Rasteroids is a typographic flashback to computing of the mid 1980s, when 9-pin dot-matrix printers were the state of the art, and most home computer displays were TVs hooked up to RF modulators. Rasteroids not only captures the dot-matrix printer look, but recreates the rasterized appearance of text on those lower-resolution monitors. Unlike that dot matrix type of yore, Rasteroids does have some variation in character width, and is legible in small blocks of copy. Still, it is best used sparingly, or as a special effect.

Decalcomania JNL is based on examples of gold and black water-applied initial decals made by the Transfer Monogram Company of Chicago circa the 1940s. It is presumed the patterns for the letters were hand cut, possibly explaining the variations in line widths and character shapes. These eccentricities were left intact and followed through to the other characters in order to represent a more "authentic" digital version of these vintage decals. Decalcomania JNL is available in both the regular (outline) version, and a solid black version, as well as obliques of both styles.

Elida JNL was modeled from an image of some wood type for sale online. Although the type design most likely has its roots in the classic Bodoni, there were a few characters in the original wood type that had a bit of a square or block shape to them. Those characters were modified in order to keep with the overall roundness of the other characters. The name Elida JNL comes from a small town in New Mexico. Available in six styles: Regular, Oblique, Extra Condensed, Extra Condensed Oblique, Ultra Condensed and Mega Condensed.

KampIngriana 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 Ingriana, a friendly, soft face, and KampFriendship, which mimics a serifed face drawn by hand. The original blending had many oddities that I did not clean up until 2020. It originally had five styles: regular, italic, bold, bolditalic, and extrabold. Medium, mediumitalic, semibold, semibolditalic, and extraboldItalic were added in 2022.

Munika is a modern sans serif born from the equilibrium between geometric shapes and humanist details. Its lines were forged with the concept of clarity in mind, to make it the perfectly accessible typeface. This global family comes in 9 weights plus matching italics, with ligatures that facilitate readability and the alternative letter “a” in both versions. These features were conceived to further expand the range of use of the type system, to offer multiple aesthetic and technical options. Munika’s unique personality and fresh style make it perfect for a rebrand. Multilingual support is available.

Gesto is a extra wide retro sans serif with modern design. Gesto is a display typeface designed for use in wide size. Inspired by style design that is a currently popular. Gesto have some alternative letter and ligatures to make it easier for you to choose a letter that fits your design. Gesto is perfect use poster, headline, cover books, t-shirt and all you needs of every idea that you will pour in this modern era. Gesto was build 535 glyphs with numbers, punctuation, symbol with +75 languages.

This family was inspired from a lot of 1848-1850 French engraved documents reproducing handwritten texts talking about the Paris' insurrection days in June 1848 (described by Victor Hugo in Les misérables) . It seems that all were first written using quill pens, as the strokes are too much heavy and bold for metal pens and even though the engraver work is very fine. We have added only a few characters, most of them were present in the originals. The TTF and OTF versions are enriched with more than 50 ligatures or alternate characters.

The inspiration for this typeface family came from my childhood experiences at West Monkton, amidst an historic part of the South West of England. Studies of the original incised capitals of the Trajan column in Rome were analysed and polished for this modern version. The lower case letterforms and numerals were then created in sympathy, taking their proportions from the incised letters of local gravestones. Its name honours not only the area where the original alphabet was conceived and drawn, but also the people responsible for fostering my initial interest in letters.

Peleguer typeface is the reinterpretation of the characters that the valencias goldsmiths Peleguer Manuel, father and son had opened and merged between 1779 and 1783 on behalf of the Royal Economic Society of Friends of the Land of Valencia “in order to create a Factory letters. Then during that time, reached 6 degrees of open letters (small pica, pica, gross pica, text, great primer and double pica). It appears that the letters never were done, and were themselves Manuel Peleguer who kept the punches and dies, leading to create a foundry-printing which only came out 5 or 6 books or documents for the single year of 1784 . One of these books, “Praise in the solemn funeral service …” made ​​with the degree of “gross pica” samples were selected to take the characters for subsequent drawings on the following parameters for the unity and a contemporary look to the source: Keep the proportions of the original source (but unifying the shapes of the serifs, as these were different according to repose at baseline or in descending order). Match the counterforms and match the fallen traces from the cursive. En short, “catch” the formal essence of the source and following update current typographic design criteria to achieve a source with good legibility and subtle personality.

