The ITC Pino™ typeface family is Slobodan Jelesijevic’s second suite of commercial fonts. Although a small family of three weights, it is remarkably versatile. Like many typefaces, Pino grew out of a desire for a particular kind of design. Jelesijevic was creating a series of illustrations for a children’s magazine and needed a typeface that was lighthearted, legible and would complement his illustrative style. Unable to find exactly what he needed, he decided to make his own font. “I spent the better part of a day looking for just the right typeface,” he recalls. “Of course, the hard part was finding something that would harmonize perfectly with my drawings. A custom font was not part of the project brief or budget, but I thought that perhaps I could use it again.” The regular weight of Pino became the solution to Jelesijevic’s problem. Jelesijevic did use the font again, but quickly realized that the single weight needed companion designs. Pino Bold and Black followed in quick succession. Before licensing the designs to ITC, the three-weight family provided headlines, book cover titles and even short blocks of text copy in several of Jelesijevic’s design projects. Born in Gornji Milanovac, Serbia, in 1951, Jelesijevic graduated with a degree in graphic communication and lettering from the Faculty of Applied Arts in the University of Arts in Belgrade. Currently, in addition to typeface design, he is sought out as a graphic designer and illustrator. When not working on design projects, he teaches graphic communications at the Faculty of Art in the University of Niš, Serbia. Pino is a stressed sans of slightly condensed proportions. Pino’s generous x-height, clearly defined counters and distinctive character shapes enable it to fulfill a wide variety of typographic applications. Friendly without being sanguine, the Pino type family will communicate with charm and vitality.

Originally released as Éclair by the French foundry Deberny, Peignot & Cie., this face is pure Art Deco in motion. Both versions of this font support the Latin 1262, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

The font Speech Bubbles offers a convenient way to integrate text and image. While the font can be used to design comics, it also gives the typographer a tool to make text speak – to give words conversational dynamics and to emphasize visually the sound of the message. The font includes a total of seventy outlines and seventy bubble backgrounds selected from a survey of historic forms. What follows is a discussion of my process researching and developing the font, as well as a few user suggestions. My work on the Speech Bubbles font began with historic research. My first resource was a close friend who is a successful German comic artist. I had previously worked with him to transform his lettering art into an OpenType font. This allowed his publishing house to easily translate cartoons from German to other languages without the need to use another font, like Helvetica rounded. My friend showed me the most exciting, outstanding and graphically appealing speech bubbles from his library. I looked at early strips from Schulz (Peanuts), Bill Waterson (Calvin & Hobes), Hergé (TinTin), Franquin, as well as Walt Disney. The most inspiring was the early Krazy Kat and Ignatz (around 1915) from George Herriman. I also studied 1980’s classics Dave Gibbon’s Watchmen, Frank Miller’s Ronin and Alan Moore and David Lloyd’s V for Vandetta. Contemporary work was also a part of my research—like Liniers from Macanudo and work of Ralf König. With this overview in mind I began to work from scratch. I tried to distill the typical essence of each author’s or era’s speech bubbles style into my font. In the end I limited my work down to the seventy strongest images. An important aspect of the design process was examining each artist’s speech bubble outlines. In some cases they are carefully inked, as in most of the 80’s work. In others, such as with Herriman, they are fast drawn with a rough impetus. The form can be dynamic and round (Schultz) with a variable stroke width, or straight inked with no form contrast (Hergé). Since most outlines also carry the character of the tool that they are made with, I chose to separate the outline from the speech bubble fill-in or background. 
This technical decision offers interesting creative possibilities. For example, the font user can apply a slight offset from fill-in to outline, as it is typical to early comic strips, in which there are often print misalignments. Also, rather than work in the classic white background with black outline, one can work with colors. Many tonal outcomes are possible by contrasting the fill-in and outline color. The Speech Bubbles font offers a dynamic and quick way to flavor information while conveying a message. How is something said? Loudly? With a tint of shyness? Does a rather small message take up a lot of space? The font’s extensive survey of historic comic designs in an assembly that is useful for both pure comic purposes or more complex typographic projects. Use Speech Bubbles to give your message the right impact in your poster, ad or composition.

Build your own board game! This unique font contains lots of bits and pieces to put together your very own custom board game. Print the backgrounds large on cardstock and use the blank die outline to createa custom die! This is a great creativity builder for kids – let them create their own game with their own rules! Alisha Peare of The Bubbly Blonde has come up with a great free synonym/antonym game to showcase some of the ways you can use this font. Download her excellent game for free here: http://www.teacherspayteachers.com/Product/Lost-Leprechaun-AntonymSynonym-Game-Board-FREEBIE

In 1948, Joseph Struhl pioneered an innovative do-it-yourself sign kit for retail merchants. Die-cut letters and numbers made from flexible sheets of vinyl with the ability to adhere to smooth surfaces by static electricity; his "Magic Master Interchangeable Sign Kits" became a great success. Jeff Levine has paid tribute to this innovative method of in-store advertising with Sign Maker JNL. Because of their die-cut shapes, the design style of the static cling letters have unique characteristics. Companion fonts (based on other Struhl sign kits) are Cling Vinyl JNL and Cling Vinyl Clear JNL.

