Take Charge JNL is based on the opening title card for the 1936 film "The Charge of the Light Brigade" starring Errol Flynn and Olivia de Havilland, Donald Crisp and David Niven. The typeface is a simple, bold titling font with the slight feel of Art Deco influence in its design.

The French lettering book Album de Lettres Arti (1949) displayed a number of examples of unique, stylized typefaces. One in particular features a multi-line sans serif in a classic Art Deco style with open-ended characters. This design is now available as Sign Studio JNL in both regular and oblique versions.

Many great lettering examples were found in the 1939 French publication by Georges Léculier, "Modèles de Lettres Moderns" ("Models of Modern Letters"). One design in particular is a stencil alphabet so typical of the Art Deco movement of the 1930s. Artwork Stencil JNL is now available digitally in both regular and oblique versions.

One good pun is worth a simple description… Nondescript JNL… 'Non' - not. 'de' - of, in Spanish. script - a cursive (handwritten) letter form. So… while nondescript generally means lacking any defining description, in this case it also means "not of a script"… which is precisely what a typeface such as this one is!

Gik is sans serif font family with modular aesthetic and the elegance of contemporary typography. Its compositional and plastic solution combines echoes of (de)constructivism, brutalism, de Stijl and other manifestations of 20th century antiquity + techniques characteristic of italics. But this does not make the font old-fashioned — on the contrary, it helps to understand how to use it. Gik is a product of the metamodernism era — it is on the border between modernist enthusiasm and postmodernist mockery, between simplicity and awareness, wholeness and cleavage, clarity and ambiguity — a kind of conceptual oxymoron. Looking at Gik, you could imagine it at Fashion Week, if there was one for typography. Gik has a message for both the designer and the viewer, it stimulates the imagination, it is the anthology of all fonts of the future.

These initials set I collected from “Tractatus sacerdotalis de sacramentis”, published in the city of Lugrun, printed by Arnaldum Guillermum de Brocario in 1503. Tractatus font family has Regular and Colored styles. It's all you need to precisely imitate medieval style text. Use this font as a decorative element at the beginning of a paragraph or section, other part of the paragraph should be in regular black letter font. You’ll get Drop Caps & Numbers set. --- *You can use color fonts in PS CC 2017+, AI CC 2018+, ID CC 2019+, macOS 10.14 Mojave+ * *Please note that the Canva & Corel & Affinity doesn't support color fonts!* *Please download this test file with only A letter ( https://www.dropbox.com/s/1lr7fify0n520ms/Tractatus-Test.otf?dl=0 ) to check your app & system.* --- Best, Roman. Thank you!

Barbieri is a casual sans type family, based on a German lettering style from the 1960s. The original hand-drawn alphabet was used in a rather peculiar edition of Der Barbier von Bagdad, an opera composed by Peter Cornelius. Our efforts to identify the cover designer have been, so far, unsuccessful. As fans of informal typography and popular lettering styles, we thought these few thin letters deserved a re-incarnation as a complete type family. Andrés Torresi and Marta Sánchez Marco were in charge of the production work. Now Barbieri has 6 weights suitable for packaging, posters, and music covers. It resembles a certain 'Americana' spirit, though with a Germanic twist.

Mijas Ultra font was designed specially as a headlines and caption text for advertising, packaging and Publishing design. It has strong visual impact, a persuasive personality and seduction appeal throughout its organic shapes. This versatile typeface is quite useful for creating logotypes, a variety of alternates and swash tails in three different styles and length were drawn for most letters, plenty of vowel-focused ligatures, it covers all Latin-based languages. Please refer to quick reference manual included. Mijas is a little white town located at a mountainside above the blue Mediterranean Sea, in the heart of the Costa del Sol. It has high contrast, small counterforms and friendly climate.

Do you have dream to delve into the rich depths of history? Are you ready to make your branding bold? Then, we've got what you want to. Micfloral-A Display Font Micfloral is designed with perfectly balanced between playfulness and refinement, this display font delivers your message with style. Use it for social media branding projects, book cover, fashion designs, printed quotes, packaging, or even as a stylish text overlay to any background image. Our font always includes Multilingual Support to make your branding reach a global audience. Features: - Ligatures - Stylistic Sets - Swashes - PUA Encoded - Numerals and Punctuation Thank you for downloading premium fonts from Nathatype

HGB Galaxo is a tribute to Othmar Motter (1927–2010), the Vorarlberg graphic artist and typeface designer, who designed very individual and perfectly crafted typefaces in the 1970's and later. (Motter Ombra, Motter Tectura ...)From a Motter sketch of 5 letters for a logogram, I derived a simplified letterform and developed all the necessary characters. Working on these glyphs and delving deeper into Motter's letterforms, the respect for the accuracy with which he drew his letters (in ink) grew more and more. The spiral resembles the shape of a galaxy, hence the name Galaxo. The font is suitable for retro, poster and logo design.

