It is said that imitation is the sincerest form of flattery. Daily Funnies JNL (available in both regular and oblique versions) was inspired by and somewhat modeled after the hand lettering of Walt Kelly, the creator of the classic “Pogo” comic strip.

Revista is a typographic system that brings together all the features to undertake any fashion magazine-oriented project. The font harmoniously blends different styles into a single big family, which consists of a Didone uppercase and small caps family—including 4 variants ranging from a monolinear Thin to Black with matching italics—and an Inline Black variant that works as a decorative alternative to the Didone fonts. Revista Stencil, one of its versions, comes with the same number of variants. Revista also comes with a Script Family that includes 5 weights, ranging from Thin (monolinear) to Black, contrasting in a tidily untidy way with many ligatures and alternates. You can choose between using stylistic alternates—if you want to give your designs a different untidy look, in the style of the modern calligraphy—or switching between different options if you are looking for a hand-written style. We highly recommend using the default contextual alternates and discretionary ligatures in order to take more advantage of this great font family. Revista includes 2 sets of dingbats, varying from zodiac signs symbols to technology symbols, and complementary ornaments in 3 different weights: Thin (monolinear), Regular and Black. All these features make Revista an ideal typeface for users to design to their liking! Photo by Fervent-adepte-de-la-mode

Introducing Sarasori, a typeface that effortlessly blends modern architecture and high-tech industrial design to bring you a unique and unconventional style. With its rectilinear display and technical serifs, this typeface is perfect for anyone looking to add a touch of precision and surrealism to their message. The machinelike feel of Sarasori is a testament to its precise and clean design. The unconventional letterforms and obscure vector logic come together to create a unique and mesmerizing effect that is sure to captivate your audience. Whether you’re designing a logo, a poster, or any other form of visual communication, Sarasori will help you deliver your message with a voice that is both modern and industrial. Sarasori is available in three different weights and italics, making it a versatile typeface that can be used for a variety of projects. Its sleek and polished appearance is sure to make a lasting impression, and its technical serifs add an extra layer of sophistication to your designs. So why wait? Embrace the boxy mechanical feel of Sarasori and take your designs to the next level with this unique and modern typeface. Order now and discover the surreal and precise voice that Sarasori can bring to your work. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Introducing "Mate" - a modern mecha font that pushes the boundaries of typographic design. Inspired by the sleek aesthetics of mecha machinery, this font combines hexagonal formations with a futuristic and cyberpunk visual language, giving your projects a bold and captivating edge. The "Mate" font captures the essence of the future with its hexagonal shapes meticulously integrated into each character. The geometric precision and interconnectedness of these forms create a visually striking and dynamic appearance. The carefully crafted letterforms evoke a sense of advanced technology and mechanical elegance, making them perfect for projects seeking a contemporary and cutting-edge look. With its cyberpunk-inspired design, "Mate" transports your audience into a world where technology and imagination intertwine. The font's sleek lines, sharp angles, and futuristic elements capture the essence of a dystopian future, adding an air of intrigue and sophistication to your designs. The unique hexagonal feels of "Mate" create a sense of interconnectedness and harmony within the letterforms. Each character seamlessly integrates into the next, forming a unified and visually captivating composition. Whether used in titles, logos, or headlines, this font demands attention and conveys a sense of progress and innovation. Unleash the power of "Mate" in your design projects to evoke the spirit of mecha aesthetics. Whether you're working on sci-fi book covers, gaming interfaces, futuristic posters, or branding for technology-driven companies, this font will effortlessly infuse your creations with a modern, cyberpunk-inspired charm. With "Mate," you have the perfect tool to unleash your creativity and redefine the boundaries of typographic expression. Let this modern mecha font propel your designs into a realm where imagination meets technology, and the future is brought to life in stunning visual form. This font is perfect for Logo designs, Gaming branding, Technology magazines, Sci-fi book covers, Cyberpunk posters, Futuristic product packaging, Robotics company branding, Virtual reality interfaces, Futuristic event invitations, Mecha-inspired apparel branding, Tech-themed websites, Dystopian novel covers, Futuristic movie titles, Cybernetic-themed party invitations, Gaming convention banners and many more! Mate features: A full set of uppercase Numbers and punctuation Multilingual language support PUA Encoded Characters OpenType Features Cyber Mecha Style +298 Total Glyphs