Hyperartism is an artistic movement born in La Chaux-de-Fonds (Switzerland) which advocates free and uninhibited creation, in all forms, for everyone. HyperBrush was originally created for the new collective's logo and is the perfect cross between the corrosive spirit, the assumed nonchalance and the natural class of Hyperartists' works. HyperBrush is the ideal font for anyone who wants to add a touch of fantasy to a soft design, or a bit of seriousness to a completely crazy project. Its quirky, edgy and clean look is just as suitable for a festival poster as it is for a DIY shop sign, for the title of a trashy short movie or else for a toilet door sign in a hipster lounge bar. With HyperBrush, it's easy to put more hyper into any project!

Hey, I'm glad you're here to check out my font! Villosophi is a fun, and adorable handwritten brush script for your beautiful writing. Villosophie is made with love with a brush and It is suitable for logos, titles, product packaging, merchandise, quotes or writing for t-shirt designs. Come try it yourself in the preview section to see this font, what you see is what I made for you! To achieve that adorable handlettered feel, Villosophie comes with a full set of alternative lowercase letters as well as 21 ligatures to play with, giving you a variety to choose from before using. If you use software that supports OpenType, everything is included in the main font that will come to life as you type. Otherwise, I've also included Alternative and Ligature as a cute font pair for you to use. Any question? Contact me and I'll be happy to answer!

Assembled for those less commercialized holidays, LTC Holiday Ornaments features over 80 printers' ornaments from Lanston Monotype and other historical foundries such as BBS and ATF. Holidays include Easter, Valentine's Day, St. Patrick's Day, April Fool's Day, Thanksgiving and 4th of July. There¹s even a pirate to represent international "Talk Like a Pirate" day. LTC Holiday Ornaments joins the Lanston Collection alongside the popular LTC Halloween and Christmas Ornaments. LTC Holiday Ornaments contains additional Halloween and Christmas ornaments as well.

FG Typical is inspired by typewriting. But the letters got skewed in processing making it look a bit corny, but it looks great at small sizes as well as large. the characters all have the same height except for the i, å, ä etc.

Named after Gian Giorgio Trissino (1478-1550) the Italian Renaissance humanist, poet, dramatist, diplomat and grammarian who was the first to explicitly distinguish I and J as seperate letter sounds.

LouLou is a scriptlike typeface that looks as if it came right out of the sixties and seventies. Flowerpower! I enjoyed doing this one. Your swinging type designer Gert Wiescher

Last year I went to visit a friend in Tuscany. One day he took me to meet his neighbor, a nice old man; Mr. Giulio. After giving us a tour of his small vineyard, he insisted us to try his production: a delicious Vernaccia! When his wife left the bottle containing the gold liquid on the table, I fell in love with the label: it was handwritten by herself, as if to highlight the "homemade" feature. As a tribute to this beautiful and hardworking couple, I asked permission to be inspired to make a typeface ... and here goes! The family Font Vernaccia... Vernaccia is a type family of four fonts: Regular, Bold, Condensed and Condensed Italic. Is a modern and casual calligraphy family font.
As an exclusively Open Type release, with 759 glyphs and 45 ornaments, it has several special alternatives for all letters with lots of possibility and an infinity of combinations. Most of the ornaments can be used alone, but really were especially designed to combine with the different glyphs. There are plenty of options to allow you to create something unique and special: standard and discretionary ligatures, several swashes and stylistics alternates for each letter, catchwords, tails that can be added to the beginning or end of each letter, ornaments, and much more. These lovely fonts have already an extended character set to support Western European languages. Vernaccia was made to make your project more beautiful and attractive! Have fun with it!

Dubbel Zout in Dutch means ‘Double Salt’. I admit, it sounds better in Dutch… Dubbel Zout is a kind of licorice which we (in Holland) love! Not many people actually like it, but I know of one addict in Denmark, who eats it by the bagful. Dubbel Zout is a ‘crayon-ish’ font - all caps, different upper and lower glyphs that you can mix and a royal assortment of diacritics. It may be an acquired taste, but once you get used to it, you’re hooked!

Chump Change is a fun chunky serif ALL CAPS display font. I wanted it to look blocky and loud, So it can scream from Posters and Headlines. It has over 300 glyphs, several variations on the standard alphabet and all those extra pesky foreign features. OpenType coded, it has various letter pairings that interlock automatically to create a more randomized, bespoke feel to your copy. It also has some extra characters available directly through your glyphs palette. Play around with it, I hope you like it.