Elevate your design game with the Bueno Font Family, a stunning creation by the talented team at FolkCraft Studio. From extra light to extra bold, each style boasts a unique, detailed, and handmade look that sets it apart. Dive into the world of possibilities with Bueno Font. Experience its captivating allure in all caps with wide spacing for a classy aesthetic, or let it shine in a mix of capital and lowercase letters for a timeless appeal that transcends trends. Envision the Bueno Font Family as the centerpiece of your creative projects. Its versatility makes it perfect for gorgeous logos, captivating displays, elegant headers, enchanting invitations, memorable save-the-dates, and timeless wedding designs. Imagine the impact it can have on titles, web layouts, and comprehensive branding strategies. Don't miss out on the opportunity to enhance your designs with the Bueno Font Family! Ideal for online uses and printing, this font collection is your ticket to creating sophisticated and stylish visuals that leave a lasting impression. Perfect for a wide range of applications, from logos to web layouts, this font family is a must-have for designers seeking to make a statement.

Linotype Scrap is part of the Take Type Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contests of 1994 and 1997. The font is available in two weights and was designed by German artist Ingo Preuss. It is as though the forms of the basic weight were cut with scissors out of pieces of paper. There are no inner contours, only the outer silhouettes. The capital letters which make up Scrap Bonus are set on black rectangular backgrounds and are white and framed with a white contour. This weight includes a number of different pictograms which were also not spared the scissors. The decorative Linotype Scrap embodies the comic style of the 1990s and is meant exclusively for headlines of points sizes 18 and larger.

Rostin is a modern monospaced typeface with half-open forms of characters. Contains 8 fonts. 4 regular and 4 true italic. Weights from ultralight to bold. Including modern and futuristic stylistic alternates. The typeface was designed to read well in small sizes (from 15px) and be bright in large sizes. With these characteristics and a wide palette of weights Rostin has a huge potential area for usage. Ideally suited for musical covers, posters, logos, street wear, movie titles, packaging, editorial, web and applications - here he will always be gorgeous. With a wide variety of alternate characters you can make your design bright, memorable and modern. Opentype features: old-style figures, fractions, stylistic alternates, superscript and subscript.Multilingual support: Latin, latin extended, cyrillic and cyrillic extended (more than 75+ languages)

This font set is the second in a series from P22 Type Foundry based on the lettering styles of Frank Lloyd Wright. Created in 1931, the Exhibition lettering was intended primarily to accompany Frank Lloyd Wright's exhibition drawings and models. Many of the 72 Extras were designed to form continuous linking borders. Combinations of these geometric forms can provide endless variations of decorative elements in the style of Frank Lloyd Wright. Many of these images were based on Mr Wright's "Saguaro Forms and Cactus Flowers" illustration for an unused Liberty magazine cover of 1926. Other imagery in this set was derived from assorted geometric designs by Wright. Exhibition Regular, Light, and Bold have been remastered and now contain almost 400 characters including support for Western and Central European languages.

Italian poet and author, Francesco Pastonchi was commissioned to produce a new edition of the Italian Classics but was unable to find types which satisfied his needs. He decided to embark on designing a new typeface, assisted by Professor Eduardo Cotti at the Royal School of Typography in Torino. Early printed works, manuscripts and inscriptions were carefully studied before drawings were presented to Monotype for matrix production. A process of careful refinement of the design was carried out in the Monotype Type Drawing Office before the typeface was ready for manufacture. Pastonchi is a Venetian style face with a fresh, almost exotic appearance, ideally suited to classical works such as poetry and short stories. The Pastonchi font family has beautiful character shapes that also make excellent display and advertising copy.

Re-drawn from examples of vintage wood type, Primitive Tuscan JNL captures the essence of early letterpress printing of the 1800s; the styles of which were most closely associated with the Old West.

Frankfurt - a clean, display sans serif with great versatility. With multiple weights, this typeface can be used to create a wide range of designs looking to achieve a fun, modern, and youthful look.

Designed by Les Usherwood. Digitally engineered by Steve Jackaman. A few weights were originally released by another foundry; but this complete version of the family is a better match to Les’ original drawings!

The days of hot metal may be behind us, but Anvil looks as if it has been forged in a smithy’s fire: a handsome, heavyweight display face that is both impressive and impactful.

