Here’s a warm, casual text font based on an early twentieth century work by lettering artist Elizabeth Colwell, released by American Type Founders in 1923. For this update, all four fonts have been completely redrawn, and many new characters have been added. Both versions of this font contain the complete Latin A Extended character set, as well as extended ligatures and fractions.

This little charmer combines an uppercase designed by American lettering artist J. M. Bergling with a lowercase designed by English architect Roland W. Paul. The result has a wiggle in its walk and a giggle in its talk: oh, baby, that’s what I like! Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Nightspot JNL was modeled from one of many display alphabets created by the late sign painter and lettering expert Alf Becker. His work has graced the pages of Signs of the Times® magazine for decades. Special thanks to Tod Swormstedt of the American Sign Museum and ST Publications, Inc. in Cincinnati, Ohio for providing the source material for this typeface.

Howdy is a modern French Clarendon revival typeface inspired by late 19th-century woodblock type and sign painting. Its ties to the American West evoke a distinctive western and retro flair. It was designed with flexibility in mind. Intended for use as a display type, its reverse contrast forms make an impact from tall or wide headlines and anything in between.

A funny look with the spirit of the radio’s golden age, RadioTime is a typeface based on the handwritten alphabets of the ’30, ’40 and ’50. RadioTime comes with two styles: Regular and Tooled, in standards connected letters to imitated continuos handwritting and it’s provided with specials characters like swash, terminals, lower case numbers as well as an unlinked set of characters. RadioTime comes also with a wide kind of icons and ornaments. All this features provides the Word with the fun spirit and speed of those times of bustle. Radio Time was a winner in "Tipos Latinos 2010", The Fourth Biennial of Latin-American Typography. RadioTime Icons offers a thorough and well drawn vintage collection of 63 icons that tells the story of the glory days of radio, charts, dials, automobiles, airplanes and people who set the mood of those days.

A vintage look layered label font named "Quick or Dead". This font was inspired by American wild west history. The family includes six styles (including effect styles), for sample look at preview. This font will good viewed on any retro design like poster, t-shirt, label, logo etc. For using effects layers: - Type your text in Regular. - Copy that and paste at the same position. - Change the style to Shadow or Texture. Alternates and catchwords: - Capital letters are different than small (look to the preview). - Several small letters have alternates (look to the preview). - For the catchwords type the word (for sample 'with'), select that and turn on 'Discretionary Ligatures' on the 'OpenType' tab. Or paste it from 'Glyphs' tab in any place on your text. This in Illustrator. In Photoshop 'Discretionary Ligatures' you can find in the menu Type - OpenType.

Sedona is a quirky, all capitals, display font that evokes the American West, Native Americana, vacations, travel, campgrounds, rustic lodges, needle point, Christmas, holidays, Arts and Crafts movement, quilts, tiles, and alpine resorts. It is based on an isometric grid and individual shapes that conform to the grid's structure. Each letter or glyph is made up of numerous triangular shapes. The letters have gaps of space that create a dynamic texture. Our mind connects the triangles to complete the letter and recognize the familiar letterform. Sedona will create a unique identity for book cover titles, editorial headings, packaging, logotypes and signs. Create multicolored letters by selecting individual shapes within each letter and apply various colors. Simply convert type in Adobe Illustrator or InDesign with these two steps: 1. "Creating Outlines", 2. "Release Compound Path". You may also want to "Ungroup" the letters. Great care was taken to align the shapes perfectly. There are no overlapping or misaligned shapes. Sedona includes punctuation, numerals, and basic math glyphs.You will find some additional and alternate glyphs in the "Glyph Palette". Sedona does not include a lowercase or diacritics for foreign languages. You may type in lowercase but the letters will appear as uppercase.