Worldly Even though it’s a new arrival, FS Brabo has seen the world. Designed by a Brazilian working in London and studying in Belgium under a Dutchman, it’s certainly well-travelled. And it was inspired by the extraordinary archive of early book typefaces at the world-renowned Plantin-Moretus Museum in Antwerp, while Fernando Mello was attending Frank Blokland’s Expert class Type Design course at the Plantin Institute of Typography. It was there that Fernando became engrossed in the collection of early metal type, matrices, punches and type samples by figures such as Garamond and Granjon. So much so that he took on the mighty task of developing ‘a beautiful, functional, serifed text font’ of his own. Heroic FS Brabo’s journey from sketch to font family took an epic three years, starting in Antwerp, continuing at Fontsmith in London, and reaching its conclusion back in Fernando’s home city of São Paulo. No wonder Fernando was reminded of another titanic face-off: that of Antwerp’s Roman hero of legend, Silvius Brabo, and the evil ogre, Antigoon. Brabo came to the town’s rescue after the tyrannical giant had been charging ships’ captains extortionate taxes and chopping off the hands of those who refused to pay up. Having finally downed Antigoon after a long and terrible duel, Brabo cut off the giant’s own hand and threw it into the river Scheldt, unwittingly giving the town its name: the Dutch for ‘hand-throw’ is hand werpen. What better way for Fernando to name his literary typeface than after the hero of Antwerp’s oldest tale? The garalde factor FS Brabo is not a revival, but a very much a contemporary, personal interpretation of a garalde – a class of typeface originating in the 16th century that includes Bembo, Garamond and Plantin, with characteristically rounded serifs and moderate contrast between strokes. Brabo’s ‘ct’ and ‘st’ ligatures, upper-case italic swashes and contextual ending ligatures – ‘as’, ‘is’, ‘us’ – all preserve the beauty and character of traditional typefaces, but its serifs are chunkier than a garalde. Their sharp cuts and squared edges give them a crispness at text sizes, helping to bring a beautifully bookish personality to hardworking modern applications. A workhorse with pedigree It may give the appearance of a simple, four-weight typeface, but FS Brabo has hidden depths beneath its simplicity and beauty. OpenType features such as cap italic swashes, contextual ending swashes – programmed only to appear at the end of words – and stylistic alternatives make this a complete and well-equipped typeface. Comprehensive testing was carried out at text and display sizes, too, to prevent counters from filling in. All of which makes FS Brabo a very modern take on a traditional workhorse serif typeface: colourful and versatile enough to adorn not just editorial projects but also signage, advertising and logotypes.

Worldly Even though it’s a new arrival, FS Brabo has seen the world. Designed by a Brazilian working in London and studying in Belgium under a Dutchman, it’s certainly well-travelled. And it was inspired by the extraordinary archive of early book typefaces at the world-renowned Plantin-Moretus Museum in Antwerp, while Fernando Mello was attending Frank Blokland’s Expert class Type Design course at the Plantin Institute of Typography. It was there that Fernando became engrossed in the collection of early metal type, matrices, punches and type samples by figures such as Garamond and Granjon. So much so that he took on the mighty task of developing ‘a beautiful, functional, serifed text font’ of his own. Heroic FS Brabo’s journey from sketch to font family took an epic three years, starting in Antwerp, continuing at Fontsmith in London, and reaching its conclusion back in Fernando’s home city of São Paulo. No wonder Fernando was reminded of another titanic face-off: that of Antwerp’s Roman hero of legend, Silvius Brabo, and the evil ogre, Antigoon. Brabo came to the town’s rescue after the tyrannical giant had been charging ships’ captains extortionate taxes and chopping off the hands of those who refused to pay up. Having finally downed Antigoon after a long and terrible duel, Brabo cut off the giant’s own hand and threw it into the river Scheldt, unwittingly giving the town its name: the Dutch for ‘hand-throw’ is hand werpen. What better way for Fernando to name his literary typeface than after the hero of Antwerp’s oldest tale? The garalde factor FS Brabo is not a revival, but a very much a contemporary, personal interpretation of a garalde – a class of typeface originating in the 16th century that includes Bembo, Garamond and Plantin, with characteristically rounded serifs and moderate contrast between strokes. Brabo’s ‘ct’ and ‘st’ ligatures, upper-case italic swashes and contextual ending ligatures – ‘as’, ‘is’, ‘us’ – all preserve the beauty and character of traditional typefaces, but its serifs are chunkier than a garalde. Their sharp cuts and squared edges give them a crispness at text sizes, helping to bring a beautifully bookish personality to hardworking modern applications. A workhorse with pedigree It may give the appearance of a simple, four-weight typeface, but FS Brabo has hidden depths beneath its simplicity and beauty. OpenType features such as cap italic swashes, contextual ending swashes – programmed only to appear at the end of words – and stylistic alternatives make this a complete and well-equipped typeface. Comprehensive testing was carried out at text and display sizes, too, to prevent counters from filling in. All of which makes FS Brabo a very modern take on a traditional workhorse serif typeface: colourful and versatile enough to adorn not just editorial projects but also signage, advertising and logotypes.

