Park Avenue Park Avenue was designed by R.E. Smith in 1933 for American Type Founders. Park Avenue is an elegant and light script with freely drawn capitals. Park Avenues pen-drawn quality is particularly evident in the lowercase. The ascenders and descenders of this script font are long; the ascenders are bent-over at the top. Park Avenue has a small 'x' height with tall ascenders, giving the face a refined, elegant appearance. The full elegance and lightness of Park Avenue are only apparent when combining upper and lowercase. It would be worthwhile trying this script in display sizes, for personal messages, invitations, business cards and greetings cards.

Rickslord is an uppercase display font that transports you back in the early 20th century. Some characters show high contrast between thick and thin strokes, creating a dramatic visual impact, while others maintain a more consistent weight for a balanced appearance. This blend of contrasts adds an unexpected dynamic quality to the text, making every word a work of art. Beautiful ornaments are included as a bonus. Rickslord fits in headlines, logos, branding materials, and many more.

Introducing our latest display typeface called Luxurist Vintage - Display Vintage Serif with Ligatures can make your logotype become more interesting. Best Vintage font with special ligatures and multilingual support. inspired by the decorative arts and architecture movement Luxurist Vintage fonts is perfect for your project and allows you to create designs, headlines, posters, logos, badges, t-shirts and many more that are beautiful. It is also best used for posts, logos, posters, certificates, labels and more

Empire Display is a sans serif italic display face which references the styling of the 30s through to the 50s. It has a large x height and with its condensed proportions makes it ideal for headlines, posters or where large size settings are required. It has the unique feature of having the stems and cross bars slightly angled top and bottom. This also helps to create the art deco/modern feel that sets it apart from standard condensed typefaces.

A vintage rubber stamp alphabet and star printing set had a package header with Art Deco-inspired lettering describing the product. Sold by a company called Elvin [circa late 50's-early 1960s], these Japanese-made sets were one of many distributed by independent toy importers and made in various configurations including [at times] tiny animal stamps. The type design on this particular item was the model for Retro Packaging JNL, available in both regular and oblique versions.

The original idea of the Dada font and randomness was given new life with the introduction of OpenType programming. P22 Dada Pro includes over 500 glyphs of letters and images and can be used to create Dada inspired typography by simply selecting various OpenType features. P22 Dada Pro was released in 2006 as "Dada Special Edition" to coincide with the "First Major International Dada Museum Exhibition in The United States" at the National Gallery of Art.

At the end of the 1931 gangster film “The Public Enemy” a hand lettered card offers up an afterword on the demise of Tom Powers (James Cagney’s character in the film) and how a “public enemy” is neither a man nor a character but a problem society must deal with. The text is in an Art-Deco influenced sans serif, and has been digitally recreated as Afterword JNL, which is available in both regular and oblique versions.

Brody’s fonts borrow elements from both Art Deco and non-Western styles. His designs received international recognition for their innovative, computer-oriented style, reaching almost cult status. Four original Brody fonts are available from Linotype Library GmbH: Insignia, Industria-Solid, Industria Inline and Arcadia. For your convenience, we have gathered all four into one package. Industria is a font which speaks of mechanical exactness, cool and reserved. Industria Inline is a lighter version of Industria Solid.

This font owes its inspiration to the Bauhaus, the celebrated 1920s design collective which more or less invented modernism as we know it in the applied arts: from architecture and industrial design to graphics and typography. In its day, Bauhaus typography would have been considered brutally modern. Nowadays, when unadorned sans serifs are commonplace, it still has a freshness and quirkiness that sets it apart. With this new release I've tried to recapture the zeitgeist of those pioneering days.

Coin Ding Dong pixel Font inspired from 8 bit game with beautiful stylized pixelized, game machine really reminds me of my childhood, with coins you can play it, in my country machine games are called "dingdong", inspired me to create this pixel font name. Really Beautiful font to covering your Project, like For Game Names, Poster art, Magazine, Branding, Logos, and more your project design. - Unique glyphs - Multilingual Characters - UPPERCASE - Lowercase - Numeric - Symbol - Punctuation Character - PUA encoded inumoccatype

The beautiful Art Deco monoline pen lettering on the cover of a 1940s piece of sheet music inspired Central Park JNL. The 1940s was an era when couples took romantic walks along the pathways of Manhattan's Central Park or rode around it in hansom cabs. Big bands played at the major clubs and ballrooms and "uptown" meant the well-to-do. Men dressed in their tuxedos and top hats and the ladies were in their jewels and evening gowns.

