The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography, became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today’s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.

The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography, became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today’s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.

The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography, became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today’s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.

The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography, became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today’s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.

The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography, became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today’s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.

The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography, became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today’s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.

The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography, became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today’s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.

Espinosa Nova is a revival based on the types used by Antonio de Espinosa, the most important Mexican printer of the sixteenth century and very probably the first punchcutter anywhere in the American continent (1551). In 2010, its main fonts were awarded two certificates of excellence: one by TDC2 (Type Directors Club Typeface Design Competition), one by Tipos Latinos (Biennial of Latin American Typography). According to Robert Bringhurst, it is “an unusually intelligent family of type, reaching back to one of the most exciting moments in typographic history and reaching forward to the typographic future”. All of the fonts intended for setting text include small caps, five sets of figures (oldstyle and lining, both proportional and tabular, plus tabular small caps), many f and long s ligatures, and capital sharp S (U+1E9E). In addition, the Capitular fonts allow to create interesting effects by overlapping layers. This family feels very comfortable in books, but it can be used everywhere a touch of classic & elegance is required.

This monospaced version of Galix was commissioned in 2037 by the space exploration company Earth2, as part of a major overhaul of their branding, which had used, since 2021, a generic sans serif (much like every other company). Many specialists in both design and space exploration suggested that this very rebrand started a chain of events that concluded with the invention of time travel in 2041. Contrary to the perceived notion put forward in popular Science Fiction, time travel is only (as of now) possible in the digital realm. It was considered fitting that included among the first files sent back in time should be the Galix Mono typeface, which was remade in OTF format to ensure that it would work with the technology available in 2019. Earth2, for all their insight, did not foresee that the release of the typeface in September of 2019, would lessen the impact of their rebrand. What kind idiots would rebrand a forward looking company with a font that was, by then, almost 18 years old? The subsequent lacklustre response to the redesign didn’t inspire the tidal wave of R&D funding Earth2 had anticipated, and the company went into administration in the summer of 2039, having never invented the time travel which made the release of Galix Mono in 2019 possible. Experts believe that the files sent back in time, although their very sending made it impossible for them to be sent, remained as “time relics” of the future that might have been.

Alvardo is a retro and vintage bold script font. This font is PUA encoded which means you can access all of the glyphs and stylistic alternates with ease! It is looking great on product, headlines, magazines, logos, poster, branding and many more!. Use this font to bring your design back to the oldies!

Sortemun is a modernist display font based on heavy metal band graphics with a touch of horror movies from the 70/80’s. Bold, mysterious and vampiric it’s suitable for use in various projects such as rock/metal albums, scary games, horror movie titles, swag graphics, headlines, book covers, Halloween based parties etc.

Comicraft's President and Tiger Rank-and-File (recently demoted from First Tiger for kissing a girl) stayed up all night with a big box of crayons and created a unique series of illustrations which, we confidently predict, will be widely known as the last word in comic book lettering fonts... 'NUFF SAID!

We were quite often asked to create heart font with modern letters, stepping back a little from a calligraphic look (Hi, Sophia Ronald!) Palm Honey beautifully works for modern wedding stationery projects. Palm Honey has beginning lowercase, ending lowercase, connecting heart lowercase alternates. You can test your custom text in the box above!

DonJulio is a handwritten most-of-the-time connecting script, that dates back to the 1930s in Germany. We tried to keep it as true to the original as possible, conserving the shaky and uneven appearance of those days. DonJulio can be mixed together with its very embellished sister font Donna Julia.

Soft Rock is a bold condensed sans serif with rounded contours that contrives to be gentle and dynamic at the same time: rather like the soft rock bands (Chicago, Air Supply, Fleetwood Mac etc) after which it is named. It's a warm, friendly font ideal for branding everything from soup to soft furnishings.

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.

The Daemon is the cheap alternative for you to easy create a logo for your band or whatever. It comes with a basic characterset and a little bunch of symbols and signs often used in the extreme music sector – classical stuff from Death- and Blackmetal like pentagrams and crosses, drips, roots and branches.

