The 1960 British film “Beat Girl” (released in the U.S. as “Wild for Kicks”) was a typical [for its time] story of a teenage girl looking to have some fun by hanging out with SoHo beatniks and going against parental authority. One of the posters for the film features the title in a condensed slab serif stencil form, with eroded edges. The basic letter forms were smoothed out and cleaned up resulting in Jazz Beat Stencil JNL, which is available as in both regular and oblique versions.

Bay Area Nouveau JNL is an ultra bold, Art Nouveau headline font inspired by hand lettering on the cover of a piece of 1911 sheet music entitled "The Only Pal I Ever Had Came from 'Frisco Town'".

A handlettered headline in the January 1953 issue of Park East magazine by wacko album artist Jim Flora provided the inspiration for this exercise in extreme lettering. Check out the [brackets] and the bullet point... like, endsville, daddy-o. Due to the complexity of this typeface, the font has no math operators. The Postscript and Truetype versions contain a complete Latin language character set (Unicode 1252); in addition, the Opentype version supports Unicode 1250 (Central European) languages as well.

Same Same, But Different is a loose, handwritten font with excellent legibility. It evokes post-it scripts, or notebook doodles and can be used virtually everywhere! Same Same But Different comes with extensive language support.

Funky Fat Jiggly PW is intended and suitable for Display use and Titles. It's not very suitable for long paragraphs of text. This font is meant for fun, fun, fun! It contains the basic characters. Uppercase, lowercase, numerals, and basic punctuation. See the character map for all of the included characters. Funky Fat Jiggly PW is available in OpenType, PostScript and TrueType format.

Searching the internet for interesting type ideas leads one to many unusual items for sale online. An antique, hand-cut metal stencil from France with the word “Bagagens” [luggage] provided a condensed Art Deco design in a semi-stencil format (some solid letters, others with traditional ‘breaks’ within the characters). The digital version of the type style has a more traditional stencil character set. Garment Bag Stencil JNL is available in both regular and oblique versions.

One of countless variations possible from the modular lettering system called "Super Veloz", developed by Spanish type designer Joan Trouchut-Blanchard in the 1930s. The name is a play on the old G.I. acronymn FUBAR, translated politely as "fouled up beyond all recognition". Both versions of this font contain the Unicode 1252 Latin and Unicode 1250 Central European character sets, with localization for Romanian and Moldovan.

Eat More Fruit JNL is an odd name for a typeface, but then again the lettering style of the font is just as unusual. Named for a 1940s-era poster espousing "Put more pep in your step... eat more fruit", the lettering (although Art Deco in nature) also evokes images of 1960s and 1970s hippie-era concert posters.

An image of a vintage metal stencil for the French wine region Côteaux du Tricastin [now Grignan-Les Adhemar] served as the inspiration for Wine Vat Stencil JNL. This condensed sans serif design is available in both regular and oblique versions.

This is almost a necessity if you are doing reproductions of mid-19th century posters and playbills.

Inspired by the hand lettered phrase “the pen is mightier than the sword” in a 1923 promotional blurb for Speedball lettering pens, Pen Nib Western JNL recreates the decorative style of this vintage artistic gem in both regular and oblique versions.

Sitting in a diner and looking upon a wall full of nostalgia, there hangs a picture of another older diner in some Northern city. The lettering from it's rooftop sign almost screams "Make a font out of this!"... so Jeff Levine did... "Hash and Beans JNL".

The title on the cover of Street & Smith’s “Wild West Weekly” for Jan. 27, 1934 made for an interesting contrast in terms. Here was a pulp magazine dedicated to stories of the Old West, but its title was hand lettered in an extra bold, squared shape style using a round pen nib – not exactly an alphabet that represented cowboys and desperados… This aside, this type style made for a good digital font revival, and it is now available as Bold Pen Lettering JNL in both regular and oblique versions.

To blend a handwritten style with a graphical aesthetic, Monotype designers paid attention to the balance between the two, hence harmoniously combine their qualities like a mix of tradition and modern. M Felt Pen references the unified stroke thickness and rounded terminals of rounded Heiti typefaces, imitating the fluidity of marker writing. The linked strokes are vivid and suggest the presence of the human hand.