Neva Regular with Italic was created by Moscow book and type designer Pavel Kuzanyan (1901-1992) at Polygrafmash in 1970 for slugcasting and display composition. Based on simple strict letterforms of Russian classical typefaces. Neva typeface was rewarded on the Gutenberg international type design contest in 1971 (Leipzig). The typeface is useful in text and display composition, in fiction and art books. The digital version and bold styles were designed for ParaType in 2002 by Lyubov Kuznetsova.

Introducing our latest display typeface called Blind Qualifier A unique Fonts with vintage taste can make your logotype become more interesting. Best Vintage font with special alternative glyphs, and multilingual support. inspired by the decorative arts and architecture movement Blind Qualifier fonts is perfect for your project and allows you to create designs, headlines, posters, logos, badges, t-shirts and many more that are beautiful. It is also best used for posts, logos, posters, certificates, labels and more.

Introducing our latest display typeface called Walker Knight A unique Fonts with vintage taste can make your logotype become more interesting. Best Vintage font with special alternative glyphs, and multilingual support. inspired by the decorative arts and architecture movement. Walker Knight fonts is perfect for your project and allows you to create designs, headlines, posters, logos, badges, t-shirts and many more that are beautiful. It is also best used for posts, logos, posters, certificates, labels and more.

Designed for ParaType in 2003 by Tagir Safayev. The typeface was inspired by some of the Cyrillic letterforms of Sergey Chekhonin (1878-1936). Chekhonin belonged to the World of Art group, which is so closely associated with the flowering of Russian book and theater design at the beginning of the 20th century. For use in advertising and display typography. Serp & Molot has been adjugded Award of Excellence in Type Design of 'bukva:raz!' ATypI International Type Design Competition, 2001.

Maisee is a smiling sans serif face for many occasions and has proved itself in art catalogues, wine lists, websites and many other situations. Full of retro influences, it sits elegantly on today's page or screen. A useful modern font which doesn't sacrifice form and charm for space, Maisee is characterised by a generous x-height and a roundness of form based on gentle spirals. Numerals and math characters are tabular from ExtraLight through to SemiBold.

Chelsea Girls is a bold sans serif display font with cheeky details that make it special. The vibrant letterforms are inspired by New York City in the 1970s—experimental art, handpainted signage, and manic nightlife energy. Chelsea Girls comes with a set of alternates, so you can mix and match to your heart’s desire. Chelsea Girls features all uppercase characters with punctuation, glyphs, diacritics, numerals, and multilingual support. Perfect for logos, headlines, packaging, editorial, and posters.

A photo of the now closed [circa-1953] Lowell Municipal Pool (at 1601 N. 28th St.) in Boise, Idaho shows the words “Municipal Pool” formed into the cement of the entrance to the above-ground swimming facility. Both the lettering and building entrance designs harken back to the Art Deco era and the sign features stencil-like characters. This inspired a typeface aptly named Municipal Pool JNL, and is available in both regular and oblique versions.

This is a digital reinterpretation of Walter Huxley's 1935 evergreen "Huxley Vertical", which was originally cast for American Type Founders. A timeless classic which has been in use since the Art Deco era, this version is known as Hotel Suite JNL. As in the original metal type, alternates for A,K,M,R,W and Y are available and can be found on their respective lower case keys. Hotel Suite JNL is available in both regular and oblique versions.

Hey there! I'm happy to introduce to you my new ethnic-based font. Hurray! It was long and hard work because every glyph is unique. I sketched each letter of the font. Each letter is uniquely designed and has nordic folk art in the background. What you will get: Filled and Regular styles Icons and patterns font Uppercase (lowercase glyphs are same) Numbers and symbols Multilingual support Please feel free to request to add characters you need: kaer.pro@gmail.com

Inspired by the elegance and sophistication of Hollywood's Golden Era, Oscar is a lyrical nod to the pinnacle of cinema achievements, the Academy Awards. Its slim, graceful features are accentuated by undulating triple waves. Delicate yet study, it will handily support messages both solemn and joyful. Use Oscar when you wish to convey a sense of celebration and prestige, a reference to the era of Art Deco and the 1920s or, a feeling of grace and ceremony.

“I Don't like No Cheap Man” is a piece of early 1900s sheet music featuring its title hand lettered in a condensed slab serif design. The influences of the Art Nouveau era are clearly found in the many eccentric character shapes within the various letters of the original artwork. Recreated in digital type, Tightwad JNL is available in both regular and oblique versions – and its font name is a variant of the “Cheap Man” portion of the song’s title.

This typeface was originally designed in 1930 by W.A. Dwiggins as the cover for the book American Alphabets by Paul Hollister. Only the 26 letters of the alphabet were included on the cover, so the rest of the numbers, punctuation, symbols, and accented characters have been crafted in a matching style. This strongly geometric Art Deco lettering style has been lovingly revived and is now available as an OpenType font. Over 3,300 kerning pairs are included.