Graphically drawn condensed bold style with abbreviated square serifs. PitchPipe was designed for all media and can be used in a wide range of point sizes. PitchPipe requires subjective display kerning and compensation.

Hypocrite is a wide and black display serif face with a hint of decay and black humor. Handle with care. Shelf-life unlimited. Designed by Alexander Lubovenko and released by Paratype in 2017.

These modern, handwritten letters can be used for fancy headings or images. The characters aren't oriented straight or orderly, but a bit random. So they look like they were written by a human.

Abaliss Sans is a contemporary typeface with strong stylistic geometric contrasts representing the shifting contemporary aesthetics. Its distinctive stance and wide-open counters allow the right visual consistency for branding and communications projects.

MatchPoint is a sports inspired typeface. It has been designed to look gorgeous on football jerseys or scoreboards and it fits into a wide range of sports, from football to soccer or hockey.

Nana is a classic joining script with long ascenders and descenders, that is based on a set of unique but forgotten initials that were designed in the roaring 20s and 30s in Paris.

Fishmonger originated from a commission of two fonts for the corporate identity of a fishmonger shop. When sketching the elementary principles for the lettering, the idea for a modern, extensive font family with a large number of styles was born. The first step consisted of defining the range of widths and weights. Then the master design Medium Regular was completed. The next step was adjusting the Extra Condensed Thin, the Extra Condensed Bold, The Extra Extended Thin and the Extra Extended Bold weights, as they are the vertices of an imaginary square map of the face. This meant that, in order to achieve a harmonious result, the x and y axis needed to be defined. From top to bottom, from the widest to the most condensed cut, the proportions are linear. However, from light to black, the line curves gently, allowing lesser difference between the light cuts, and a dramatic one between the heavier cuts. To ensure the original parameters were respected each position on the vertex was checked against the Medium Regular. After sorting out the ideal set-up, the remaining characters of each of the weights were drawn, and the remaining cuts were interpolated according to the principles above. Fishmonger is a functional, clean design, free of any buoyant, ornamental shapes, almost minimalist. Maybe this is what lends the type family its unique appearance.

Los Angeles’ distinctive “shotgun” style street signs were last produced over sixty years ago, but these durable porcelain and steel signs are still in use all over the city, by both humans and birds, who like to build their nests between the panels. The street names were drawn at wildly different widths to fit on panels which were manufactured in only one size. Beachwood faithfully re-creates the extreme range of widths & weights on these vintage signs, and adds a new matching lowercase. Use the Beachwood Variable font file to access any width, weight or italic angle between the presets — a technology 20th Century sign painters could only dream of! Each weight of Beachwood includes numbers based on the street signs, plus four alternate number sets based on the jerseys of Los Angeles' pro football teams. Beachwood is named for Beachwood Drive, the street which leads to the famous HOLLYWOOD sign, so we just had to include a bouncy HOLLYWOOD mode! FAMILY FEATURES: Five widths (from XTall to XWide), with eight Weights (from ExtraLight to UltraBold), each with matching italics Variable font to access any width, weight or italic slant EACH WEIGHT INCLUDES: 584 glyphs to support 223 languages in Western Europe, Central Europe, Vietnam and Oceania, plus Cyrillics Five styles of numbers, plus Tabular Lining for screen display Ordinals, Fractions and Arrows Hollywood mode!

From the standpoint of calligraphy, a font family of capitals and uncials makes perfect sense. The Roman square capitals, the quadrata, are matched by round capitals of older Greek origin; the word "uncus" means hook-shaped like a beak or talon. Interrelated and often interchangeable, these capital letters served as book hands for both the Latin West and the Greek-speaking East before they evolved into minuscule alphabets. The Testament family is based on the few formal capital manuscripts of the Bible, Virgil and Homer that have survived from the ancient world. Throughout the Middle Ages both uncials and square capitals were used, often together, for headings and initial characters. By their nature the Roman capitals are the voice of Caesar and hold the place of authority, while the uncials speak for the Church in a balanced relationship. In ancient times church and state were not as separate as they are now, and the alphabets were not as different as typographic tradition has made them. In this calligraphic rendering it is clear that they are of the same substance and can be written in the same style, conveying even to the modern eye the eternal and classical quality of epic and scripture. Testament comes in all popular font formats, and includes support for a vaster-than-usual range of Latin-based languages.