With some slight variation, Merchandising JNL was modeled from the lettering on a display box for Meyercord Decal letters and numbers. The phrase "make your own signs with decals" was lettered in a casual brush-like style, and is reproduced for the first time digitally.

A title card listing the supporting cast of the 1950 Humphrey Bogart and Gloria Grahame drama “In a Lonely Place” provided the hand lettered slab serif type design that served as the model for Post Production JNL – available in both regular and oblique versions.

In 1912 Gerard Meynell, with J.H. Mason, Ernest Jackson and Edward Johnston, commissioned this large x-height typeface modelled on Caslon’s designs from Pierpont and the Monotype Corporation as the text face for The Imprint, a short-lived magazine about fine printing and typography.

Heliotype was created by British artist Lee McAuley, who was inspired by Soviet Constructivist designs. Heliotype adds serifs to a sans serif model, allowing the characters to connect to one another. The strong, aggressive geometric appearance of Heliotype make it a great font for experimentation.

Tallahassee Chassis JNL was modeled from a toy alphabet rubber stamp set made in Japan and imported to the U.S. during the late 1950s and early 1960s. The lettering style somewhat resembled that found on the side of old railroad cars, buses or trolleys.

The hand lettered title and credits for the 1937 film “Easy Living” (starring Jean Arthur and Edward Arnold) featured playful, casual Art Deco sans serif lettering. This became the working model for Nice and Easy JNL, which is available in both regular and oblique versions.

Slabserif Grotesk JNL was modeled from an example of a wood type design called Antique Light Face, and is available in both regular and oblique versions. The numerals (although an odd fit to the overall design) make this vintage font quite unusual and charming.

The hand lettered title on the cover of the 1934 sheet music for "What A Night" not only acted as a design model for What A Night JNL but also as its namesake. The digital type face is available in both regular and oblique versions.

Hayfork JNL is based on a vintage wood type sanserif typeface from the 1880's. A font of similar design is Eckhardt Poster Display, which was modeled from a 1920's sign painter's handbook; no doubt getting its inspiration from this wood type's design.

Evening Paper JNL, one could say, was "culled from the headlines". It was. The front page headlines from some 1938 newspapers archived online were the basic model for this font. The typeface design goes back to a font first issued by Ludlow in the 1920s.

The range of subtle differences in the many different sized lettering stencils of the 1940s and 1950s allows for a wonderful library of authentic-looking stencil fonts. Storage JNL is another Roman (serif) type design by Jeff Levine and modeled from a 1950s stencil set.

Zodor JNL is modeled from the packaging for injection-molded plastic letters used as a teaching toy for youngsters in the early 1960s. The hand-drawn alphabet on the sides of the package was quirky enough to merit being made into a digital font.

Sign and Design JNL is a casual brush alphabet modeled after an Alf R. Becker design that appeared in Signs of the Times Magazine. Thanks to Tod Swormstedt of ST Media and the American Sign Museum for providing the reference material to make this font.

The Bitstream version of Caslon Bold of the American Type Founders, 1905. Based on William Caslon I’s first English Old Style typefaces of 1725. Caslon modeled his designs based on late 17th century Dutch types, but his artistic skills enabled him to improve those models, bringing a variety of forms and subtlety of details. Strokes in Caslon fonts are somewhat heavier than in earlier Old Style fonts, serifs are thicker and a bit stubby. Italic letters have uneven slope. A text set in Caslon looks legible and aesthetically appealing. Caslon is a favorite font of English printers for setting of classical literature. Cyrillic version was developed for ParaType in 2002 by Isay Slutsker and Manvel Shmavonyan.