Isbellium is a sans serif version of Dick Isbell’s Americana type, designed in 1967 and the last type cut in metal by the American Type Founders Co. (ATF). Isbellium retains the large x-height, open character, wide stance and elegance of Americana, but with a quieter voice and polite authority. Isbellium is a display face with broad Latin support along with small caps, fraction support and other typographic niceties are included in the ten font family.

Precursors to Torrone, the fonts are found among the type experiments of Art Deco artists in 1930’s Europe. Fonts of this type with chunky, geometry-driven lower case letters combined with somewhat flamboyant, brush-influenced upper case can be found in the logotypes for Mignon Chocolate Factory in Germany and Baci bon-bons still in use today by Italy’s Perugina Candies. Torrone includes alternate lower case characters and full Central European glyph sets with over 550 characters included!

Peter Schnorr was a German artist/illustrator of Art Nouveau period (called Jugendstil in Germany and Austria). He was quite adept at calligraphy and did a variety of commercial work, including business signs. He designed at least four different alphabets and collaborated with Bruce Rogers on advertising work and title page designs for books. One of their clients was the publishing house of Houghton Mifflin. I have not been able to discover anything else about him, but I suspect he might be the grandson of the Bavarian artist Jules Schnorr von Carolsfeld, who was once commissioned to do a mural by Ludwig II of Bavaria (whose famous castle was copied by Disneyland). Schnorr did not give individual names to his fonts. Where there is no historical name, we like to follow the tradition initiated by Bauer and name fonts after their designer, with a descriptive adjective in the designer’s native language. Gestreckt is German for stretched or elongated. An interesting deign detail of this typeface is the cross bar of the “T” --it is NOT symetrical. The right hand side extends only 88% as far as the left hand side (a ratio of 9:8). I presume this was done for a more pleasing letter fit. Today Schnorr’s design is frequently offered under the name “Ambrosia.” However. close inspection will usually reveal that the serifs have been treated differently. I believe our font has a greater fidelity to the original design. Please also compare the design of the various auxiliary characters to those in other fonts. Often they are either borrowed from an inappropriate font of a different period or are missing altogether. We make every effort to design characters that are in keeping with the overall design and spirit of the typeface. For example, see the superscript Registered Trademark symbol (0174) and the Double s (0223). I think both are quite successful. Schnorr Gestreckt ML represents a major extension of the original release. In addition to the standard 1252 Western Europe Code Page with character slots up to decimal position 255, there are glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. There are also two alternate letter forms, one ornament and seven ligatures with Unicode codepoints (Private Use Area) and OpenType aalt, ornm & liga GSUB layout features. There are a total of 318 glyphs and 351 kerning pairs. Please note that some older applications may only be able to access the Western Europe character set (approximately 221 glyphs). This release also incorporates a redesign of several glyphs: the comma, quotes, acute accent, and grave accent.

Very close thematically and in style to the rest of our “whimbats” (the Absurdies, Bizarries, Illustries, Genteta and Whimsies series), the Ombres contain a number of peculiar silhouettes and illustrations of people that range from cute to scary, with everything in between. Ombres offers152 pictures in 3 files. These imaginary characters were produced with different techniques: quick pencil sketches, ink, watercolour, though once digitized and simplified to bring them into the font files there is little apparent difference. The silhouettes, rather than flat shadows are more dimensional in their look, because they have been digitized retaining the original brushwork or pencil strokes of their source drawings. Some of them remind of the venerable tradition of metal stock cuts from vintage type foundries. The digitized results are quite different, but the energetic nature of the subjects has been mantained. Their vectorial file format means you can use them at any size with no loss of quality. Every Ombres dingbat offers ready-made images for a variety of creative projects. They can be used as they come or easily customized in any graphics program. At small sizes they are ideal spot illustrations with a whimsical touch; at large sizes they can bring a whole page, a spread or even a big poster to live.

Chicago Ornaments is a collection of decorative cuts cast by the Chicago Type Foundry of Marder, Luse & Co. of 139-141 Monroe Street in Chicago, Illinois. This collection was shown in their 1890 Price List. According to William E. Loy, at least some of them were designed by William F. Capitain. Chicago was one of the innovative Midwest type foundries, introducing the American Point System. These designs represent the late Victorian period. After 1890, with the posters of Jules Cheret taking Paris by storm, Art Nouveau gradually began to displace Victorian style. In type design, both styles competed against each other until about the end of the century. Designers may want to consider using these ornaments when using Victorian style typefaces, like our Cruickshank, Edison and Freak - as well as faces by others such as Karnac, Kismet and Quaint Gothic. Included in the font are a set of Dormer-inspired caps, numerals and a few other glyphs - also from the Victorian period.