FF Kievit Slab is an industrial strength, do anything, go anywhere, kind of design. Its exceptional legibility and straightforward strength contrasts with a friendly humanistic underpinning. Michael Abbink and Paul van der Laan carefully revised character shapes and stroke contrast of FF Kievit, when they adapted them to FF Kievit Slab. The result is that the striking and powerful FF Kievit Slab easily complements the other members of the FF Kievit super family, that also includes FF Kievit and FF Kievit Serif, and stands on its own in as a multi-talented design. Though created from the sans, FF Kievit Slab is not FF Kievit with slabs serifs tacked on. The family is the fruit of a four-year collaboration between Abbink and Van der Laan, to make the perfect companion to the FF Kievit family. Each glyph was painstakingly adjusted and to achieve proper density, contrast, and balance, while remaining a perfect companion to its sans serif and oldstyle cousins. Its nine weights and italics also harmonize perfectly with the original FF Kievit design. Each of the FF Kievit styles is a typographical all-rounder that is equally at home in headlines as it is in text copy. Together, the three designs of the FF Kievit super family span a wide and deep typographic universe in which they support one another perfectly. These fonts will help you achieve your typographic goals, no matter how lofty. Featured in: Best Fonts for Websites

Most everyone agrees that chocolate is irresistible. Now the Koziupa & Paul tag team is offering you a choice of three irresistible flavors, from the bittersweet Amargo, to the mouth-watering Dulce, you now have three different possibilities for the pleasure of your taste buds. The OpenType versions includes de 3 flavors all in one.

The 1939 French publication “Modèles de lettres modernes par Georges Léculier” ( “Models of Modern Letters by Léculier”) presented some unique and stylized type designs with Art Deco influence. One such example is an abstract modular alphabet constructed of rectangles and circles. This is now available as Modular Deco JNL, in both regular and oblique versions.

Another example of 1930s French Art Deco lettering from the 1934 publication L'Art du Tracé Rationnel de la Lettre (which roughly translates to “The Rational Path Art of the Letter”) resulted in the digital typeface French Slab Serif JNL. This bold and slightly eccentric slab serif design is available in both regular and oblique versions.

Balburdia is a font based in the street art letters of Brazil. Inspired by "pixação" from the brazilian cities of Rio de Janeiro and São Paulo, Balburdia can translate the street culture and add a little extra to your designs. Balburdia can be used for art, branding or fashion itens that contain this theme.

Belco, designed by Slobodan Jelesijevic, was the first font family released by Tour De Force Font Foundry. Belco is elegant and useful for all kinds of publications such as books, magazines, catalogs and brochures. With a wide range of possibility and smooth personal touch, the Belco font family is ideal for longer texts, titles and typography exercises.

Departe is a geometric monospace display font. The typeface is made from groups of single basic rectangular geometric units. Departe is inspired by structured and organic geometry. The name is derived from the Spanish departe, "de" (of) and "parte" (part). Departe is great for display work, logos, structures, architecture, technology, biology, sports, monograms, quotes, headings and posters.

Sorvettero is a sans, layered and unicase typeface inspired by some wood signs at Descansópolis, a neighborhood on Campos do Jordão, a city of Brazil. A fun and cute display project with different use purposes, like packaging, logos, signs, and whatever your creativity brings on. Designed by Diego Maldonado, with contribution of Tony de Marco on the Diamond style.

"Amelline" is a modern monoline script font that is very pretty and classy. This font can be used for all your purposes. The embellishments in this font are very easy to use. This font is perfect for spring, summer, holiday, traveling, wedding, invitations, greeting, birthday, mother day, father day, cinco de mayo, logos, branding, banner, poster, print, and others.

Breathless was inspired by movie posters of the Nouvelle Vague era when Jean Seberg and Jean-Paul Belmondo were young and films where in black and white. So I named this very spiky affair after that phantastic movie of my youth A bout des souffle or like it was called in English, Breathless. -Your breathless type designer, Gert Wiescher

The inspiration for Cuba comes from a sign for the restaurant "La Flor de Cuba" on Bergenline Avenue in Union City, New Jersey. Its blocky, dimensional forms are reminiscent of letterforms seen in signs throughout Latin America from, Colombia, to Mexico, to Spain, to Union City. Its quirky forms are meant to evoke a sense of hand painted signage.

A decorative font with descending tails on the capital letters. The design is based on a popular typeface from the 1880s, mainly used for personal names on title-pages, advertisements and stationery. Today, you can use it e.g. on book and album covers, invitation cards, restaurant menus and concert programs to give a fin-de-siècle impression.