The idea started with the 1934 sheet music of “Mazurka Amabile”. Its hand drawn title had most of the letters rendered in a rectangular shape [‘square’ in the sign trade] that featured rounded corners and terminals made by the shape of the lettering pen nib. A few letters were rounder in design than others, so those were scrapped in favor of a more consistent character shape throughout the font. Pen Nib Square JNL is available in both regular and oblique versions.

If you're regularly compelled to scrawl fiery French poetry, declare independence, or design indie folk albums, then Chris Watson's romantic Steel Pen typeface is for you. With old-school edge and spirited opentype alternates, it's as gallant as type gets.

Chalkboard or crayon-style handwriting with great legibility.

To blend a handwritten style with a graphical aesthetic, Monotype designers paid attention to the balance between the two, hence harmoniously combine their qualities like a mix of tradition and modern. M Felt Pen references the unified stroke thickness and rounded terminals of rounded Heiti typefaces, imitating the fluidity of marker writing. The linked strokes are vivid and suggest the presence of the human hand.

The 1920 edition of “How to Paint Signs and Sho’ Cards” by E. C. Matthews offered a number of examples of then-modern lettering styles for sign painters and show card writers. A bold display alphabet made with a round lettering nib is now available as Show Card Pen JNL, in both regular and oblique versions.

The hand lettered title on the cover of the 1938 sheet music for “If It Rains – Who Cares” featured a condensed Art Deco typeface made with a round nib pen. The square shaped characters with rounded corners were a perfect subject for a digital font revival, and are now available as Dip Pen Deco JNL, in both regular and oblique versions.

A 1935 song with the unusual title of "Dinner for One Please, James" had its title hand lettered on the cover of the sheet music with simple, condensed letters made by a round point dip pen. This has been reproduced in a digital font as Pen Lettering Sans JNL, and is available in both regular and oblique versions.

Iza and Paulo W (Intellecta Design) are proud to announce Van den Velde Script. A free interpretation of the work of the famous master penman Jan van den Velde, to be found in the “Spieghel der schrijfkonste, in den welcken ghesien worden veelderhande gheschrifften met hare fondementen ende onderrichtinghe. ” (Haarlen, 1605). Van den Velde Script has evocative ancient ligature forms from the XVII Century Dutch master penman Jan van den Velde. Your indescritible writing-book was important not only with regard to the specific period it represents, but also in relationship to the entire history of calligraphy as an art: Van den Velde is rightly credited with having introduced and perfected a new trend in Dutch calligraphy. Our font, Van den Velde Script merges modern necessities o better legibility without loose the taste of his archaic origins. This enhanced OpenType version is a complete solution for producing documents and artworks whith a evocative and voluptuous style of calligraphic script: - dozens of stylistic alternates for each letter (upper- and lowercase), accessed with the glyph palette; - historical ornaments and fleurons in the typical style (and motifs) from the XVII century at the Lower Countryes accessed with the glyph palette using the Ornaments feature); - an extensive set of ligatures (100s of contextual alternates plus discretionary ligatures) providing letterform variations that make your designs really special, resembling real handwriting on the page; - a tour-de-force kerning work: over 700 gliphs in this font was adjusted to your kern pairs handly. In non-OpenType-savvy applications it works well as an unusual and beautiful script style font. Because of its high number of alternate letters and combinations (over 700 glyphs), we suggest the use of the glyph palette to find ideal solutions to specific designs. The sample illustrations will give you an idea of the possibilities. You have full access to this amazing stuff using InDesign, Illustrator, QuarkXpress and similar software. However, we still recommend exploring what this font has to offer using the glyphs palette: principally to get all the power of the Contextual Alternates feature. You can has an idea of the power of this font looking at the “Van den Velde User Guide”, a pdf brochure in the Galçlery section. Two last things: take a special look at the Van den Velde Words (ready words) font and another super script font, Penabico. Van den Velde Script has original letters designed by Iza W and overall creative direction plus core programming by Paulo W.

This is the first true pixel-font released by CheapProFonts. It may not be the first font based on a 5x5 pixel grid, but it probably has the best language support. The glyphs have all been optimized for Flash (by making the pixel shapes slightly overlapping) and should render sharp and perfect when set in 10px size (or multitudes of 10). As with all pixelfonts: make sure to place the text at coordinates with whole numbers, and always use left (and NEVER centered) alignment. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Here is a faithful revival of Gothic Number Ten, released by the Cincinnati Type Foundry in the late 1800s. Not your garden-variety sans-serif, its quirky caps will warm up your headlines. Both flavors of this font feature the 1252 Latin, 1250 Central European, 1254 Turkish and 1257 Baltic character sets.