HD Colton is a 90-style super-sans from London Design Studio HyperDeluxe®. Using a combination of horizontal & vertical terminals along with squarish ovals, it is built with a confident structure that feels so much more than a neutral sans, it feels iconic. Engineered in 5 widths, compressed to extra wide, and in nine weights, HD Colton features a huge 90 styles that will offer your brand ultimate flexibility and variation in one font family. The black weights will help bring prominence to your brand while the light to mid weights will help you tell your story at a smaller size. HD Colton includes 1200+ glyphs per style, providing you with a workhorse sans that supports 200+ languages including extended Latin, extended Cyrillic and basic Greek. Also included are 5 stylistic sets, 2 arrow sets & numerous OpenType features (see last poster for complete list). The HD Colton complete family package comes with a single, 3-axis variable font so you'll have an infinite amount of combinations and uses for you to experiment with and add that touch of finesse to your visuals. Variable fonts are tech friendly providing smaller sizes for developers to work with, while also being responsive and used for motion design on the web. HD Colton key features: 3-Axis Variable Font. 90 Styles. 1200+ Glyphs Per Style. 5 Widths (Compressed, Condensed, Regular, Wide, Extra Wide). 200+ Languages Supported. Extended Latin, Extended Cyrillic, Greek Support. Stylistic Alternates for some key glyphs (J, Q, G, l, &, Arrows). Extensive OpenType features.

Feisty (2020) is a straight script bold using magic OpenType automatically at mimic real hand lettering. Use it for magazine, fashion, invitations, greeting cards, bussines card, logo, t-shirt, web banner, book cover, campaign and watermark photography. Feature Presents an advanced OpenType to automatically choose the appropriate letter shape as you type based on whether the letter appears at the beginning, middle or end of a word. The width of the bar in the lowercase "t" can be changed as desired. Has two different styles of caps: Normal caps, which are the same style as the lowercase; and a type of Comic font, plain caps for setting acronyms, roman numerals or any other case that calls for all caps. With extended language support for most Latin-based Western and Central European languages. Automatic all fractions. *Requires an application with support for OpenType advanced typography, such as Adobe Creative Suite and QuarkXPress.

Blue Plaque is a distressed font that simulates the low relief, white-painted lettering on English Heritage plaques attached to buildings where famous people have lived. For creating mock plaques, a blank disk, with the English Heritage title at the top and the logo at the bottom, is included at the brace left { keystroke, and also at the section § keystroke. A blank plaque without the English Heritage title and logo is included at the bar | keystroke. A distressed English Heritage logo is included at the asterisk * keystroke. he outer ring of the blue plaques, which is glazed in dark grey, is included at the brace right } keystroke, and also at the plusminus ± keystroke. Photoshop's Outer Bevel Layer Style is perfect for adding a relief appearance to the letters. Buyers are welcome to request a 1000px jpeg image of a blank blue plaque by emailing K-Type directly https://www.k-type.com/contact/

Smart Sans is a personal tribute to Leslie (Sam) Smart, the first type director to be hired by a major typesetting house in Canada. Smart was a twentieth century design pioneer who raised the standards of Canadian typography. Together with three of his peers, he established the first Type Directors Club in Toronto. After Smart's death in 1998, type designer Rod McDonald decided that something should be done to commemorate Smart's life and achievements. I had first thought of establishing a scholarship in Sam's name, but a typeface design soon replaced this idea," says McDonald. "Once I decided to design a typeface, however, it became a foregone conclusion that it would be a sans serif - for no other reason than that I loved the name Smart Sans." Two typefaces served as inspiration for McDonald's work. "Like thousands of designers, I'm keen on Matthew Carter's Helvetica Compressed series. And, when I was younger, I also loved Fred Lambert's Compacta," says McDonald. "I thought there might be a place for a small range that could take over from these 'old workhorses' and, in the process, bring a fresher look to the genre." McDonald drew three weights for the Smart Sans family, all ideally suited for setting attention-getting headlines and powerful display copy. The two-storied 'g' contributes to the design's lively personality, and the short 'r' helps maintain tight, even spacing. Smart Sans is the perfect homage to a great typographer, because it raises the bar on what to expect from condensed sans serif typefaces. Sam Smart would be pleased."