It all began with an ellipse. Like an artist who goes from a pictorical logic to a more abstract one, in Elipses geometry is stripped of any distractive or ornamental detail. The font is naked and it shows that it does not need complex shapes or decisions in order to be very attractive. The font is a compendium of ellipses and stems, with a didone 'pensiero'. It also gets some inspiration from the art-deco letters and architecture, due to obvious reasons. Geometry at its best. Elipses will be useful for magazines, books, ads, or any piece of design that needs elegant letters. Note about the styles The styles named "Alt" (from Alternative) have their swashes with less loops. Use them if you are more into naked geometry. Apart from many alternates and ligatures, I've included some different sized glyphs in all the styles so you can also play on the rhythm! Have fun!

DecoSpring is a decorative art-deco family that was inspired by one word in an advertisement in a 1978 edition of my local newspaper. I could not find a typeface that matched it so decided to create one, which became DecoSpring-Regular. It is caps only, with an alternative set of capitals on the lower-case keys. Characters with very thick stems invite interior decoration and I opted for floral decorations. DecoSpring-Flowers can be used alone or it can be layered on top of the regular style to create colored flowers. Changing the width of the bolder stem resulted in two more style, the light and thing styles. Another set of four styles, the Simple set, was formed by eliminating the split in the stems by merging the two parts. All the DecoSpring faces are display faces to be used in small doses, and especially the bolder ones, at large point sizes.

Tellumo, a new humanist geometric sans serif typeface, has all the attributes you need for a workhorse sans with a few surprising details. It has moderate proportions, a low stroke contrast, open apertures, and an x-height that makes it drive with ease in running text. A modest range of six weights, from Thin to ExtraBold, make it versatile without being overwhelming. The lightest and heaviest weights are best saved for headlines and subheads. It features a set of swash caps that can add magnitude and sparkle to short headlines, making it excel in packaging designs. Tellumo feels at home with Mid-century Modern and Art Deco aesthetics. It looks precise, tidy, and welcoming for architecture and home goods. It looks clean, fresh and modern for beauty and wellness, or elegant and approachable for fashion. It has a balance of clarity and personality, suitable for branding and advertising of all kinds, print & digital design alike. Tellumo radiates warmth, charm, and joyfulness from its geometric foundation.

Truecolor is a bold and distinctive brush font that commands attention. The characters in this font are characterized by their robust, square forms, which give the font a sense of solidity and reliability. Each letter is meticulously designed to maintain a cohesive and balanced appearance, adding an air of authority and visual impact to your text. It has the power to transform your text into a striking focal point, ensuring that every word is seen and remembered. In addition, you can also enjoy the features here. Features: Ligatures Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Truecolor fits in headlines, logos, posters, flyers, branding materials, print media, editorial layouts, and many more designs. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Genesis is a digitization and expansion of a Frank Riley metal typeface called Grayda, originally published to much applause by ATF in 1939. The concept for this disconnected script is quite novel and original among cursives and calligraphic fonts: The minuscules are mostly made with slightly clubbed strokes, which becomes clearly visible in the ascenders and descenders. This alone gives the face a bubbly appearance unlike any other. The formula is completed with two sets of beautiful calligraphic majuscules and a few alternates. The character set of Genesis boasts full support for Western, Central and Eastern European languages, as well as Baltic, Celtic/Welsh, Esperanto, Maltese, Turkish and Vietnamese. Genesis is available for all platforms and in all popular formats. Genesis Pro, the OpenType version, is where the caps and a few other variations alternate stylistically at the push of a button in OT-savvy applications. Genesis Pro also contains class-based kerning.

Tellumo, a new humanist geometric sans serif typeface, has all the attributes you need for a workhorse sans with a few surprising details. It has moderate proportions, a low stroke contrast, open apertures, and an x-height that makes it drive with ease in running text. A modest range of six weights, from Thin to ExtraBold, make it versatile without being overwhelming. The lightest and heaviest weights are best saved for headlines and subheads. It features a set of swash caps that can add magnitude and sparkle to short headlines, making it excel in packaging designs. Tellumo feels at home with Mid-century Modern and Art Deco aesthetics. It looks precise, tidy, and welcoming for architecture and home goods. It looks clean, fresh and modern for beauty and wellness, or elegant and approachable for fashion. It has a balance of clarity and personality, suitable for branding and advertising of all kinds, print & digital design alike. Tellumo radiates warmth, charm, and joyfulness from its geometric foundation.