Morse Font is a cool alternative for you to easily create a logo for your Underground band or whatever. Using alternate front and ending letters brings the font to life, It comes with a basic character set and a small group of symbols and signs often used in the extreme music sector.

Morse Font is a cool alternative for you to easily create a logo for your Underground band or whatever. Using alternate front and ending letters brings the font to life, It comes with a basic character set and a small group of symbols and signs often used in the extreme music sector.

For the angular, blocky look, the future is Ferrocarbon! Designed primarily as a title font, I created it way back in 2013 and promptly forgot about, so I'm releasing it to the world now. it's meant to be used for your tech and sci-fi uses, but don't let us stop you there!

Reo is a novel two layered, display font with a decidedly retro look and feel, inspired by the toothy grins of 1930�s and 40�s era truck grilles and the gleaming, streamlined efficiency of the automat. Reo Front (Foreground) is where all the detail resides, and Reo Back provides a background layer.

Spiggie is a sans-serif, whose name came to me on a Shetland beach. The beach traces a tight curve between the shoreline and the sea paralleled in the fonts controlled yet smooth character. The design language reaches back to the art deco period and the 1920s, yet retains a distinct modern flavor.

With packaging in the back of my mind I created Crema only in one specific weight. But there are 3 styles from the connected Forte to the quiet Piano. You can see Schoko the other packaging scripts I designed everywhere in the supermarkets. And I am looking forward to see Crema as well.

Ardenson is an invitingly delightful script with a retro flair. Inspired by apartment signage of the 1950s and 60s, Ardenson strikes a vintage note that also feels at home in the present time. Perfect for any logo, signage, label design or any other project that needs a unique charm and laid back attitude.

Kavarian Serif is a handmade Modern Elegant Serif Handmade Typeface, which is combining modern and classic typography with some awesome alternates. Yes we went back to early 1800s, to bring classic touch on this decade. Ligatures: - va ri sn ti gi Font Include: - Ligatures - Multi-lingual support Thanks for use this font. MaulanaCreative.

Hello Babies is a quirky and laid-back handwritten font. Whatever the topic, this font will be a wonderful asset to your font library, as it has the potential to enhance any creation. Hello Babies is PUA encoded which means you can access all of the amazing glyphs and ligatures with ease!

Hypotermia is very stylistic so you can easily create a logo for your band or whatever. It comes with basic characters and a group of symbols and signs that are often used in the extreme music sector - classic items from Death- and Blackmetal such as pentagrams and crosses, droplets, roots and branches.

Many fonts have carried this name. Ours goes back to just before 1900 in France. This general style had considerable popularity among job printers all over Europe. We have even seen it used for name imprints on medical school diplomas, which seems a bit grotesk. Surely you can do something better with it.

Vendor JNL is Jeff Levine's take on the popular ribbon font of the Victorian Era, but using a vertical type (Trade Journal JNL) rather than skewed letters. End caps for the ribbon can be found on the left and right parenthesis, and a blank panel is on the hyphen key. Limited character set.

Ready Kid is a versatile, funky display typeface that is inspired by freehand signpainting with a dose of childhood nostalgia. It's perfect for children's birthday party invitations, punk band marketing, or packaging for art supplies. There are six sets of stylistic alternatives, 340+ ligatures, and 1200+ glyphs that cover over 200 languages.

Newsreel Caps JNL is a novelty caps-only outline letter with cast shadow set inside film frames. Although the design idea itself is not new, this version is based on lettering from a vintage piece of sheet music for a song featured in the movie "Fox Movietone Follies". The font is a wink and nod to Fox's long-running newsreel series called "Fox Movietone News". The upper case keys have black letters on a white frame, while the lower case keys have white letters on a black frame. A blank white frame is on the period key; a blank black frame is on the comma key. Use this font for individual initials, set the characters loose for effect or set them tight (as provided) for a continuous film strip.