CA Capoli is a fine script typeface with a vintage touch. Perfect for illustrative titles or logotypes. It comes in two styles, Regular and Stroke. The inspiration came during our trip to Italy, where we took a short rest in a bar during a hot day. We discovered a simple ceramic ashtray on the table. The word “Nido” was inscribed in a typeface that looked like it dated back to the 1950s. We made some investigations about the word, its meaning and origin but it still remains a big mystery. Was it the name of a hotel or a restaurant or some vintage Italian cigarettes? We don’t know. We were so amazed about the design of the logo that we decided to create a typeface out of it. A sophisticated endeavor because we just had four letters. How could the rest of the letters – if it ever existed – have looked like? Our hypothesis is CA Capoli. A typeface with a full Central European character set and some nice alternative letters to chose from. When we thought about “Nido” and its possible derivation of hotel business, we felt like creating a small side project for this typeface, a brand for a fictional hotel called Hotel Capoli with business cards, letterheads, a reception book, key fobs and embroidered patches for the service dress of the hotel service stuff. The Hotel Capoli is located at the wonderful beach of Cape Arcona on the fictional country of Arcona Islands where our type foundry is located.

Claude Garamond (ca. 1480-1561) cut types for the Parisian scholar-printer Robert Estienne in the first part of the sixteenth century, basing his romans on the types cut by Francesco Griffo for Venetian printer Aldus Manutius in 1495. Garamond refined his romans in later versions, adding his own concepts as he developed his skills as a punchcutter. After his death in 1561, the Garamond punches made their way to the printing office of Christoph Plantin in Antwerp, where they were used by Plantin for many decades, and still exist in the Plantin-Moretus museum. Other Garamond punches went to the Frankfurt foundry of Egenolff-Berner, who issued a specimen in 1592 that became an important source of information about the Garamond types for later scholars and designers. In 1621, sixty years after Garamond's death, the French printer Jean Jannon (1580-1635) issued a specimen of typefaces that had some characteristics similar to the Garamond designs, though his letters were more asymmetrical and irregular in slope and axis. Jannon's types disappeared from use for about two hundred years, but were re-discovered in the French national printing office in 1825, when they were wrongly attributed to Claude Garamond. Their true origin was not to be revealed until the 1927 research of Beatrice Warde. In the early 1900s, Jannon's types were used to print a history of printing in France, which brought new attention to French typography and the Garamond" types. This sparked the beginning of modern revivals; some based on the mistaken model from Jannon's types, and others on the original Garamond types. Italics for Garamond fonts have sometimes been based on those cut by Robert Granjon (1513-1589), who worked for Plantin and whose types are also on the Egenolff-Berner specimen. Linotype has several versions of the Garamond typefaces. Though they vary in design and model of origin, they are all considered to be distinctive representations of French Renaissance style; easily recognizable by their elegance and readability. Garamond Pemiere Pro was designed by Robert Slimbach, and released in 2005."

Polias is an all-caps uniwidth typeface inspired by an ancient inscription carved on a monoblock stone in hybrid characters — between no-contrast linear sans to low-contrast flared serif. The inspiring inscription is the dedication by Alexander the Great, discovered in the Temple of Athena Polias in the ancient Ionian city of Priene. Stanley Morison mentioned this inscription in one of his lectures: “The distinctive feature of this inscription consists of a consistent thickening towards the ends of perpendiculars and horizontals.” … “We have not the right to say that the serif was invented for Alexander the Great's inscription, only that this is its first datable appearance.” The letter proportions are almost identical to the original, but the stroke features have been reinterpreted and characterized. Serif-like nodes at the end of the strokes are subtle extensions that serve to accentuate rather than break its monoline elegance. With an analogy, they are not flowers, but like blooming buds. Polias is a flared sans typeface which is closer to sans-serif forms on the spectrum between sans and serif. It’s especially light looking by design to convey rather thin and white typographic color of its original monumental look. It comes in eight weights and a variable font, scaled from Thin to Bold. It is multiplexed, so the weights do not affect text lengths. Light weights are closely based on the actual carving of the inscription. Thicker weights can be used on smaller typesettings to compensate for the weight difference of larger letters’ strokes, and to keeping the monoline appearance of the entire text block intact. This method can be used for any purpose, such as setting a hierarchy between the lines or to justify their lengths. Some of the original letterforms have been preserved and stylistic alternatives such as Ionic four-bar Sigma, dotted Theta, palm Y are provided as open type feature. Some of the other ancient forms, such as the three-bar Sigma (S), the pointed U, were also added for both the Greek and Latin scripts. Polias is preferable for big type settings such as logos and headlines as a modern representation of perennial classical forms. Its a fine fit for product branding, movie posters, book covers, packaging materials, and more, which require an epic look to attracting attention with a distinctive elegance. Polias can be considered for distinctiveness wherever Roman Capitals work. As a noun, Polias is one of the epithets of Athena / Minerva, and in this case referring to her role as the protector of the city of Priene. Polias is one of the seven typeface designs in Esintype's ancient scripts of Anatolia project, Tituli Anatolian series.

