Business Lunch JNL is an extra bold hairline serif font based on Monotype’s Falstaff, which in turn was greatly influenced by Bodoni Extra Bold. Great for posters, menu headers and other forms of headlining, Business Lunch JNL is available in both regular and oblique versions.

foria is a Neo-classic serif inspired by a combination of Baskerville and Bodoni with round corners to give a soft impression, looks feminine and classy so it is perfect for fashion, branding, menus, cooking, and female inspiration and is also suitable for neutral typography

Type designers Erik Spiekermann (D), Christian Schwartz (US), and Kris Sowersby (NZ) created this serif FontFont in 2007. Extensions were made by Ralph du Carrois (D) and Botio Nikoltchev (BG). The family has 12 weights, ranging from Light to Black (including italics) and is ideally suited for advertising and packaging, book text, editorial and publishing, logo, branding and creative industries, small text as well as web and screen design. FF Meta Serif provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. As well as Latin-based languages, the typeface family also supports the Greek and Cyrillic writing systems. This FontFont is a member of the FF Meta super family, which also includes FF Meta, FF Meta Correspondence, and FF Meta Headline.

Eklipse is a ultra-black typeface from Neder Type. Designed to defy the limits of legibility it is also a journey into a universe of strange possibilities. With multi-lingual support, contains more than 60 ligatures and contextual alternates! Eklipse fits perfect in headlines, logos and small blocks of text.

The astype series Accolades A offers the designer a fine balanced set of calligraphic swashes, swirls and floral ornaments. The shapes are in systematic order and harmonize in contrast and detail. The shapes can be combined easily and the advanced designer can build hundreds of sophisticated compositions. No matter, whether packaging lables, invitations or greeting cards - every assignment with the need of a delightful appeal will be served well. Accolades A and A2 share the same base set of ornaments but differ in some of the major shapes. Despite these differences, the total width of the shapes will be always the same. If you are looking for some good companion fonts, give Gracia and Adana a try. Every classic high contrast stroke design like Didot or Bodoni works well. Note: To look perfect, adjust the size of the ornament font to fit in contrast the design of the companion font. So if you use a Bodoni font as companion, try to match the thickness of the thinnest part of a upper case Bodoni letter with the thinnest part of a shape from the ornament. Note 2: Each package comes with a technical documentation and an InDesign2 sample file.

Here’s a novelty font emulating the plastic pennant streamers that were popular in the 1950s and 1960s used to decorate a store parking lot or used car lot for a sales event. The typeface inside the individual pennants is Manufacturer JNL, which can be used for body copy associated with titles made by this font. Parking Lot Sale JNL is available in regular (black letters on white pennants) and black (with white letters). A blank pennant for word spacing or end caps is available on the backslash key.

Use this font for your party or cute moment. Do your magic ! :D

Spumoni plays freely off of the typeface Bodoni . Though commercial lettering is becoming a disappearing craft, Spumoni provides this hand-drawn quality in a digital medium. Its bouncy, playful letters infuse a sense of humor into headlines, titles and blurbs of text in need of a merry touch

You might call this a Bodoni Ornate font that Bodoni never made, close examination of this old 1800s font and it's plain to see that the top half of the letters is very Bodoni in appearance. Apple Pie is a revival of and old font from the William Hagar Type Foundry, which I've been able to date back to 1850. The William Hagar type specimen book from the 1850s only shows this font as a caps only typeface plus numbers, later in 1869 MacKellar Smiths and Jordan offered this font with a lowercase. Over a two year period I was able to collect enough letters to begin production of this old decorative font, the type specimen books only showed a small line of text for this font so I would search through old documents on eBay and also shows relating to Ephemera. I could have easily developed a new font based on a very small sample of letters but I wanted to wait and find as many letters as possible, I was unable to find the Q, X, Z and ten lowercase letters so those missing letters are of my own design. New to this font is the addition of an all Caps Greek character set, accented letters for Eastern Central and Western European countries is also within this font. Fill fonts are available for the Apple Pie font, you will need an application that works in layers such as Adobe Photoshop, Adobe Illustrator or Corel Graphics in order to use the Fill fonts. Some Fill fonts may be used as stand alone fonts but the versions for Apple Pie look best when layered behind the parent or main Apple Pie fonts. Be sure to check out the left and right hands located on the Less Than and Greater Than keys.