The Bitstream version of Caslon 540 of the American Type Founders, 1902. Based on William Caslon I's first English Old Style typefaces of 1725. Caslon modeled his designs based on late 17th century Dutch types, but his artistic skills enabled him to improve those models, bringing a variety of forms and subtlety of details. Strokes in Caslon fonts are somewhat heavier than in earlier Old Style fonts, serifs are thicker and a bit stubby. Italic letters have uneven slope. A text set in Caslon looks legible and aesthetically appealing. Caslon is a favorite font of English printers for setting of classical literature. Cyrillic version was developed for ParaType in 2002 by Isay Slutsker and Manvel Shmavonyan.

Lens Grotesk is a Neo-grotesque type family of 16 fonts born as a result of a very conscious research in the field of the neutral Swiss aesthetic. There's a reason for all the prominent examples of this design like Helvetica and Univers to be used on a daily basis for more than 70 years and it's a simple one - they just work. The closed terminals, the low contrast, uniform widths and proportions makes the Neo-grotesques feel just right. Although very often branded as stiff, the neutral Neo grotesques are here to stay and Lens Grotesk is our own reading of the popular style. Lens Grotesk takes the Neo-grotesk model one step further adding a pinch of Geometric sans-serif to the mix thus creating a way more modern and contemporary looking design. Characterized with more generous oval proportions and slightly more open terminals, Lens Grotesk keeps the modulation and rhythm needed for a slightly longer texts while visibly keeping everything in order. Zooming in you'll find traces of the Geometric aesthetic - the robust almost right angled approach of the arches and tails (look t, f, j, y) and the way more circular rounded shapes. Like all our fonts, Lens Grotesk is equipped with a range of OpenType features, stylistic alternatives and of course Cyrillic support. It comes in a pack of 16 fonts with 8 styles and their matching italics or one variable font file available with all full family purchases. Live Tester | Download Demo Fonts | Subscribe

Designed by Malou Verlomme of the Monotype Studio, Macklin is a superfamily, which brings together several attention-grabbing styles. Macklin is an elegant, high contrast typeface that demands its own attention and has been designed purposely to enable brands to appeal more emotionally to modern consumers. Macklin comprises four sub-families —Sans, Slab, Text and Display— as well as a variable. The full superfamily includes 54 fonts with 9 weights ranging from hairline to black. The concept for Macklin began with research on historical material from Britain and Europe in the beginning of the 19th century, specifically the work of Vincent Figgins. This was a period of intense social change--the beginning of the industrial revolution. A time when manufacturers and advertisers were suddenly replacing traditional handwriting or calligraphy models and demanding bold, attention-grabbing typography. Typographers experimented with innovative new styles, like fat faces and Italians, and developed many styles that brands and designers continue to use today, such as slabs, serifs, and sans serifs. Verlomme pays respect to Figgins’s work with Macklin, but pushes the family to a more contemporary place. Each sub family has been designed from the same skeleton, giving designers a broad palette for visual representation and the ability to create with contrast without worrying about awkward pairings. With Macklin, Verlomme shows us it’s possible to create a superfamily that allows for complete visual expression without compromising fluidity. Macklin™ font field guide including best practices, font pairings and alternatives. Featured in: Best Fonts for Websites

Orlando is the work of British designer Freda Sack. It is an all capital, outline typeface including a complete set of swash initials and an array of stunning flourishes designed especially for this typeface. Orlando was inspired by and modelled upon 19th century antique type styles.

Koerier means 'Courier' in Dutch and is a reference to the classic font it was modeled on. Each glyph was hand drawn, giving the font a unique look and feel, making it an ideal typeface for ads, posters and packaging. Comes with a full range of diacritics.

Orlando is the work of British designer Freda Sack. It is an all capital, outline typeface including a complete set of swash initials and an array of stunning flourishes designed especially for this typeface. Orlando was inspired by and modelled upon 19th century antique type styles.