Andreis is a typeface inspired by the art nouveau shapes that appear in the letters of a metal box, made at the beginning of the 20th century by the company G. De Adréis from Badalona in Spain. Its organic and feminine forms evoke the aesthetics of those years and add elegance to the projects where it is used.

30s inspired geometric inline display typeface Several titling typefaces made their appearance at the start of the 20th century, notably Acier and Bifur, both created by French poster artist Cassandre. Later, in the Netherlands, S.H. de Roos designed a version of Inline for its Nobel family called, naturally, Nobel Inline. AW Conqueror Inline pays homage to this beautiful version. AW Conqueror superfamily AW Conqueror Didot is part of a larger family, who include 4 others subfamilies with great potential: They’re but based on same structure, with some connection between them (width for example), to offer a great & easy titling toolbox to any designers, from skillful to beginner. Each of the members try their best to be different from the others because of their features. They should work harmoniously in contrast. Club des directeurs artistiques Prix 2010 European Design Awards 2011

The French interest in the revival of suitably edited Oldstyle romans as an alternative to a world of Modern typefaces started in 1846 when Louis Perrin cut the Lyons capitals. About 1860, as Phemister was cutting the Miller & Richard Old Style in Edinburgh, Theophile Beaudoire turned the idea of the Lyons capitals into a complete Oldstyle typeface, with similar overwhelming success; it was generally known as Elzevir in France and Roemisch, Romanisch, Romaans or Romana in Germany, Holland and Switzerland. In 1892, Gustav Schroeder, at the Central Division of ATF, expanded the series, adding a boldface under the name De Vinne. It was promptly copied, initially in Europe by Ludwig & Mayer, and spread rapidly throughout the US and Europe, becoming the best known member of the series. ATF made popular an ornamental form under the name De Vinne Ornamental.

A comprehensive and faithful rendition of one of the finest metal typefaces of the 20th century. Rudolf Koch designed Wilhelm Klingspor Schrift (initially conceived as “Missal Schrift”, and later referred to also as “Wilhelm Klingspor Gotisch”) between 1919 and 1925 for the Gebr. Klingspor Type Foundry in Offenbach am Main. It is an impressive textura typeface, being sharp, elegant, spiky, sensitive and noble at the same time. Some of its most notable features have to do with the delicate decorations, the thin but subtly swelling lines that parallel or bridge strokes in the capitals, the hairline endings that terminate each stroke in both the capitals and the lowercase letters, the subtle joining of hairlines to thicker strokes, and the tension of some of the transitional curves. Koch’s original design included two sets of capitals (normal and condensed); alternates for a, d, e, r, s and z, plus long s; short and long flourished finial forms for f and t; thirty-five ligatures; and eighteen decorative pieces (Zierstücke). All of these features, plus several additional ones for modern use (including the usual standard characters for typesetting in modern Western languages, additional alternates and ligatures, plus carefully coded Opentype features), have been thoroughly implemented to the highest and most lively level of detail in the present font, in the hope that the past greatness of Wilhelm Klingspor Schrift will finally step into the modern OpenType realm. The main sources used during the font design process were several pages from a specimen book issued by the Gebr. Klingspor Type Foundry in 1927. Other sources were as follows: Bain, P., and Shaw, P. (Eds.) (1998), Blackletter: Type and National Identity, New York: Princeton Architectural Press (p. 43); Hendlmeier, W. (1994), Kunstwerke der Schrift, Hannover: Bund für Deutsche Schrift und Sprache (pp. 56-7); Kapr, A. (1983), Schriftkunst, Dresden: VEB Verlag der Kunst (p. 453); Kapr, A. (1993), Fraktur - Form und Geschichte der gebrochenen Schriften, Mainz: Verlag Hermann Schmidt (pp. 124-5); and Klingspor, K. (1949), Über Schönheit von Schrift und Druck, Frankfurt am Main: Georg Kurt Schauer (pp. 136-7). Some public and private comments by renowned designer and design historian Paul Shaw have also influenced both the design and the description of the present font. Specimen, detailed character map, OpenType features, and font samples available at Alter Littera’s The Oldtype “Wilhelm Klingspor Schrift” Font Page.