The Signers of the Declaration of Independence font is a collection of all 56 signatures that appeared on America's Declaration of Independence. A must-have for autograph collectors, desktop publishers, lovers of history, or anyone who has ever dreamed of sending a letter, card, or e-mail to a friend or family member "signed" as if by one of the signers of America's Declaration of Independence. This unique font puts every signature on that history-altering document at your fingertips in the form of a high-quality Open Type font. Our fonts behave exactly like any other font on your system and are installed and selected the same way. No special software is needed. Each signature contained in our fonts is mapped to a regular character on your keyboard. Just as with any True Type or Open Type font, you can resize the signature, change its color, etc. Open any Windows application, select the installed font, and type a letter, and you will see the President's signature appear right there on your page where you placed your cursor. Painstaking craftsmanship and an incredible collection of hard-to-find signatures go into this one-of-a-kind font. We're confident you will enjoy it. Please note that this font is intended for entertainment purposes only.

A classic “American” sans serif with a kink Desphalia belongs to the kind of sans serif fonts that were created in the 19th century. You could also name it “American Gothic”, a sans serif in the style of fonts like Franklin Gothic, News Gothic and similar. Above all, the high x-height characterizes this typeface style, as do the identical heights of uppercase and ascenders. However, I allowed myself a few peculiarities ;-) On the one hand, there is the gently sloping horizontal middle line on letters such as H, E, F, A and e. The M also got gently slanted sides. Some of the lower-case letters have an up- or down-stroke: a d m n p u. This "kink" on the shaft also serves to better distinguish the small l from the capital I — as can be seen clearly with the term »Illinois«. In keeping with the tradition of American typefaces, Desphalia does not have a true italic. Rather, the letters of the “Italic” have the same character forms as the normal upright variant, but in oblique — and so it is not called “Italic” but “Oblique”. Style Set 01: Another American peculiarity is the capital I with dashes above and below. It is included in the Desphalia as an alternate character form. An alternative small l with the “kink” in the ascender is also included — as is a y with the “kink” in the descender. Style Set 02: The corresponding “straight” forms a d l m n p u without the break are included as alternatives in a separate style set. Small caps are uppercase letters that are optically the same size as lowercase letters. They offer a very classy way of emphasis. Desphalia is available in the widths Condensed, Normal and Expanded, the weights include Thin, Light, Book, Bold, Black. Using the variable font, all intermediate levels can be freely selected. The figures are optionally available as tabular figures, proportional lining figures or old style figures.

Colmena (means Beehive in Spanish) features soft viscous shapes and high contrast that resemble bees and honey. The font was entered into TypeArt Contest in 2005 under the name "FD_Harvey". Suitable for display purposes especially in books for children.

From a vintage textbook on "modern" lettering circa the 1930s or 1940s comes a simple chamfered sans with oddly irregular shapes. Amateur Lettering JNL is available in both regular and oblique versions.

I spend a lot of time following two obsessions: packaging and hand lettering. Alongside a few other minor obsessions, those two have been my major ones for so many years now, I've finally reached the point where I can actually claim them as “obsessions” without getting a dramatic reaction from the little voice in the back of my head. When you spend so much time researching and studying a subject, you become very focused, directionally and objectively. But of course some of the research material you run into turns out to be tangential to whatever your focus happens to be at the time, so you absorb what you can from it, then shelf it — like the celebrity bobblehead that amused you for a while, but is now an almost invisible ornament eating dust and feathers somewhere in your environment. And just like the bobblehead may fall off the shelf one day to remind you of its existence, some of my lettering research material unveiled itself in my head one day for no particular reason. Hand lettering is now mostly perceived as an American art. Someone with my historical knowledge about lettering may be snooty enough to go as far as pointing out the British origins of almost everything American, including lettering — but for the most part, the contemporary perspective associates great lettering with America. The same perspective also associates blackletter, gothics and sans serifs with Germany. So you can imagine my simultaneous surprise and impatience when, in my research for one of my American lettering-based fonts, I ran into a German lettering book from 1953, by an artist called Bentele. It was no use for me because it didn't propel my focus at that particular time, but a few months ago I was marveling at what we take for granted — the sky is blue, blackletter is German, lettering is American — and found myself flipping through the pages of that book again. The lettering in that book is upbeat and casual sign making stuff, but it has a slightly strange and youthful experimentation at its heart. I suppose I find it strange because it deviates a lot from the American stuff I'm used to working with for so long now. To make a long story short, what’s inside that German book served as the semilla, which is Spanish for seed, for the typeface you see all over these pages. With Semilla, my normal routine went out the window. My life for a while was all Bezier all the time. No special analog or digital brushes or pens were used in drawing these forms. They're the product of a true Bezier process, all starting with a point creating a curve to another point, which draws a curve to another point, and so on. It’s a very time-consuming process, but at the end I am satisfied that it can get to pretty much the same results easier and more traditional methods accomplish. And as usual with my fonts, the OpenType is plenty and a lot of fun. Experimenting with substitution and automation is still a great pleasure for me. It is the OpenType that always saves me from the seemingly endless work hours every type designer must inevitably have to face at one point in his career. The artful photos used in this booklet are by French photographer and designer Stéphane Giner. He is very deserving of your patronage, so please keep an eye out for his marvelous work. I hope you like Semilla and enjoy using it. I have a feeling that it marks a transition to a more curious and flexible period in my career, but only time will tell.