In B-movie awesomeness, Air began as Grotesk vs. Grotesque. I was trying to unify the prevailing traits of German and English Grotes(que/k)s in order to make something different but familiar. I am NOT trying to reinvent Helvetica (snore), so get that out of your system. From the onset, I intended this typeface to be a true workhorse that offers infinite options and flexibility for the user. At its core, it is the maturation of the Aaux Next skeleton I developed years ago. I worked out Aaux Next to settle my issues and love for Akzidenz. With Aaux Next, I strove to be mechanical, cold and unforgiving with it. I was single, young, cocky and it fit. Now I'm married, kids, dog and have found that I've turned into a big softy. When I look at Aaux Next (and have for the past few years) I see another typeface trying to eek out. I wanted it to avoid the trappings of robotic sans, quick tricks and compromises. The typeface’s DNA needed to be drawn and not just generated on a screen — so I set aside a year. I love type. I love working with type. I hate when my options for a slanted complement is only oblique or italic. I set out to produce both to balance usage — there are more than enough reasons to prepare both and I want the user to feel free to consciously choose (and have the option to choose) the appropriate typeface for print, web, etc. That flexibility was central to my decision-making process. The Oblique is immediate and aggressive. The Italic was redrawn at a less severe angle with far more movement and, as a result, is far more congenial when paired with the Uprights. Condensed and Compressed. Yep, why not? I know I would use them. There are nine weights currently available. The logical progression of weights and the intended flexibility demanded I explore a number of light weights and their potential uses — this has produced a number of ‘light without being too light’ options that really work based on the size. The result is a robust 81-font superfamily that is functional, professional, and highly legible without compromising its personality. Pair that with over 900 characters per font that includes ligatures, discretionary ligatures, stylistic alternates, fractions, proportional/tabular lining and proportional/tabular oldstyle figures, numerators, denominators, ordinals, superiors, inferiors, small caps, case-sensitive functionality and extensive language support and you have a versatile superfamily well-suited for any project.

Ballet Mechanique is a custom designed font for musician Jeroen Borrenbergs, aka Ballet Mechanique. For his upcoming record releases Jeroen asked me to create a special font for him. As co-founder and graphic designer at Stoere Binken Design he creates his own artwork and therefor had very specific wishes. The font should be warm, soft and have soul. He gave me some sketches for his logo that I should use as a starting point. The result is a very narrow, kind of techno, monocased font called "Ballet Mechanique" (what else). After having served his purpose, Jeroen Borrenbergs allowed his font to be sold publicly. Jeroen Borrenberg’s debut work, in 1996, received hugely praising reviews. Muzik Magazine made Evolutionary Entities techno single of the month, Laurent Garnier and Mister C constantly played it in their sets and Morgan Geist just said “I won’t do a review here - let me just encourage all of y’all to listen to and/or pick up the new Eevolute 12″. Beautiful stuff - complex, melodic, soaked in just enough reverb to take it to another room. Check or regret.”

You begged with us..! You pleaded with us..! But we decided to release the official Richard Starkings font anyway! Yes, I am Richard Starkings and you may remember my hand lettering from such comic books as THE KILLING JOKE, TRANSFORMERS and, um, THE KILLING JOKE! Yes, finally Comicraft is making available the font that started it all -- from the pages of MARVELS, SUPERBOY, GENERATION X and, um... MARVELS! The font that Kurt Busiek, writer/creator of ASTRO CITY, really, really likes but we've always refused to make available to him. Always leave your friends wanting more, that's my motto.

Sheet music for another one of those songs from the early part of the 20th Century with a wonderfully wordy hand lettered title was the model for the Art Nouveau flavored Go Home JNL, which is available in both regular and oblique versions. 1908's "I Used to be Afraid to Go Home in the Dark (Now I'm Afraid to Go at All)" is comprised of eighteen words. It may have been a mouthful to request from the local sheet music shop, but the lettering on its cover made it a great candidate for preserving as a digital typeface.

We just had the Eurovision Song Contest here in Holland. I quite like to watch it, as it is usually a freak show of kitsch, political incorrectness and often really bad music. But it is a laugh and this year was no different. It inspired me to create this particular font with this particular name. Sing Along is a happy, wobbly, kitschy font that comes with a bit of ‘over-the-topness’, a few personality issues and an unsteady gait. Needless to say, it is politically incorrect, but that, my friends, is not necessarily a bad thing.

The simple song title "May I", found on the sheet music from the 1934 Bing Crosby-Carole Lombard film "We're Not Dressing" was hand lettered in a blocky, ultra-bold Art Deco design that foreshadowed the techno look of the 1970s and 1980s. This became the basis for Art Techno JNL.