This family was created from the set of font faces used in Lima (Peru) by Antonio Ricardo in 1584 for the first publication ever printed in Southern America: a four-page leaflet in Spanish entitled "Pragm·tica sanciÛn" with information about the new Georgian calendar of 1582 which had not yet been communicated to the colonies. In our two styles (Regular & Italic), font faces, kernings and spacing are as close as possible to the original. This Pro font covers Western, Eastern and Central European languages (including Celtic), Baltic and Turkish, with standard and “long s” ligatures in each of the two styles. A,B,D,E,F,M,N,P,R,V,W swashed capitals in the italic style.

D^44 Caps represents a sort of inverted creative process: start from the printed element to create the font to print. The esthetic analysis of pression's missprint is the origin of D^44 design. The redesign of this misprint has created 3 versions differentiated by optical weight: Bold, Only and Light.

ITC Ozwald was designed by David Farey and is a revival of a little-known typeface of American type designer Oswald Cooper called Cooper Fullface. The original was intended to be a modernized version of Bodoni and Farey captured all the charm, wit and creativity of the original in ITC Ozwald.

A highly decorative slab-serif that is combat ready. The steady contrast and sharp angles make it great for titles and posters. Mechanical and aggressive but can easily be used for static background text and shapes. May keep Bodoni and Niagara Solid company if not for just a short while.

Lichtspielhaus is an ultra condensed Lichtspiele spin-Off with 8 weights. It still transports you back to a time where neon lights and marquee letters decorated cinema facades. There are 8 styles: Hairline, Thin, Light, Regular, Medium, Bold, Black and Heavy. "Lichtspielhaus" is the first part of a new Type Noir Quadrilogy.

Toroka is a geometric sans serif type family with an extensive selection of styles. Functional and highly legible, it has a friendly vibe due to the lack of extending stems on "b", "d", "p", "q", "u", and "r". Its distinctive personality comes across through the rounded apexes of "V", "W", "v", and "w". Stylised "g" and "y" add sugar and spice. The additional stylistic set offers an eccentric display alternative to the uppercase. Opentype features include ligatures, tabular figures and fractions.

D Sert—based on the Pirata typeface—is inspired by 70s Chilean constructivist design and the political propaganda posters artwork of La Unidad Popular (Chilean political coalition). D Sert is the result of the combination of the Chilean graphic art revival with new trends, such as the handmade movement and super font families. The super family comprises 47 weights and comes with two versions: D Sert and D Sert Alt, plus extras. Diagonal strokes are significantly different between the two versions: diagonals of the Alt version are much more logical than the diagonals of the normal version. Another difference is the bowls of the capitals: in the D Sert version, they slightly project above the cap height, making it a more daring version and bringing it closer to calligraphy; contrarily, in the Alt version, bowls do not project above the cap height, which makes it a more tidy font. This way, the combination of the two versions and extras provides the user with the freedom to create any kind of artwork.