The late-19th-century Prussian-American printer and publisher Louis Prang, the “father of the American Christmas card”, was well-known for his efforts to improve art education in the United States. He published many instructional books and even founded a training school for art teachers. One of the books he published included a series of alphabets for sign painters, lithographers, illuminators, architects and civil engineers. There was nothing truly original there — in the book’s preface, Prang says that the alphabets were “based on foreign forms and adapted for American taste”. The one alphabet that caught my attention in that book was one simply called “Italic”. It’s a high- contrast modern, a Didone really, but with an interesting little twist: the lowercase is almost entirely connected, which makes for an interesting mix of modern typography and classic calligraphy. That stuff is right up my alley now. Whenever my eyes happen on a modern, it’s easy, even almost impulsive for me to envision swashes coming out of serifs and terminals. The caps melt and the minuscules dance with them. And so I brought my vision to life. Prangs is an italic set of three weights, each containing more than 1400 glyphs with plenty of OpenType features and Latin language support. This set celebrates the convergence of three centuries of fancy display alphabets. These fonts should work wherever moderns are used to elevate and scripts are used to appeal — namely today’s branding, packaging and glossy publications.

The Crew Pro is based on the logo of the seminal punk band 7 Seconds. It was expanded to include extended Latin, extended Cyrillic and Greek alphabets so it will work with most languages in Europe and the Americas.

Cape Horn is a typeface inspired by seafarers who have perished by navigating the treacherous seas surrounding Cape Horn, which is at the southern-most tip of South America. A-Z Numbers Multi-language support Symbols Special Characters Uppercase

Ilustrations of different "moves" in Mexican wrestling; a sport popular in the late 60s and 70s.

Monospasz means mono-fun in English. It's spelled with 'sz' instead of 'ß' for all you english speaking folks out there who always mistake it with a 'B'. Monospaced fonts keep on drawing attention to them because their proportions stand out from the canon of common fonts. "Yuck. Look at the condensed little m. Isn't that ludicrous?" But Monospasz isn't copycatting traditional typewriters, the most popular of monospaced fonts. It's completely manually ink-written and hand crafted. Monospasz has been designed and first used for the third incarnation of our annual Weimar based typography symposium dubbed "TypograVieh lebt" in the summer 2006.

Deposit Pro is a wide slab-serif family with low x-height. In both headlines and paragraph text it creates a serious yet friendly texture between a typewriter and a contemporary slab-serif, making it particularly suitable for corporate communication design. Deposit Pro consists of 16 styles (8 weights and their corresponding italics) and features broad language support including all European Latin and Cyrillic languages. It also sports plenty of OpenType features including 6 sets of digits, fractions, small caps, ordinals, all-cap punctuation, and contextual forms for ‘f’, eliminating the need for too many ligatures.

