The Corporate ASE typeface trilogy was designed by Prof. Kurt Weidemann, a well-known German designer and typographer, from 1985 until 1990. This superb trilogy consisting of the Corporate A (Antiqua), Corporate S (Sans Serif), and Corporate E (Egyptian) is a design program of classical quality, perfectly in tune with each other. Weidemann says: “My ASE trilogy, quite like triplets, is in perfect harmony and covers all needs of modern typography!” Initially exclusively designed for DaimlerChrysler as a corporate font, the ASE trilogy may be now licensed and used without restriction. URW++ digitized the ASE for DaimlerChrysler and Prof. Weidemann and is the exclusive licensing agent for this outstanding and extremely popular typeface program. Meanwhile, URW++ enhanced the Corporate ASE family in regular, bold, italic, and bold italic by Greek, Cyrillic, and all additional Latin characters to cover Eastern Europe including the Baltic Rim, Romania and Turkey. Corporate ASE in regular, bold, italic, and bold italic is now available in the WGL 4 character complement.

The Corporate ASE typeface trilogy was designed by Prof. Kurt Weidemann, a well-known German designer and typographer, from 1985 until 1990. This superb trilogy consisting of the Corporate A (Antiqua), Corporate S (Sans Serif), and Corporate E (Egyptian) is a design program of classical quality, perfectly in tune with each other. Weidemann says: “My ASE trilogy, quite like triplets, is in perfect harmony and covers all needs of modern typography!” Initially exclusively designed for DaimlerChrysler as a corporate font, the ASE trilogy may be now licensed and used without restriction. URW++ digitized the ASE for DaimlerChrysler and Prof. Weidemann and is the exclusive licensing agent for this outstanding and extremely popular typeface program. Meanwhile, URW++ enhanced the Corporate ASE family in regular, bold, italic, and bold italic by Greek, Cyrillic, and all additional Latin characters to cover Eastern Europe including the Baltic Rim, Romania and Turkey. Corporate ASE in regular, bold, italic, and bold italic is now available in the WGL 4 character complement.

The Corporate ASE typeface trilogy was designed by Prof. Kurt Weidemann, a well-known German designer and typographer, from 1985 until 1990. This superb trilogy consisting of the Corporate A (Antiqua), Corporte S (Sans Serif), and Corporate E (Egyptian) is a design program of classical quality, perfectly in tune with each other. Weidemann says: "My ASE trilogy, quite like triplets, is in perfect harmony and covers all needs of modern typography!" Initially exclusively designed for DaimlerChrysler as a corporate font, the ASE trilogy may be now licensed and used without restriction. URW++ digitized the ASE for DaimlerChrysler and Prof. Weidemann and is the exclusive licencing agent for this outstanding and extremely popular typeface program. Meanwhile, URW++ enhanced the Corporate ASE family in regular, bold, italic, and bold italic by Greek, Cyrillic, and all additional Latin characters to cover Eastern Europe including the Baltic Rim, Romania and Turkey. Corporate ASE in regular, bold, italic, and bold italic is now available in the WGL 4 character complement.

Nora Art is based on Nora Grotesque . It transformed with variations of every letter by using different styles. This amazing font family is based on layer combinations and gives endless possibilities to make various designs. Each style could be used separate or merged in order to create any kind of design you can imagine! It is the perfect solution for logos, headlines and posters that really stand out.

This version of Goudy Text is based on drawings from which Frederic Goudy based his Goudy Text typeface. However, there is a big difference between his original drawings (in The Alphabet and Elements of Lettering) and the subsequent metal type version, and my version maintains the greater warmth (and irregularities) of the original drawings. Goudy's Lombardy caps look especially nice when used as initial capitals with Goudy Text.

Designed at ParaType (ParaGraph) in 1997 by Tagir Safayev. Based on a condensed style of DIN type family (Linotype Staff designers). That is a group of sans serif faces made to conform to the German Industrial Standard. Based on geometric style, they vary in width but not in weight. Light style was added in 2014 by Manvel Schmavonyan. Demi Bold style was added in 2020 by Isabella Chaeva.

The unusual mix of Art Deco lettering with a smattering of Art Nouveau characters found within Dance Partner JNL comes from a movie poster for the 1935 RKO picture "Roberta" starring Fred Astaire and Ginger Rogers. The musical was based on the hit 1933 stage play that introduced the song "Smoke Gets in Your Eyes". The play itself was based on the Alice Duer Miller novel "Gowns by Roberta".

This playful offering, suggestive of Cooper Black on some serious drugs, is based on the so-called “California” style of lettering used extensively in travel posters of the 30s to the 50s. This version is based on its interpretation by Carl Holmes in a Walter T. Foster artbook entitled ABC of Lettering. Both versions of this font include the complete Unicode Latin 1252 and Central European 1250 character sets.

Island Time JNL is based on the hand-lettered title from a piece of 1940s sheet music called "An Island Melody". This Art Deco typeface is perfect for projects where a clean, yet attractive headline font is needed. The font's name is based on the euphamism popular amongst Caribbean Islanders that when someone is excessively late for an appointment, date or event they are running on "island time".

Alcapone, a name based from legendary donuts on some brand, It's crunchy and melty. So, I've created this fonts while eating this meal. The Concept is Groovy, Retro & Psychedelic look. Created with a base on standard Serif fonts, playing with melted on the serif itself giving more weight to represent the grooviness and retro-ish look. Alcapone are good for Display, Header, Headline, Poster, Logos, or etc on a big typography.