The specimen book Alphabete: ein Schriftatlas von A bis Z identified the pattern for this typeface as Stymie Black Flair. Although neither the designer nor the original foundry is identified, it bears a strong resemblance to the work of Dave West for Photolettering in the 60s and 70s. Big, beautiful and bodacious, it’s a natural choice for attention-grabbing headlines. Many alternate characters available: see the full character map. The PC PostScript, TrueType and OpenType versions contain the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

Inspired by and tribute to arcade game logos in 80s and 90s. Clonoid can give futuristic, sci-fi and mechanical impression by its geometric framework but its rounded bowls and semi-rounded edges can make natural and soft impression too. And its orthodox letterform make it possible to use this font for all uses. Clonoid family consists of 12 styles, 6 weights (ExtraLight, Light, Regular, SemiBold, Bold and Black) & italics and it’s available in OpenType format. We released 4 big Sci-Fi families in 2013. Check it out! Clonoid Controller Geom Graphic Space Colony

Bitstream Cooper was designed at Bitstream in 1986 by means of adding light, medium, and bold styles, with the corresponding italics, to the existing black ones. Based on Cooper Black, 1919, by Oswald Bruce Cooper, which was firstly released as a hand composition font in 1922 by Barnhart Brothers & Spindler of Chicago and later spread by ATF. Cooper Black is an extra bold face based on Cooper Old Style. Bitstream Cooper is an old style face with rounded serifs and tilted back ovals. For use both in text (normal weights) and in advertising and display typography (heavy weights). Cyrillic version was developed for ParaType in 2000 by Manvel Shmavonyan and based on TM Oswald face of TypeMarket, 1996, by Victoria Grigorenko.

The bigger the better! M8T Mamma Mia is a broken Bodoni inspired serif font whose each character has been handdrawn. Hundreds of strokes build this rough, yet soft font. It is perfect for titles, especially in large scales. Using it on chalkboard backgrounds you will realize the inspiration of chalk-board-writing.

Benua font family, a sleek and modern sans serif font designed with unique curved details at the letters a, d, l, m, n, p, and r. These details give the font a distinctive look and feel, creating a cohesive and harmonious design. Closed apertures and generous spacing of the font provide excellent legibility, making it an ideal choice for both print and digital media. Benua also features small caps, which add a touch of elegance and sophistication to any design project. The font comes in 9 weights, from "Thin" to "Black," each equipped with its own italic version, allowing for a range of emphasis and flexibility in design.

Scam is a discordantly eccentric geometric display face with exaggerated, alternating forms. Letters variate in extremes between bold and blacked-out and strictly linear, creating unpredictably unique letter pairings. Stylistically, Scam pushes the boundaries of type-as-image while retaining an acute legibility and refinement, greatly contrasting its aberrant nature. Features include: -Precision kerning -Expanded ligature set (89 unique ligatures, plus alternates) -Alternate characters (D, H, O, P, Q, R, 0, 6, 9, 8, _) -Alternate ligatures -Slashed zero -Full set of numerators/denominators -Automatic fraction feature (supports any fraction combination) -Extended language support (Latin-1 and Latin Extended-A) *Requires an application with OpenType and/or Unicode support.

During the turbulent era of the 1960s, the youth of America found various ways to protest against "The Establishment". Whether it was campus unrest, protest songs, sit-ins or other methods, the message was the counter-culture movement. Arising from this disenchantment with traditional social standards, a small but effective means of protest arose that made no sound, yet spoke volumes - the pin button. Statements against the war in Vietnam, free love, drug use and other messages popped up on little metal discs pinned to tee shirts, suspenders, head band and hats. Sixties Pin Buttons JNL recreates twenty-six of these messages in both white on black (upper case keys) and black on white (lower case keys). Blank buttons in both white and black are found on the parenthesis keys.

Fortezza is a family of fonts inspired by the great masters who have created the Modern Roman style: Firmin Didot (1764 -1836) and Giambattista Bodoni (1740 -1813) Both typefaces can be similar, but a trained and close vision, show clear differences in the final result, like its weight and the degree of transition of the strokes. The type of Didot suggests greater warmth and elegance, they are characterized by extreme contrast in thick strokes and thin strokes, by the use of serifs very thin and by the vertical stress of the letters. while the Bodoni type conveys a greater robustness and hardness. Fortezza brings together the elegance and spirit of both types, but proposes a contemporary vision, establishing a distance with certain features typical of the baroque that was manifested at that time.