Typewalk Mono 1915, the vintage typewriter grotesque that is branded by history. It is a tribute to the European sign painter and lettering tradition of the early 20th century. Typewalk Mono 1915 also speaks in the proto-rational and graphical language of the Werkbund Objectivity which was used around 1915. It works great for cultural, editorial and branding purposes. It is versatile in small printing sizes and works great on the web. Speaking with its unique voice. Typewalk Mono 1915 is the debut release by Sven Fuchs and was designed between 2012 and 2016. It has 8 distinctive weights from thin to bold.

Created in 1983 by British artist Alan Birch, this dramatic design conveys all the immediacy, impact, and effect of a stencil or rubber-stamp on paper. With a corroded, rough-around-the-edges feeling, Rubber Stamp gives an impression similar to the old, beat-up looking typewriter fonts that were popular among designers during the 1990s. Rubber Stamp is an all caps font, and is primarily suited for many headline and display applications that use larger point sizes. Try out Rubber Stamp in magazines, newsletters, and any other work that would be enhanced by a stencil, branding, or rubber stamp effect.

Iki Mono is a multifaceted monospaced typeface designed for publishing and coding. Its sans serif structure displays some letterforms (as well as a degree of contrast) that are reminiscent of 19th-century grotesques, while in the non-oblique versions the letters have been very slightly slanted leftwards. Like typewriter typefaces Iki Mono has to cope with the limitations of a width system that forces shapes into a specific space. This extensive type family of forty weights and styles – from Compressed Thin to ExtraExpanded Bold, including their slanted versions – takes its name ‘Iki’ from the Japanese word for breath.

BetterKamp was originally constructed in 1995-6. It was not constructed to meet any specific purpose but out of curiosity, to see what the result would be if two quite different faces were blended. KampIngriana is the offspring of BetterTypeRight, which has characteristics of a typewriter face without the monospacing, and KampFriendship, which mimics a serifed face drawn by hand. The original blending had many oddities that I did not clean up until 2020 when I also added the semi-bold weights. BetterKamp lacks polish and elegance, but it is very readable at small point sizes.

The collection Oro y Plata (Gold and Silver) is a Mexican style blackletter, dedicated to the three big silver cities – Taxco, Zacatecas and Guanajuato. Taxco is more angular compared to rounded Zacatecas and elaborate Guanajuato. The fonts contain small capitals, ligatures, initial forms, contextual alternates and other OpenType features. The special feature is a stylistic set of superscript caps with possibility to underline them. It supports all the European languages using Latin alphabet.

Kaaos Pro is based on the logo of the Finnish hardcore band of the same name. It was expanded to include extended Latin, extended Cyrillic and Greek alphabets so it will work with most languages in Europe and the Americas.

Utshani means "grass" in the African language: Zulu. Grass has softness but it also has great strength and many African craft implements are made from it. When we describe someone as being "like the grass", it is meant as a compliment for it means that they can be tender and strong. The fluid African font, Utshani, was designed to suggest the flexibility and strength of grass. In this way it contrasts with the majority of other "African-inspired" fonts, which tend to be heavy and hard-edged. It can be used in a wide variety of situations, in adverts and on posters and invitations. The font includes all upper and lower case letters, all numerals and punctuation as well as all special and accented characters. The font has been professionally letterspaced and kerned, and the inter-line gap has been carefully checked.

Designed in 1950s Japan by Okanao & Kushiro, the perfect partnership until artistic temperaments drove them apart. The duo spent years crafting the font with the working title “Messenjā”, Okanao bringing technical expertise to craft letterforms, while Kushiro made it his life, obsessively working late into the night to check pages for errors. For him the project was never about making money, it was an artistic endeavor to reprint the great Western works of literature. When he found out Okanao had secretly sold the rights to the font for use as a logo for a major Japanese manufacturer, Kushiro burned all evidence of the designs in a fit of passionate fury. The two reportedly never spoke again. “Messenjā” was thought lost forever until a type specimen was discovered in a vintage typewriter box bought on eBay. Now redrawn and available as 57-nao, a faithful and beautifully crafted monospace characterized by what is considered Okanao’s defining moment, the angular loop on the lowercase ‘a’.