Geometric font inspired by shop signs in 4 styles Anisette has sprouted as a way to test some ideas of designs. It has started with a simple line construction (not outlines as usual) that can be easily expanded and condensed in its width in Illustrator. Subsequently, this principle of multiple widths and extreme weights permitted to Jean François Porchez to have a better understanding with the limitations associated with the use of MultipleMaster to create intermediate font weights. Anisette built around the idea of two widths capitals can be described as a geometric sanserif typeface influenced by the 30s and the Art Deco movement. Its design relies on multiple sources, from Banjo through Cassandre posters, but especially lettering of Paul Iribe. In France, at that time, the Art Deco spirit is mainly capitals. Gérard Blanchard has pointed to Jean Francois that Art Nouveau typefaces designed by Bellery-Desfontaines was featured before the Banjo with this principle of two widths capitals. The complementarity between the two typefaces are these wide capitals mixed with narrow capitals for the Anisette while the Anisette Petite – in its latest version proposes capitals on a square proportions, intermediate between the two others sets. Of course, the Anisette Petite fonts also includes lowercases too. Anisette Petite, a geometric font inspired by shop signs in 4 styles So, when Jean François Porchez has decided to create lowercases the story became more complicated. His stylistic references couldn’t be restricted anymore to the French Art-déco period but to the shop signs present in our cities throughout the twentieth century. These signs, lettering pieces aren’t the typical foundry typefaces. Simply because the influences of these painted letters are different, not directly connected to foundry roots which generally follow typography history. The outcome is a palette of slightly strange shapes, without strictly not following geometrical, mechanical and historical principles such as those that typically appear in typefaces marketed by foundries. As an example, the Anisette Petite r starts with a small and visible sort of apex that no other similar glyphs such as n or m feature, but present at the end of the l and y. The famous g loop is actually inspired by Chancery scripts, which has nothing to do with the lettering. The goal is of course to mix forms without direct reports, in order to properly celebrate this lettering spirit. This is why the e almost finishes horizontally as the Rotis – and the top a which must logically follow this principle and is drawn more round-curly. This weird choice seemed so odd to its designer that he shared his doubts and asked for advise to Jeremy Tankard who immediately was reassuring: “Oddly, your new top a is fine, it brings roundness to the typeface, when the previous pushes towards Anisette Petite to unwanted austerity.” The Anisette Petite, since its early days, is a mixture of non-consistent but charming shapes. Anisette, an Art Déco typeface Anisette Petite Club des directeurs artistiques, 46e palmarès Bukva:raz 2001

It is the Ionian version of the ancient Greek script. Ancient Greek numerals are included. It's not Unicode, it's a Latin based font.

West Fork JNL is based on the classic wood type Latin Extended (Hamilton, 1888) and is available in both regular and oblique versions.

Record Promotion JNL is based on a stencil version of the same classic font that inspired Album Cover JNL and Record Jacket JNL.

Based on an engravers’ pattern plate, this outline form deriving from an English roundhand was fitted to linecasting matrices by Intertype about 1940.

JH Naskh Expanded font is designed based on Naskh calligraphy; it is typical for book covers including spine, headlines, short text paragraphs, poetry…..

In Carpenteria each letter is hand-designed based on a geometrical old mechanical style. You can use it for posters or impact graphics.

Chinese Herbs JNL gives an outline and cast shadow treatment to the lettering found in Chinese Menu JNL. Based on some old signage.

AntsyPantsy, BuggyFont, and MousyFont are based on the same design; only the building blocks—ants, bugs, and a stylized mouse—have been changed.

Cross Stitch Solid is based on upper case characters 14 stitches tall and contains the characters A-Z, numbers 0-9, and ampersand.

Developed at ParaType in 1996 by Alexander Tarbeev, based on PT Compact, 1991, by Vladimir Yefimov. For use in advertising and display typography.

JH Lea cursive is a school kids typeface; it is designed based on cursive handwriting , typical for children books, first hand calligraphy experience.

Shabby-chic calligraphic script based on hand-drawn characters. Will work well in boutique and vintage environments, conveying a romantic, hand-made touch.

Desk Jockey JNL features the same font found in Jeff's Levine's Mailbox Letters JNL (based on self-adhesive lettering), but without the rectangles.

Train OnTime and Train Delayed are based on the text used to display the destination info on the front and rear of trains.

Paramilitary JNL from Jeff Levine was modeled after a set of brass interlocking stencils and offers another choice in digital stencil typeface design.

AntsyPantsy, BuggyFont, and MousyFont are based on the same design; only the building blocks—ants, bugs, and a stylized mouse—have been changed.

Washington Heights JNL is a sans serif type design based on a vintage hand-made directional sign for the New York subway system.

This font family is based on the letterforms of a fin-de-siècle sans serifs, and comes in two versions - Roman and Shadow.

The Vtg Stencil series of fonts from astype are based on real world stencils. Have a look at the Vtg Stencil Ornaments A .

Blackwood is a sans serif headline face with a woodgrain effect. Based loosely on Grotesk, it has strong, solid forms with distinctive style.

Developed for ParaType (ParaGraph) in 1995 by Alexander Tarbeev, based on letterforms of various screen fonts. For use in advertising and display typography.

Woodlawn JNL is based on an open face wood type. A bold outline sans, this design is excellent for headline and titling applications.

It is the athenian version of the ancient Greek script. Ancient Greek numerals are included. It's not Unicode, it's a Latin based font.

AntsyPantsy, BuggyFont, and MousyFont are based on the same design; only the building blocks—ants, bugs, and a stylized mouse—have been changed.