In a vintage photograph, promotional signage outside an old theater for the 1929 early sound film “The Doctor’s Secret” had lettering in a wide, bold Art Nouveau slab serif design. This was the model for Talking Picture JNL, which is available in both regular and oblique versions.

Paviljoen (meaning Pavilion or Gazebo in Dutch) is an Art Deco typeface which was modeled on cast-iron lettering on some monumental buildings in Amsterdam. I only had a few glyphs to work with, so I designed the remaining ones myself. Paviljoen comes with extensive language support.

Konscript is a distressed typewriter face developed from analog samples from papers Mary Browers typed in the 1950s for her high school coursework. The model and age of the typewriter are not known. Additional characters were developed based on the analog samples to complete the character set.

Stencil Sheet JNL was modeled from an antique brass stencil sign that was custom hand punched for the customer. Sets of punch dies were available for years that allowed rubber stamp shops and similar trades to make custom stencils out of sheets of zinc or brass.

Modeled from an example in the book “Lettering” by Harry B. Wright (1950), the poster alphabet shown was reminiscent of the kind of style used in the early 1900s by sign painters and show card artists. Vintage Poster JNL is available in both regular and oblique versions.

Vox Populi was modeled after an early 17th century Latin translation of a Greek epos. It is a cursive typeface with a rough edge to it - not unlike the rather decayed original. Vox comes with a whole bunch of alternates and ligatures for that ‘ancient parchment look’.

The opening title sequence for the 1958 film “The Long, Hot Summer” was hand lettered in a free-form style as if painted with loose paintbrush strokes. This served as the model and inspiration for Summertime Breeze JNL, which is available in both regular and oblique versions.

Recreation JNL is Jeff Levine's own take on a popular vintage typeface from the late 50s or early 60s that's seen a resurgence in recent years. While the basic alphabet is somewhat modeled from the classic design, all the other characters in the font are original.

Solid Deco JNL was modeled after a small sign with the word "restaurant" in an unusual Art Deco solid lettering style. It was spotted within the same image of the Lenox Lounge in New York which gave forth the neon letters that became Sign Sans JNL.

Sometimes lettering without any frills or formality gets a message across better than the use of fancier typefaces. The simple charm of the hand-lettered phrase "Safety Comes First" found on a vintage WPA (Works Progress Administration) poster served as the model for Basic Lettering JNL.

Favorite Stencil JNL is inspired by and modeled after the classic hot metal typeface "Ludlow Stencil"; a design that enjoyed popularity around the 1950s and is not to be confused with Ludlow's similarly-named "Stencil" which was released in 1937. Available in both regular and oblique versions.

Cnabel, is a display font inspired by the Art Nouveau movement, particularly by Slovenian book illustration from the period. It�s a modern interpretation that took some characteristic features. It has no contrast, large x-height, and rather wide proportions. The typeface feels constructed and futuristic, but at the same time, it has sinuous round lines that provide an organic feel. Its unconventional shapes guarantee a unique design experience. Good for posters, branding, headlines, logotypes, covers. Easy to use, fits nicely to different materials, attracts attention. It supports European languages, has alternates characters, OpenType features, and ligatures. It�s in 3 weights: thin, regular, and bold. It� contains 357 glyphs.

Paprika is a cute script with a slight messy touch. It is inspired in the modern calligraphy trends, therefore, sometimes it can be seen as an elegant typeface or as an spontaneous font; it depends on the context in which it is being used. This is the first W script, making our catalogue wider and more eclectic, all thanks to our new team member Isabel La Rivera. Paprika includes capital swashes, contextual ligatures, alternatives letters, and extras, making this project perfectly suited for several areas of graphic design. Learn about upcoming releases, work in progress and get to know us better! On Instagram W Foundry On facebook W Foundry wtypefoundry.com

The idea for Gilman started simple enough, a serif typeface that works well for large amounts of text. However, after many struggles creating a quality typeface digitally, I decided to first draw the complete alphabet by hand on paper, and then trace that digitally. The result is a unique workhorse typeface with a subtle “human touch” that is very rare in this modern technological age. Gilman has extensive language support and comes with many opentype features like true small caps, tabular lining figures, stylistic alternates, ligatures and more. Gilman Sans (derived from the serif) is an excellent compliment and works together harmoniously with Gilman on the page.