ATTENTION CUSTOMERS :) There's a new Selfie available, have a look here; Selfie Neue is better done and more complete in every aspect. However, you can stay here if you still prefer the classic version. -But first, let me take a Selfie!- said that girl of the song and almost all of you at least once this year. While some terms and actions get trendy, some font styles do it too. It wouldn't be crazy to combine these worlds, in fact it happens often. Selfie is a connected sans serif based in vintage signage scripts seen in Galerías of Buenos Aires. These places are, in general, very small shopping centres which pedestrians sometimes use as shortcuts to get to other parts of the city. Their dark corridors take you back in time, and all of a sudden you are surrounded by cassettes, piercings, and old fashioned cloth. For some reason, all these shops use monolined geometric scripts. Surely, neon strings are easier to manipulate when letterforms have simple shapes. My very first aim with Selfie was to make a font that would serve as a company to those self-shot pictures that have become so popular nowadays. However, the font turned into something more interesting: I realised it had enough potential to stand-alone. Selfie proves that geometry itself can be really attractive. In this font, elegance is not achieved with the already-known contrast between thicks and thins of calligraphy, but with the purity of form. Its curves were based in perfectly shaped circles which made the font easy to be used at different angles (some posters show it at a 24.7º angle) without having problems/deformities. In addition to its nice performance when used over photographs, the font can be a good option for packaging and wedding invitations. TIPS Adding some lights/shadows between letters will for sure catch the eye of the viewer: Words will look as if they were made with tape/strings; so trendy nowadays. Try using Selfie at a 24.7º angle so that the slanted strokes become perfectly vertical. Having the decorative ligatures feature (dlig) activated is a good option to see letters dance. TECHNICAL It is absolutely recommended to use this font with the standard ligatures feature (liga) activated. It makes letters ligate perfectly and also improves the space between words.

Ocean Beach is a fun, retro, all-caps Nautical Art Deco headline font. It sports geometric letterforms, perfect circles and highly stylized crossbars with waves on several letters—think the beach, flags rippling in the breeze and Fred and Ginger tap-dancing merrily on the deck of a ship! The inspiration for this font are the many whimsical nautical-themed buildings still to be found dotting the landscapes of America, from South Beach in Miami to hidden gems tucked away in industrial areas of southern California. I was fascinated by some of them when I was growing up, and in doing research on Art Deco styles I found many images of these wonderful buildings sporting portholes, streamlined moderne details and even faux rivets. Ocean Beach is created with a 3-stroke detail, and the complexity of the design will be appreciated better in larger sizes of type (36 pts or larger). Use this font for any application that needs a bold, decorative or Art Deco look; great for signage, magazine layout, illustration, posters and packaging.

Carilliantine updates the organic curves of Art Nouveau typefaces typified by John F. Cumming's Desdemona, designed around 1886. A contemporary monoline sans reinterpretation rather than a more traditional serif, its high-waisted emphasis lends it an elegance and class. Carilliantine is replete with hundreds of two- and three-letter ligatures that bring a customised uniqueness to any headline. These are on by default, and can be toggled on or off in the Opentype palette of Adobe apps, or chosen individually according to taste from the Glyphs menu. Suitable for upmarket food packaging, wine labels, restaurants, folk bands, sword and sorcery trilogies, cosmetics and fashion brands that nod to the refinement of yesteryear, but are very much of today.

Uninhibited by typographic demands, this artistic font freely expresses individual creativity. The use of line in conjunction with deceptively simple patterns of squares or dots and the occasional solid infilling gives the letters a lively vigor lacking in many modern designs. The joins between the letters' uprights and curves and the balance between thin and thick strokes are executed with impressive simplicity. The alphabet letters were inspired by Swiss art from 1939. The numbers were patterned after a design cut in stone dating back to the year 1692, while the punctuation and mathematical characters are a simple and modern typeface that is both pleasing to the eye and a whimsical contrast to the other characters.

The Craftsman font is a faithful reproduction of the logo, or Title typeface used for Gustav Stickley's "Craftsman" Magazine, the foremost journal of the American Arts & Crafts Movement during its publication years of 1901-1916. It is an All-Caps font, with condensed and closely-spaced characters, specifically designed for titles and headlines. The "Craftsman" font is available in two versions: "Craftsman Regular" and "Craftsman Outline." Each is two fonts in one, in the sense that the capital letters are contained in a hand-drawn box (as on the cover of "The Craftsman" Magazine). Lower-case characters are identical, but without the box. Thus, the two may be used separately, or in combination, to achieve a desired effect.