The 1960s was the most tumultuous decade of the 20th century. Sixties Symbols JNL collects twenty-six icons and phrases from that time of change and unrest including the peace symbol, a dove, a daisy—even the militant 'power fist' that signified rebellion against mainstream society. There's also a blank lapel button on the Y/y keys and a blank protest poster on the Z/z keys for your own special message. For the more daring, the left and right brace Keys {and } have the 'one finger salute' the radical hippie factions displayed generously. Use that one with discretion!

More Printing Helpers JNL gathers another assortment of vintage printing embellishments and ornaments from the late 1800s. Within the standard twenty-six alphabet keys are pointing hands, corner pieces, border elements and decorative center and end pieces. On the lower case, certain elements have been flipped or inverted for matching effects. Some additional positions are available on the 1 through 9 keys and on the colon and semicolon. A bonus to this font: three expandable panels. the first (with decorative end caps) is attained by typing the left parenthesis for the left side, the hyphen for the center lines and the right parenthesis for the right side. The second one features ribbon ends, and the combination of the less than-equal-greater than keys creates this panel. The third design can be made by typing the left brace/vertical bar/right brace keys.

by MaGo in Fonts Display Niceto Typeface is a sans serif display font family designed for logotype design. Using its different variations (included in 4 fonts) you may archieve unique headlines and phrases to emphasise your brand. It's cool and clean yet warm, and it may communicate many personalities, according to its different uses. This font family includes: Niceto Regular (286 glyphs) Niceto Smallcaps (381 glyphs, including alternates!) Niceto Shadow (286 glyphs) Niceto Shadowline (286 glyphs) This font is PUA encoded, so you may access ALL characters included, to be used on your design software. Please search for "PUA encoded fonts" if you are not sure how to access them! Under Type1 encoding, supports 64 languages. With all its possibilities, Niceto may be as flexible as your needs require, giving you all the freedom to design!

Tough Guy JNL gets right to the point of your headline in a strong and charismatic way.

Jilly Bean is what happens when art deco meets pizzadude... Or is it the other way around?

Began is square and round, athletic and unapologetic. It may be just what you are looking for.

An old narrow Grotesque from Stempel’s early days (possibly Information Bold Condensed) revived and revised for photocomposition.

Tobacco came about from the drawing programs and the way they display a line with control points.

Bourton is the sans-serif cousin to Burford. In addition to a new look, it boasts more layering options, stylistic alternatives, graphic extras and even comes with its own script font! For a hand-drawn look, check out Bourton Hand Okay… so here’s everything you get with Bourton! Bourton Layering Fonts • 6 Base Layer Fonts (Base, Inline, Marquee, Stripes A, Stripes B, Stripes C) • 6 Top Layer Fonts (Base Drop, Dots, Line Light, Outline Light, Outline Medium, Outline Bold) • 6 Extrude Fonts (Extrude, Outline, Shade A, Shade B, Shade C, Shadow) • 5 Drop Shadow Fonts + 5 solo styles (Drop Shadow, Drop Extrude, Drop Line, Drop Stripes A, Drop Stripes B) • 2 Line Fonts for secondary text (Line Medium, Line Bold) Bourton Script • Light • Bold Bourton Extras Ornaments, banners, frames, borders, flags and line break (OTF, EPS, AI with User Guide for OTS) Flourishes (OTF, EPS, AI with User Guide for OTS). Happy Creating!

A friend of mine says that sports are the ultimate popular drug. One of his favorite things to say is, “The sun’s always shining on a game somewhere.” It’s hard to argue with that. But that perspective is now the privilege of a society where technology is so high and mighty that it all but shapes such perspectives. These days I can, if I so choose, subscribe to nothing but sports on over a hundred TV channels and a thousand browser bookmarks. But it wasn't always like that. When I was growing up, long before the super-commercialization of the sport, I and other kids spent more than every spare minute of our time memorizing the names and positions of players, collecting team shirts and paraphernalia, making up game scenarios, and just being our generation’s entirely devoted fans. Argentina is one of the nations most obsessed with sports, especially "fútbol" (or soccer to North Americans). The running American joke was that we're all born with a football. When the national team is playing a game, stores actually close their doors, and Buenos Aires looks like a ghost town. Even on the local level, River Plate, my favorite team where I grew up, didn't normally have to worry about empty seats in its home stadium, even though attendance is charged at a high premium. There are things our senses absorb when we are children, yet we don't notice them until much later on in life. A sport’s collage of aesthetics is one of those things. When I was a kid I loved the teams and players that I loved, but I never really stopped to think what solidified them in my memory and made them instantly recognizable to me. Now, thirty-some years later, and after having had the fortune to experience many cultures other than my own, I can safely deduce that a sport’s aesthetic depends on the local or national culture as much as it depends on the sport itself. And the way all that gets molded in a single team’s identity becomes so intricate it is difficult to see where each part comes from to shape the whole. Although “futbol” is still in my blood as an Argentinean, I'm old enough to afford a little cynicism about how extremely corporate most popular sports are. Of course, nothing can now take away the joy I got from football in my childhood and early teens. But over the past few years I've been trying to perceive the sport itself in a global context, even alongside other popular sports in different areas of the world. Being a type designer, I naturally focus in my comparisons on the alphabets used in designing different sports experiences. And from that I've come to a few conclusions about my own taste in sports aesthetic, some of which surprised me. I think I like the baseball and basketball aesthetic better than football, hockey, volleyball, tennis, golf, cricket, rugby, and other sports. This of course is a biased opinion. I'm a lettering guy, and hand lettering is seen much more in baseball and basketball. But there’s a bit more to it than that. Even though all sports can be reduced to a bare-bones series of purposes and goals to reach, the rules and arrangements of baseball and basketball, in spite of their obvious tempo differences, are more suited for overall artistic motion than other sports. So when an application of swashed handlettering is used as part of a team’s identity in baseball or basketball, it becomes a natural fit. The swashes can almost be visual representation of a basketball curving in the air on its way to the hoop, or a baseball on its way out of the park. This expression is invariably backed by and connected to bold, sleak lettering, representing the driving force and precision (arms, bat) behind the artistic motion. It’s a simple and natural connective analysis to a designer, but the normal naked eye still marvels inexplicably at the beauty of such logos and wordmarks. That analytical simplicity was the divining rod behind Fan Script. My own ambitious brief was to build a readable yet very artistic sports script that can be a perfect fit for baseball or basketball identities, but which can also be implemented for other sports. The result turned out to be quite beautiful to my eyes, and I hope you find it satisfactory in your own work. Sports scripts like this one are rooted in showcard lettering models from the late 19th and early 20th century, like Detroit’s lettering teacher C. Strong’s — the same models that continue to influence book designers and sign painters for more than a century now. So as you can see, American turn-of-the-century calligraphy and its long-term influences still remain a subject of fascination to me. This fascination has been the engine of most of my work, and it shows clearly in Fan Script. Fan Script is a lively heavy brush face suitable for sports identities. It includes a variety of swashes of different shapes, both connective and non-connective, and contains a whole range of letter alternates. Users of this font will find a lot of casual freedom in playing with different combinations - a freedom backed by a solid technological undercurrent, where OpenType features provide immediate and logical solutions to problems common to this kind of script. One final thing bears mentioning: After the font design and production were completed, it was surprisingly delightful for me to notice, in the testing stage, that my background as a packaging designer seems to have left a mark on the way the font works overall. The modern improvements I applied to the letter forms have managed to induce a somewhat retro packaging appearance to the totality of the typeface. So I expect Fan Script will be just as useful in packaging as it would be in sports identity, logotype and merchandizing. Ale Paul