Zoelander is an experimental geometric font. The distinctive feature of this font is having an irregular x-height. This will look unusual, but if you are looking for something unique and looks different, Zoelander can be an alternative to making an attractive typography. Zoelander comes in two versions, Zoelander Regular and Zoelander TF. Each has a bold and rounded style. Zoelander Regular is a sans serif font with irregular x-height but if you want the same x-height size, the stylistic alternates feature allows you to do it. While Zoelander TF is the development of a regular version where each letter is connected in a line at the baseline. Some of the other opentype features make it easier for you to explore more interesting typographic designs.

The new Declaration font set from P22 features two lettering fonts based on the Declaration of Independence of the United States of America. A script font that features the look of classic 18th Century penmanship, with a slightly irregular edge, as found on documents made with ink quill pens on vellum or parchment. The accompanying Blackletter font is also derived from the Declaration of Independence as it was used for emphasis and of course the famous document title itself. A third font, which features the signatures of the signers of the Declaration of Independence, is also included.

Roadstar is a script designed in the style of the classic American advertising font from the 1940's-1950's. Roadstar is a retro brush-style script designed for logotype, packaging, posters, T-shirts, signage & design projects with a retro & vintage feel. Roadstar comes with two styles that both contain all upper and lower case characters, punctuation, numerals and mathematical operators, as well as all accented characters.

Caslon Antique was designed by Berne Nadall and brought out by the American type foundry Barnhart Bros & Spindler in 1896 to 1898. It doesn’t bear any resemblance to Caslon, but has the quaint crudeness of what people imagine type looked like in the eighteenth century. Use Caslon Antique for that “old-timey” effect in graphic designs. It looks best in large sizes for titles or initials.

The pattern for this face was designed by Will Bradley in 1894 for the cover of Inland Printer magazine, and was licensed the following year to American Type Founders. Its classic lines and condensed footprint make this typeface a natural for elegant and inviting headlines. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

He's a man of character; a Man for All Seasons. He upholds the values of Truth, Justice and the American Way and he's never averse to a slice of Ma's homemade apple pie. He's not a man of yesteryear, nor a man caught in the here and now. He's a human being of great honor, a citizen of the world -- a Man of Tomorrow!

Hello! Do you need a poster for the ASL study? Maybe you want to understand sign language or share your message. Please try it. Here is a set of hand-drawn illustrations of American Sign Language (ASL). The font is in 4 styles: * with sleeves * with sleeves & Latin symbol * clear hand * clear hand & Latin symbol If you have any questions or issues, please contact me: kaer.pro@gmail.com

Fighting American and all around Superman Ed McGuinness joins our Masters of Comic Book Art with a font inspired by his gamma ray saturated handwriting! Ed is officially a friend of Comicraft and a big smile in Hulk form! Now a small slice of this Jolly Green Giant is available as an alphabet waiting for puny humans to arrange in words of no more than two syllables.

This typeface is inspired from the old display fonts that used to decorate the world around us, but just because we don't see such beautiful signage these days, doesn't mean we should lose the great typefaces used. Foreman is a condensed serif display typeface, with hard geometric lines inspired from fonts used in the 1930s and 1940s, and very much used by the American Art Deco movement.

Neue Rinjani is a all-caps sans serif with Wide Stretch contemporary typographic, vintage futuristic art-deco touch Streamline influence of the 1930s and 1940s. A mix from the old Euro-American signage/advertising letters and modern clean sans serif, carefully mousecrafted to bring you the genuine feel of the era. If you're into classic/vintage letter designs, then this typeface suits best for you.

This is an American face designed by Lucian Bernhard for ATF in 1929. An extra light face with tall ascenders and stylized bars that extend off to the left. The lower-case sits on the baseline and the much-taller-than-normal capitals have an imaginary baseline that sits about two-thirds of the distance from the real baseline to the bottom of the EM.

Karaoke JNL is one of the many alphabets created by the late Alf R. Becker that was showcased in Signs of the Times magazine from the 1930s through the 1950s. Thanks to Tod Swormstedt of ST Media (and who is the curator of the American Sign Museum in Cincinnati, Ohio) for providing Jeff Levine the research material from which this font design was modeled.