Chianti was designed at Bitstream by senior designer Dennis Pasternak in 1991 and initially released in 1995. The intent behind the design was to provide a humanist sanserif of high readability at a wide range of sizes and weights. Humanist sanserifs (others that fall into this category are Linotype’s Frutiger and Optima, and Monotype’s Gill Sans) are an attempt to improve the readability of sanserifs by applying classical roman structure to the letterforms. To enhance its versatility, Mr. Pasternak designed a wide variety of alternate characters, rare ligatures, ornaments and swashes. Chianti is a friendly sanserif useful for a broad range of typographic needs.

ALTERA a typeface based on a logotype André Toet made for a dutch broadcast company. This typeface is in fact carries a transformation in itself: it’s composed of three different weights and shapes. In our humble opinion the possibilities are endless ! So be a sport and use this typeface for logo’s and headings. Kick the can ! Concept/Art Direction/Design: André Toet © 2017

WYGGLE is a dynamic (capital) font taken from my Alphatool project. It’s an interesting typeface which can be used for interior and/or exterior (3D projects). Concept/Art Direction/Design: André Toet © 2017

This is an original font designed in the Art Nouveau style with strong influences by Arnold Boecklin.

POWERPLAY a monospace lowercase alphabet with a 3D twist. Designed by André Toet in 1976 (during his study at Central School of Art & Design, London, UK) and he redesigned this in 2011. The name Powerplay is based on the Battersea Power Station, London. The remarkable architecture of the building is also used as a decor for films and for one of the covers by Pink Floyd (Animals, the flying pig). Concept/Art Direction/ Design: André Toet © 2017

NATH !* Is a peculiar typeface. It’s design came by the fascination of Optical Illusions and 3D on a flat surface, like with Holborn and Powerplay. The typeface is named after a girlfriend of André Toet. *Made in the UK, 1974, London (Central School of Art & Design). (Redesigned 2013 by André Toet / Jasper Terra). Concept/Art Direction/Design: André Toet © 2017

British designer Thomas Oldfield, who brought you Hombre BT and Reaper, has scratched out another typeface, this one called Jerk Chicken BT. I guess, if you can imagine a quill tip pen somehow wedged 'tween a scrawny chicken's toes, you'd end up with the scrawl, blobs, blotches and bleeds that would make most type designers run for the hen house. Not Thomas; he saw only commercial potential. So lay down some scratch and order up some Jerk Chicken BT. Hey, while you're at it, why not extend the license to a dozen users? Available as an OpenType font, Jerk Chicken BT includes of a couple of ornaments, well parts, namely a drumstick and a whole fryer, and its extended character set supports Baltic and Central European languages.

Create dynamic Celtic knot work strings with the Celtic Knotwork-BA font. Characters are sections of knots that are derived from ancient Celtic manuscripts such as the Book of Kells. Combine the characters to make an endless variety of Celtic knot configurations.

Découpé Based on a French children’s play from 1906. In a car boot sale André Toet found a funny looking box containing a lot of cut out cardboard figures, in fact it looked a bit like a geometric puzzle! He played around a bit and succeeded to create a workable typeface with it ! The interesting thing about this particular font is, that in fact it’s organized chaos. The 26 letters of the alphabet are a mix between caps and lowercases, so within one word caps and lowercases will be used next to each other. It’s a very useful font for different projects. Concept/Art Direction/Design: André Toet © 2017

SPECX This is my #11/12 Font a slabserif typeface. In fact it’s a very, very basic and extreme strong typeface! We gave this new Font a special touch by adding an extra family-member: a stencil-version of the SPECX. My inspiration for the SPECX is based on the cover of a 1955 French School-Notebook. Concept/Art Direction/Design: André Toet © 2017

Gush Kettle is a distinct note font made manually with a pen contains 50+ ligatures with two alternative. Gush Kettle is great for branding, posters, logos, invitation, writing and headings. Feature Uppercase & Lowercase Number & Symbol International Glyphs Multilingual support Alternative Ligature Thanks so much for checking out my shop and feel free to drop us a message any time and follow my shop for upcoming updates