To design the font Toppo I was inspired by a You And Me Monthly published by National Magazines Publisher RSW Prasa that appeared from Mai 1960 till December 1973 in Poland. This family contains 6 different styles. In the Toppo family, every variety contains 3 alternative characters with automatic replacement.

Helena derived her curves from the old Chinese Tangram puzzle. She sure is playful, though sometimes she bites furiously. No worries! Helena may seem to be a tad crazy, but all in good moderation. Don’t go overboard, use her well and I can assure you … she’ll be worth all your effort.

I decided to draw the Regular style of Trivia Humanist not too light and the Bold not too dark. Delicate anatomy and moderate contrasts of serifed humanist typefaces aren’t usually born by interpolating between extremes, but rather by meticulous care for each individual letter. A delicious blend of a trace of punchcutter’s tool and calligrapher’s hand with as few historical reminiscences as possible. It stays away from any strong aesthetic colorations as well, which is a common feature of the Trivia family system. I wanted a clear and majestic typeface for book jackets, LP cover designs, posters, exhibition catalogues and shorter texts. But at the end it turned out excellent for largest books as well.

Eisley started as an experiment with creating brushes in illustrator. I began by drawing each letter and tweaking until each one balanced next to one another. I painted over 50 paint brush strokes to give a variety of different looks to the final characters. Strategically crafted to look as real and as spontaneous as a sign painter might paint up (although possibly running a bit dry on paint giving the end result a vintage and grungy effect). Eisley is perfect for use in any design branding that requires vintage or distressed display lettering. Eisley is perfect for use in any design branding that requires vintage or distressed display text. Great fun to use AND personalize with your own flair.

In September, 2003 I was contacted by MTV for the restyling of mtv.it I started from the beginning to work on a radical simplification of its visual elements, to achieve a better usability. It didn't take me so much to realize the basic design I attempted would have called for a notable reduction of the rich imagery distinguishing MTV's visual identity. As a visual aid to help me in this process I designed Virna, a headline "op-art" inspired face with the ability to create both vertical and horizontal ligatures between single words among two text lines, with the same ease of linking letters in handwriting or a linked script typeface.

Journal Hand was inspired by a 45-year-old travel diary I bought at an estate sale. The carefully constructed all-uppercase letters indicated that this traveler cared about style and legibility. Each picture, postcard and brochure that was glued into the diary had a neatly written caption and I admired the care this day tripper took to record his European trek. While the pages are now yellowed and falling apart, the handwriting is still legible and stylish. Because his handwriting totally suits today's uses, I re-created it in modern journalistic style that looks like it was written with a technical pen. Use this typeface when you need a neatly handwritten style. Uppercase only!

Apnea is a layerable type family consisting of fifty weights. It is an all caps font with a few lowercase alternatives (a, e, i, m, n, t, w, and y) thrown in for a more casual feel. The base letterforms are inspired by a painted sign I found in the garage of an old house I moved into years ago. All the hand-drawn elements were done directly in FontLab to keep them loose and playful without getting distorted or grungy. At its core Apnea consists of eight base weights (Base, Drop Shadow, Halftone, Inline Fill, Outline, Outline 3D, Shading and Shadow) that when combined, can make up the rest of the family. Have fun, experiment and play!

Footloose was a work in progress when its original designer, my friend and colleague Bob Alonso, passed away. Back then just 14 lowercase letters were designed so far. Several years have since gone by, but lately I took on the task of developing Bob’s design into a full-fledged font. The distinctive style of his supplied letterforms provided much inspiration. In blocks of short text there is a dynamic that communicates much verve and vigor, owing in part to gracefully curving lines and high contrast of stroke weight. I guess you could say that this project has been a sort of “passing on of the baton”; and I trust that Bob would have been pleased with the outcome.

I had a chat recently with a customer who is a big fan of lettering from the psychedelic poster era. The discussion got me thinking about poster lettering we hadn't yet made into fonts, and a particular sample from a Jimi Hendrix poster I had played around with but never finished making into a font. So I went back to the drawing board and the result is the new Hendrix font. Unlike many of our other Psychedelic fonts which are stripped down to their basic character forms, this font includes the outlines characteristic of a lot of poster lettering from that period. It also includes variant versions of a number of the characters

A Trollkatt in Norwegian myth, is the cat associated with witches. The last few days a stray ginger cat seems to have adopted us - she comes into the house, lies down on the carpet and loves the cat food we bought her. We have posted some ‘found a cat’ messages online and hung op some flyers - just in case someone is missing a cat. Because of the stray, I decided that I should name this font something cattish, so Trollkatt is what popped up. The font is quite nice; I made it with my Chinese ink and a brush, from which I cut most of the hairs. This font won’t catch mice, but it will put some magic into your designs! And the stray cat… well, if she isn’t chipped and no one comes to fetch her, we will keep her. #happyending