a real new typeface. 42 competitors participated and, although the first prize was not technically awarded, "Ancora" resulted as the best typeface, created by the designer-typographer Natale Varetti of Turin. Nonetheless, the new alphabet was transformed into a full-fledged metal typeface in 1924, renamed "Tanagra" in honor of the Greek city in the center of Boeotia. The new font, although not significantly detached from the classical Roman form, introduced decorative elements that allowed its use in both rational and artistic compositions. This font appears very clear and easy to read, with very high ascenders and some decorations that make it distinctly retrò. Finally, after almost 100 years, this peculiar character has been digitized taking it as a model the shapes of the 16 points size (other dimensions have significantly different contrasts and proportions). To adapt it to modern use, some glyphs have been modified, but all the originals are available as Stylistic Alternate OTF, as well as all the swashed variants while the missing ones were added.

Two fonts entirely of decorative initials of which the uppercase basic letters of RMU Initials One are occupied by Walthari initials, the lowercase ones by Eckmann initials, both released first by Rudhard, '92sche Gie, 'dferei, Offenbach, Germany, about 1900. RMU Initials Two consists of Jubilaeumsinitialen in the uppercases and Augsburger Initialen in the lowercases.

Eckhardt Embellishments JNL collects a number of vintage pointing hands, ribbons, panels and embellishments from an early 1900s sign painter's manual and misc. type sources. This font is a continuation of the series named in honor of the late Albert Eckhardt, Jr. - a Miami area sign painter and close friend of type designer Jeff Levine.

The American Type Founders 1923 Specimen Book and Catalogue called the inspiration for this typeface Engravers Text; it could easily be called elegant, enchanting and erudite, as well. The inline version of this font includes the complete 1252 Latin and 1250 Central European character sets; the Solid version includes the Turkish 1254 set in addition.

This family of faces is based on the series Riverside Drive, designed by Peter Max for Photo-Lettering Inc. in the early 1970s. However, several letters have been altered to maintain design consistency and to improve legibility. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

The basic type design for National Spirit JNL is known by many names, and has gained popularity since its use on the NRA posters of the Roosevelt era. This all-purpose font gets an extra boost of patriotism by the addition of stars. Its clean look typifies the Art Deco feel of 1930s America.

The logotype lettering of a 1927 issue of Motion Picture magazine provided the inspiration for this playful romp through the alphabet. Named after an expression of the same time whose origin and meaning are shrouded in mystery. Both versions of this font include the complete Unicode Latin 1252 and Central European 1250 character sets.

Rosalinde is an original font based on rough hand-lettering reminiscent of 1960s era protest poster lettering. It's the kind of lettering you'd expect to see used for a snippet of anti-war poetry set against a red-white-and-blue striped background, or perhaps accompanied by a fat dove with an olive-branch.

Pageantry is very suitable for Packaging, greeting cards, magazines, posters, and Advertising Ads. Designed in four weights from light to heavy including italics, covering a large range of editorial and advertising applications. Inspired by 'Souvenir' a popular font in the 1900s. I designed 'Pageantry' with a more rounded appearance, giving it a more softer appearance.

Break out the love beads and fire up the lava lamp! Here’s a fresh take on the Artone alphabet, designed by Seymour Chwast in the 1960s. Beefy, bodacious and bottom-heavy, this typeface keeps on truckin' along. Both versions of this font include the complete Unicode Latin 1252 and Central European 1250 character sets.

A 1970s Photolettering catalog indentified the pattern for this typeface as "Exotique" ...from France, no less. Named for a French expression meaning “pun,” this face is, indeed, witty and playful, with nary a groan in sight. Both versions of this font include the complete Unicode 1252 Latin and Unicode 1250 Central European character sets.

This unicase beauty is based on the typeface Vesta, originally designed by Albert Auspurg for H. Berthold AG, Berlin and introduced in 1926. Classic, stylish and elegant, this typeface will add grace and charm to any project. Both versions of this font include the complete Unicode 1252 Latin and Unicode 1250 Central European character sets.

Soprani is a unique typeface inspired by a plaque found in New Zealand dating from the 1920s. The design was contemporized and brought 100 years into the future. The serifs are dramatically flared at the end of the stems, while in the middle, they contract. This leads to a unique shimmering effect that draws the eye and catches your user's attention. This typeface meets the demand for unique serif types that are both eye-catching and delicate. It’s a display face that's ideal for very contemporary work. This typeface has plenty of alternates and has a full complement of OpenType features. The 1920s inspire the design, with a bit of art nouveau and arts and crafts, yet the typeface is designed to meet contemporary design requirements. It has a unique elegance and the letterforms are condensed more than most. Soprani is suggested for table books, menus, and various promotional materials, newspapers, television, motion pictures and other media. There is a wide range of widths and weights available, from the thin, which is delicate and graceful, to a bold and robust black. Production assistance by Lucas Azevedo and ikern.

A clean, classic woodtype face from the William H. Page Company, as fresh today as it was over 120 years ago. Both versions of this font support the Latin 1262, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Island Time JNL is based on the hand-lettered title from a piece of 1940s sheet music called "An Island Melody". This Art Deco typeface is perfect for projects where a clean, yet attractive headline font is needed. The font's name is based on the euphamism popular amongst Caribbean Islanders that when someone is excessively late for an appointment, date or event they are running on "island time".

Block Font Family is display font inspired by the forms of communist mass housing architecture (called blocks - resembling straight geometric shapes arranged symmetrically) started in the mid 70's in the 20th century. It comes in 4 weights and its matching italics and rounded options. The Light weight is a free of charge, so you can used to your projects.

In the late 90’s, there were many German cars coming into Malmö (where I lived at the time). I was blown away by the font on the license plates. So strange, so strong, peculiar – but still macho. I built the uppercase from my own photos. After this I completed the font with my own lowercase, small caps and punctuation.

Oberon is the work of British designer Phill Grimshaw. It has a touch of the 1970s about it and includes a number of alternative lowercase letters and ligatures. Oberon is a free-flowing, elegantly casual typeface.

Marguerita is the work of designer David Quay, a pseudo-Latin, 1950s concept based on a copperplate script. The capitals are meant as initials only. Marguerita is idea when a cheerful, light-hearted effect is desired.

The unusual type design that comprises Cold Case JNL was modeled from a 1950s set of letter and number stencils manufactured by the Huntington Oil Cured Stencil Company of Huntington, NY (later relocating to South Florida).

A typeface derived from a logotype designed for New-Age electronic band System 7 in the early 1990s. Metsys is a soft-tech take on the monoline aesthetic. Letterforms are purified, rounded almost abstract graphic shapes.

This commanding typeface is based on Welling Black, a Fotostar offering from the 1970s. Equally well suited for headlines and subheads. Both versions support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

The hand lettered sans serif title on the sheet music for the 1930s song "I'm Alone Because I Love You" was the inspiration for Radio Singer JNL, which is available in both regular and oblique versions.

The dust jacket for the 1929 Western novel "The Raider" by Charles Alden Seltzer featured the title and author's credits in a hand-lettered extra bold stencil design. This became the model for Raider Stencil JNL.

Reyes is a modern typeface with influence on consumer product labels from the early 1900s, is ideal for use in display texts and thanks to its 6 typographical weights lends itself to complex typographic design compositions.