Polias Varia is an all-caps uniwidth variable weight typeface inspired by an ancient inscription carved on a monoblock stone in hybrid characters — between no-contrast linear sans to low-contrast flared serif. The inspiring inscription is the dedication by Alexander the Great, discovered in the Temple of Athena Polias in the ancient Ionian city of Priene. Stanley Morison mentioned this inscription in one of his lectures: “The distinctive feature of this inscription consists of a consistent thickening towards the ends of perpendiculars and horizontals.” … “We have not the right to say that the serif was invented for Alexander the Great’s inscription, only that this is its first datable appearance.” In Polias Varia, the letter proportions are almost identical to the original, but the stroke features have been reinterpreted and characterized. Serif-like nodes at the end of the strokes are subtle extensions that serve to accentuate rather than break its monoline elegance. With an analogy, they are not flowers, but like blooming buds. Polias Varia is a flared sans typeface which is closer to sans-serif forms on the spectrum between sans and serif. It’s especially light looking by design to convey rather thin and white typographic color of its original monumental look. It comes in eight weights and a variable font, scaled from Thin to Bold. It is multiplexed, so the weights do not affect text lengths. Light weights are closely based on the actual carving of the inscription. Thicker weights can be used on smaller typesettings to compensate for the weight difference of larger letters’ strokes, and to keeping the monoline appearance of the entire text block intact. This method can be used for any purpose, such as setting a hierarchy between the lines or to justify their lengths. Some of the original letterforms have been preserved and stylistic alternatives such as Ionic four-bar Sigma, dotted Theta, palm Y are provided as open type feature. Some of the other ancient forms, such as the three-bar Sigma (S), the pointed U, were also added for both the Greek and Latin scripts. Polias Varia is preferable for big type settings such as logos and headlines as a modern representation of perennial classical forms. Its a fine fit for product branding, movie posters, book covers, packaging materials, and more, which require an epic look to attracting attention with a distinctive elegance. Polias Varia can be considered for distinctiveness wherever Roman Capitals work. As a noun, Polias is one of the epithets of Athena / Minerva, and in this case referring to her role as the protector of the city of Priene. Polias (family) is one of the seven typeface designs in Esintype’s ancient scripts of Anatolia project, Tituli Anatolian series.

AEONUS is a gothic font, an attempt to combine a wide-edged and pointed pen, while giving the font a readability that many gothic fonts lack. Angular shapes made strictly in 45 degrees and straight lines give the font a touch of futurism. A gothic, futuristic font that retains readability and makes a unique impression is the goal that was followed when creating the font. Aeonus also conveys the spirit of the occult and something dark. Aeonus is good for prints on clothes, posters, packaging, tattoo, merchandising, large headlines, logos, product design, and any other large font compositions.

Introducing Kajju, a premium font family designed to help you create visually stunning projects of any kind. Kajju San Serif comes in 18 different styles and has everything you need for your design projects. This is an all-in-one font pack with a wide variety of font styles to choose from. So whatever your needs, Kajju can do the job! of course, your various design projects will be perfect and extraordinary if you use this font because this font is equipped with a font family, both for titles and subtitles and sentence text, start using our fonts for your extraordinary projects.

Collection of ribbon geometrical ornaments, that were popular in Europe in the 16th and 17th centuries in the age of Mannerism. The given ornaments can be attributed to the styles of strapwork of bandelwerk.

Art Nouveau serif capitals and numerals in the 1917 instructional book “A Roman Alphabet and How to Use It” were the inspiration for Show Card Roman JNL; available in both regular and oblique versions.

San Pedro de Atacama is inspired by the north of Chile, which was based on rustic elements, 4 elements were added, which contains linear, filled and textured, also accompanied by "Ruina" for the titles.