Hand lettering found across the sheet music cover of 1931's "Bend Down, Sister" [from the Eddie Cantor film "Palmy Days"] covered a couple of varying Art Deco styles; both made with a round-tipped pen nib. Deco Pen JNL combines the best of both styles into one design that's available in both regular and oblique versions.

What is a brutalist typeface? The exact definition is anyone’s guess. Regardless, the Nomos superfamily is our take on the genre. Like the eponymous architectural style, Nomos is raw, direct, and honest. Its unrefined aesthetics reveal an orderly construction that is as firmly rooted in classic modernism as in the internet age—with simple, functional letterforms and the blunt convergence of diagonal and vertical stems. The low-contrast Nomos Slab subfamily has 18 styles and a set of 1000+ characters. Its tense curves let it shine in contemporary applications such as UI/UX design, AR/VR apps, and multimedia branding everywhere from banking to beverages. Pairs gracefully with Nomos Sans.

Gothic Tuscan One is a all-cap condensed gothic with round terminals and decorative “tuscan” center spurs. It was first shown by William H. Page of Norwich, Connecticut among his wood type specimen pages of 1859. Gothic Tuscan One exemplifies the strength of decorative wood types: large, simple type forms that provide the visual boldness sought by advertisers of the Victorian period. While our marketing has gotten so very sophisticated, there is always a place for simple, visually strong typeface. Although about 14 miles inland, Norwich lies at the head of the Thames River. The river is both wide and deep, and therefore was not bridged in the early 20th century. From the 17th century until then, if you wanted to get from Groton on the west bank to the whaling port of New London on the east bank by land, you had to had to go by way of Norwich. Because of its size, the Thames is navigable all the way from Norwich to New London. Docks were built in Norwich around 1685 and the city became Connecticut’s 2nd largest port by 1800. With the construction of the Norwich & Worcester Railroad in 1835, Page could easily ship his wood type north by rail or south by coastal schooner. Included with our font, Gothic Tuscan One, are two 19th century printer’s ornaments of sailing ships similar to those that sailed up the Thames to Norwich. There is also a more contemporary glyph of a whale, looking quite pleased that the only whaling ship left in Connecticut is the Charles W. Morgan, permanently moored at Mystic Seaport. Reference: Moon’s Handbooks, Connecticut 2nd Edition (Emeryville CA 2004). Gothic Tuscan One ML represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Added glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 332 glyphs. 2. Added OpenType GSUB layout features: pnum, ornm and dlig. 3. Added 330 kerning pairs. 4. Revised vertical metrics for improved cross-platform line spacing. 5. Redesigned mathamatical operators 6. Included of both tabular (std) & proportional numbers (optional). 7. Refined various glyph outlines. Please note that some older applications may only be able to access the Western Europe character set (approximately 221 glyphs). The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

If you're looking for the perfect font to make your logo stand out, then look no further than Brandan font. This modern and cool font is sure to give your logo, text, or any other design element a unique and eye-catching look. Whether you're looking for a font for a logo, lettering, website, or something else entirely, Brandan font has got you covered. Plus, it looks great on both light and dark backgrounds, so you know your design is going to look nice no matter where it's seen. Check out Brandan font today and give your design a professional edge!

The hand lettered title found on the cover of the 1932 sheet music for “Dancing Marathon” inspired the digital revival of this unusual lettering as well as the font’s name. This eccentric Art Deco design (with a slight bit of Art Nouveau mixed in) is a thin, monoline typeface. Dancing Marathon JNL is available in both regular and oblique versions. Dance marathons got their start during the Great Depression as people desperate to earn a few dollars would enter into contests that went on for hours until the last couple remained standing on the dance floor.

a grunge gothc font

MB NEGATIVESPACE was inspired on a trip to Birmingham with my wife, seeing a billboard with the main text and parts of it missing. The idea is to use it sparingly; use a good amount of tracking to fill in the blanks and it works even better. Great for headlines, displays logotypes and short texts.