Nobody Home JNL is unusual in nature as it combines two vintage typestyles into one font. Both have been used for home and property identification for decades and still remain popular. Over the years the letters and numbers have been made of cast steel, aluminum, brass and plastic. The alphabet is in a distinctly bold, asymmetrical style, while the numbers almost take on a calligraphic feel. There is just a basic character set - alphabet, numerals and simple punctuation. While the font has been reasonably spaced and kerned, it's best to remember that neither type design was made with digital technology in mind, so it's suggested to adjust your layout manually for optimum results. Nobody Home JNL is best-suited for replicating street addresses, apartment numbers on doors, and homeowner (or apartment house) names on buildings - whether in print design or as plotter-cut vinyl graphics.

Meets Glaw, A new carefully crafted Fonts from Ilham Herry to bring a new heavy look of Psychedelic Theme. The Ideas of this fonts are from 70s, Psychedelic, Funk, Hippie, Party, Music and Etc. Even though it’s a specific theme for this fonts. It doesn’t ruled out the possibility of creating a new style or themes. Glaw Created with a 3 Weight on the traditional OTF, Condensed, Regular and Expanded. Not Just that, If your software are support for Variable Fonts like Adobe Illustrator or Photoshop, The Weight are going to 100 Weight!. Glaw Best used for a Large Text such as Headline, Poster, Branding, Logos, Concert, Branding and Any other use that needs a Heavy looks for the Title. Our creation on the display to give you a reference what it looks like on your project. It shows that how Glaw will look on your design style.

Font designed from that used in Bamberg by Albrecht Pfister, in early years of printing, exactly for a book titled "Ackermann Von Böhmen" writen in old German by Johannes Von Tepl, and decorated by a lot of splendid colored carved woods. This font include "long s", naturelly, as typically medieval, but any abbreviated characters, and, curiously no german "ß", no more than "W". (The only one I did found where a hand drawn one.) In addition, the "k" have not a German gothic form. Added, the accented characters, no longer existing on this time, and capitals when was a lack. A render sheet, in the font file, makes all easy to identify on a keyboard. This font is used as variously as web-site titles, posters and fliers design, editing ancient texts... This font supports as easily enlargement as small size, remaining readable, original and beautiful, especially in capitals.

In 2006 the art director of Emotion, a women’s psychology magazine, asked me to design a copy typeface for them. Before I actually got the job I started to work on a serif. I wanted it to be feminine but still clear and modern. On one hand there are the floral round elements and on the other hand the angular serifs. In the composition I wanted the two extremes to work together. All the other elements had to be harmonized. The proportions needed to match the magazine’s requirements. The ascenders and descenders are short enough to work in narrow columns but long enough to work in small sizes. As you can imagine, the emotion-job never happened. Verse is now a serif and a san-serif with 7 weights with italics and smallcaps. In copy you should not get heavier than Heavy. Extrabold and Ultrabold work best in display.

Double Nines JNL is a dingbat font containing fifty-five glyphs for the tiles found in the second level of domino games. Sets of dominoes can be of either double six, double nine or double twelve. In this font, the double blank tile is located on the zero keystroke, while the one/blank and 1/1 tiles are on the 1 and 2 keystrokes. The rest of the tiles (in numerical order through 9/9) are located on the A-Z and a-z keystrokes respectively. To use any or all of the images contained in Double Nines JNL in any manufactured products or services, please refer to the software license agreement provided when purchasing this font. A separate royalty license must be secured from Jeffrey N. Levine for such purposes. The images are NOT licensed for use in proprietary logos or service marks.