Aure Brash speaks with the cheeky inuendo of a sassy parrot. The quirky forms of this unique outline font engage the reader with a subtext of whimsy. Designed for its visual impact, Brash stands out as a title font and offers delightful possibilities for graphic imagery. Brash is an original design developed by Aurora Isaac. After more than a decade in development, 2018 marks the first release of the CJ and KB glyphsets. The CJ glyphset is a full text font with an extended set of lowercase and uppercase glyphs supporting a variety of European languages. Additional glyphs include standard ligatures, four variations of the ampersand, and check-mark and happy-face with their companions x-mark and grumpy-face. Numbers are available in lining and oldstyle versions, with numerators and denominators for forming fractions. Companion glyphs include Roman numerals, specialized glyphs for indicating ordinals, and a variety of mathematical symbols and operators. The CJ glyphset also includes an extended set of glyphs for typesetting Western Astrology. These glyphs are also available separately in the KB glyphset: a symbol font re-coded to allow easy keyboard access for the most commonly used glyphs. Brash is not designed for use in extended text. It shows its strength paired with strong text fonts such as Aure Jane or Aure Teddy. Used sparingly, Brash will add witty highlights to catch the reader's eye. Give Aure Brash a trial run! You may discover a permanent place for this font family in your typographic palette. AureFontDesign.com

Resist Sans is a free-spirited neo-grotesque that embodies both the innate desire for revolt and a tendency towards uniformity. While Resist Sans preserves the neat, minimalist look which is associated with neo-grotesques, it also accentuates the tentativeness of each letter form. The name, too, hints at the rebellious character of the typeface. Resist Sans comes in 28 styles (14 uprights and matching obliques). Text vs Display Resist Sans comes in two versions: Display and Text, which serve different purposes but remain interchangeable and even complementary in some cases. Resist Text is equipped with deep ink traps and optical compensators, which really come into play at smaller sizes. The Display version is smoother and more consistent, so better for use in larger sizes and headlines. Styles/Weights Each of the two versions of Resist Sans comes in 7 weights (Thin to Black) and is equipped with matching Obliques, which brings the total number of styles to 28. Two trial styles (Text Light and Display Medium Oblique) can be downloaded free of charge. Each style contains 900+ glyphs, awesome OpenType features, and around 1500 kerning pairs. Language Support Resist Sans is truly multilingual. It supports most European and Latin-languages and features Extended Cyrillic, which gives access to such languages as Ukrainian, Bulgarian, Serbian, Russian, Macedonian and many more. Free Styles Two styles of Resist Sans can be downloaded for free on MyFonts. Type Specimen Resist Sans PDF Type Specimen can be downloaded here: Resist Sans PDF Type Specimen

Aure Nox inspires the chill whimsy of a haunted forest. The roughhewn forms of this decorative, sans-serif font engage the reader with a subtext of rakish charm. Surprisingly legible, Nox adds a bit of rebelious sass to text and titles, and a daring stance to astrological expressions and chartwheels. Nox is an original design developed by Aurora Isaac. After more than a decade in development, 2018 marks the first release of the CJ and KB glyphsets in regular, italic, bold, and bold-italic. The CJ glyphset is a full text font supporting a variety of European languages. A matching set of small-caps complements the extended lowercase and uppercase glyphsets. Supporting glyphs include standard ligatures, four variations of the ampersand, and check-mark and happy-face with their companions x-mark and grumpy-face. Numbers are available in lining, oldstyle, and small versions with numerators and denominators for forming fractions. Companion glyphs include Roman numerals, specialized glyphs for indicating ordinals, and a variety of mathematical symbols and operators. The CJ glyphset also includes an extended set of glyphs for typesetting Western Astrology. These glyphs are also available separately in the KB glyphset: a symbol font re-coded to allow easy keyboard access for the most commonly used glyphs. Though Nox stands well on its own as a text font, the more traditional sans-serif forms of Aure Jane pair well as an innocuous foil to Nox's brazen presence. Give Aure Nox a trial run! You may discover a permanent place for this font family in your typographic palette. AureFontDesign.com

Aure Westra embodies the liquid look of a broad-nibbed ink pen. These bold forms engage the reader with a subtext of exotic wisdom. Westra’s entrancing flow brings a dramatic intrigue to text and titles and an esoteric savor to astrological expressions and chartwheels. Westra is an original design developed by Aurora Isaac, first released in the LP glyphset in 2011. After more than a decade in development, 2018 marks the release of the CJ and KB glyphsets. The CJ glyphset is a full text font with an extended set of lowercase and uppercase glyphs supporting a variety of European languages. Additional glyphs include standard ligatures, four variations of the ampersand, and check-mark and happy-face with their companions x-mark and grumpy-face. Numbers are available in lining and oldstyle versions, with numerators and denominators for forming fractions. Companion glyphs include Roman numerals, specialized glyphs for indicating ordinals, and a variety of mathematical symbols and operators. The CJ glyphset also includes an extended set of glyphs for typesetting Western Astrology. These glyphs are also available separately in the KB glyphset: a symbol font re-coded to allow easy keyboard access for the most commonly used glyphs. The unique look of Aure Westra stands on its own as a text font. Where needed, use the clean lines of Aure Jane to provide contrasting text that will showcase Westra’s exotic nature. Give Aure Westra a trial run! You may discover a permanent place for this font family in your typographic palette. AureFontDesign.com