Hi there, thanks for looking at my first typeface. It began as one of my original sketches back in 2019 as a freelance graphic designer trying to create unique letterforms that I could use for posters or websites with other possible use cases in mind for commercial use. The sketches were then passed on to and worked on with Vladimir Tsagolov who has more experience in creating professional typefaces, the experience for me was invaluable, and I have many more typefaces I'm now working on. Shiny Ink Display is a collection of hand drawn fonts based on the flow of reflective viscous ink with 7 styles, some styles can be interchangeable and used on top of each other. For example, Shiny Ink Display Plain, can be used with Shiny Ink Display Plain Lined to create shadows underneath it, at angles not available with the Shadow styles you'll see in the font collection. Shiny Ink Display has various use cases, maybe even infinite, but more specifically for posters or websites with large text, though it bodes quite well at smaller sizes, and is visually appealing to its viewers as long as it's at a legible font size. When it comes to font pairing, Shiny Ink Display works especially well with Monospace and sans-serif fonts. You can check the poster examples on this page to help you imagine what you could do with the font styles. I also had in mind manufactured products, but I could leave that to you to create your ideas with the available font styles. In regards to languages or typing on a keyboard, most of the English/European latin or cyrillic language keys are supported, so you'll have lots of glyph characters to play with for a number of ideas you may have. All the best with your projects using my fonts, if there are any issues, don't hesitate to contact me for support: lloyddaviddesigns.co.uk - Lloyd David

These ornaments are made from plants which grow on Alphabet Farm, the place where Stone Type Foundry is located.

A simple, modern sans serif; clean and elegant, just like its inspiration. The name is a play on Futura.

Authentic and historical Brazilian lettering typeface from early Portuguese community newspapers on Brazil; first years of the 20th Century.

Designed inspired by video technology and meant for the use on television, but never really made it there. Yet...

Exline is yet another experimental display typeface for use on logos and titles and everywhere else you want :D

Another in the series of competent IBM serifed typewriter faces, this one from Howard Kettler in Lexington in 1956.

One of the first and best of the Roman styles, this a condensed, narrow version, with very short descenders.

Letreiro is a nostalgic display font family, a personal view on portuguese hand lettering from the mid 20th century.

Based on an ancient writing system of India. NOTE: this font comes with an interpretation guide in pdf format.

For the creation of this font I was inspired by the old fonts created not one hundred years ago.

Based on the 60-point Amati designed by Georg Trump and issued by C. E. Weber (Stuttgart) in 1953.

Rustic Inn JNL comes from hand lettering on a vintage piece of sheet music entitled "My Cabin of Dreams".

Their angular lines are strongly contrasted by sweeping curves, the result: one type with firm character and strong personality.

Another in the series of competent IBM serifed typewriter faces, this one from Howard Kettler in Lexington in 1956.

Based on Lucien Bernhard’s idiosyncratic Schoenschrift, Liberty was designed for ATF two years later, in 1927, by W.T. Sniffin.

Londrina Serif is based on my font Londrina. It's a vernacular typeface with a lot of weights and personality.

Wobbly Boot is the font you use when you need that lipstick-on-the-mirror horror movie vibe. Beware.

Yzerfontein is an angular variation on the classic German blackletter that started with a sketch of a lowercase 'g'.

Based on custom design work by DTP Types Limited in 1992 with associated Small Capitals and Old Style Figures.

Brazil Nut JNL comes from hand lettering on some 1920s sheet music from Florenz Ziegfeld's musical comedy "Rio Rita".

A revival of one of the popular wooden type fonts of the 19th century, suitable for text or display.

Breo is yet another experimental display typeface for use on logos and titles and everywhere else you want :D

Renamed font (was Georgia) and refined outlines to make it stand out on your next book jacket or tatoo.

Designed for ParaType in 1995 by Tagir Safayev. Based on informal handwriting. For use in advertising and display typography.

Collegiate is a full font based on the lettering around an old mosaic tile badge at Liverpool Collegiate School.

Silent Waste is based upon a misspelling on a sign. It's handdrawn, yet digitally manipulated. But you can't tell!

Public Works JNL emulates the hand-made lettering found on older signs printed by silk screen for local governments.

Based on the earliest ATF/M.F. Benton versions of the Bank Gothic typefaces. ‘Fleshed-out’ into a full family.

Designed at ParaType in 1994 by Alexander Tarbeev. Based on informal handwriting. For use in advertising and display typography.

Mun is a experimental script typeface for use on logos, titles, posters, etc. Mun is not intended for text.

A revival of one of the popular wooden type fonts of the 19th century, suitable for display, extra condensed.

The unusual hand lettering found on a piece of 1940s sheet music forms the basis for Pencil Pusher JNL.

Lockup JNL is a more condensed version of Jeff Levine's Hoosegow JNL - based on a classic wood type design.