Signs of Yesterday JNL brings another twenty-six vintage signs inspired by a series of decals once made by the Duro Decal Company (now Duro Art Industries) of Chicago. This font complements the original twenty-six designs found in Too Much Information JNL. There are two blank sign panels on the parenthesis keys for use in creating custom retro signage.

Sign and Display JNL is a long-overdue companion font to 2009’s Sign and Poster JNL. The original design models were Art Deco influenced die-cut cardboard letters and numbers manufactured by the Duro Decal Company of Chicago. Square in shape with rounded corners, the thick cardboard letters were used for making show-cards and other display signage. Subsequently, Duro used the same style of lettering to manufacture water-applied decals for boat identification and other uses. It was a set of these decals (with a black outline and yellow interior) that inspired the outline typeface Sign and Display JNL, which is available in both regular and oblique versions.

Sign and Poster JNL is modeled after a popular style of die-cut letters and numbers that was used for making signage and show cards. A strong Deco influence is seen in these letterforms and blends well into most design projects.

The prolific hand lettering of Samuel Welo is showcased in his “Studio Handbook for Artists and Advertisers” (published in both 1927 and 1960). A thick and thin Art Deco design in the 1960 edition – somewhat reminiscent of Futura Black (but with significant differences) is now available as Sign Work Deco JNL in both regular and oblique versions.

A vintage hand lettered sign for a carnival game was the basis for Sign Display Casual JNL, a classic example of the "one stroke" casual text lettering that sets sign painters apart from sign manufacturers.

Strong Bold Condensed Gothic great for poster and display work.

Unique and decorative signage for many drive-ins, motels, food stores and other businesses of the 1940s had what was referred to as “privilege signs” provided by one of the major cola brands. Consisting of the brand’s emblem on a decorative panel, the remainder of the sign would carry the desired message of the storekeeper (such as “Drive-In”) in prismatic, embossed metal letters. Inspired by the Art Deco sans serif style of those vintage signs, Privilege Sign Two JNL recreates the type design in both regular and oblique versions. The typefaces are solid black, but adding a selected color and a prismatic effect from your favorite graphics program can reproduce the look and feel of those old businesses. This is a companion font to Privilege Sign JNL, which recreates the condensed sans serif lettering of other privilege signs from the 1950s and early 1960s.

MandyHand is a lighthearted handwriting font with a casual tone. It contains four sets of alternates to accurately imitate the variations in handwriting, with OpenType code to randomise repeat letters. This font also contains full language support for all Latin languages including all European langauges.

Almoni is a precise, neutral multi-lingual sans typeface and is one of the most popular fonts in Israel. It contains many glyphs and fully supports 230 Latin and Cyrillic languages - which makes it an ideal font for the side-by-side use of Latin and Hebrew characters. Many fonts are characterized by their unique character and language, and yet Almoni sheds almost all elements of uniqueness; as such, it will not overshadow your entire design. Every designer needs this functional font in their arsenal. Cyrillic design by Anna Khorash.

Daffodilly is a fresh and quirky handlettered font with multi-language compatibility that includes custom ligatures, alternate characters, and a unique sense of style. Designed as a calligraphic display font, use it for posters, signage, branding, invitations, menus, and any artwork that needs unconventional handwritten lettering. Multi-lingual, connected, and with a range of symbols, the font includes 362 glyphs.

Balloon Bash is a hand lettered serif font. It's very playful and could be used for a variety of designs, such as a wooden sign or a kid's t-shirt! - Contains over 200 accented characters for language support. Some of the languages supported are: English, Spanish, Portuguese, German, Italian, French, Polish, Catalan, Irish, Norwegian, Croatian, Gaelic, and more! If you would like to know if a certain language is supported, please contact me with the language and/or any special characters you wanted to know about.

Opposition is a serif typeface that contain reverse contrast and has a decorative character. Taking into account its specific design, which gives rise to its unique personality. Contain ligatures and is a multi-lingual typeface which is adapt to different Latin alphabet languages. This font contain two weights: regular and bold. It's an ideal typeface for many types of applications in graphic design and beyond, such as websites, packaging, editorial design, titles, small texts and much more.

Lizelie is an elegant and beautiful calligraphy font that was built with OpenType features like alternates, ligatures, and terminal forms. Use Lizelie for your project to make your design look elegant, gorgeous, and beautiful. Lizelie has multi-lingual support for 17 languages and is PUA encoded. If you have any questions or need technical support, don't hesitate to drop a message or contact me at java.indonesian@yahoo.com.

Designed for global branding and supporting 93 languages, the SST® typefaces blend the organic readability and controlled structure of modern sans serif designs. In combining these attributes, the SST family is understated, versatile – and sure to be a timeless design. The SST Thai family has 4 fonts in total. It spans four weights from light to bold. SST’s subtle design traits provide a quietly handsome and consistently friendly typographic presence that can be used for just about any typographic application. Broad range branding applicability combined with coverage for almost a hundred languages, makes SST one of the most widely accessible and usable typefaces available. Originally designed in partnership with the global consumer brand, Sony, the SST family is one of the most comprehensive type families available. Since extensive multi-lingual support was a critical design goal from the beginning, Akira Kobayashi, Monotype type director and primary designer on the project, turned to a network of local designers around the world for their individual language expertise. As a result, the details – which could be as subtle as stroke curvature and width – are consistent across Latin, Greek, Cyrillic, Arabic and multiple Asian languages. SST performs equally well in print and on-screen and the designs can be used at very small sizes in packaging and catalogs; while massive print headlines – even complicated wayfinding projects pose no stumbling blocks to the family’s typographic dexterity.

Designed for global branding and supporting 93 languages, the SST® typefaces blend the organic readability and controlled structure of modern sans serif designs. In combining these attributes, the SST family is understated, versatile – and sure to be a timeless design. The SST Vietnamese family has 4 fonts in total. It spans four weights from light to bold. SST’s subtle design traits provide a quietly handsome and consistently friendly typographic presence that can be used for just about any typographic application. Broad range branding applicability combined with coverage for almost a hundred languages, makes SST one of the most widely accessible and usable typefaces available. Originally designed in partnership with the global consumer brand, Sony, the SST family is one of the most comprehensive type families available. Since extensive multi-lingual support was a critical design goal from the beginning, Akira Kobayashi, Monotype type director and primary designer on the project, turned to a network of local designers around the world for their individual language expertise. As a result, the details – which could be as subtle as stroke curvature and width – are consistent across Latin, Greek, Cyrillic, Arabic and multiple Asian languages. SST performs equally well in print and on-screen and the designs can be used at very small sizes in packaging and catalogs; while massive print headlines – even complicated wayfinding projects pose no stumbling blocks to the family’s typographic dexterity.

A sign in a London storefront, ca. 1930, pitching—surprise!—Smart Frocks provided the visual cues for designing this typeface. Singularly stylish, hip and haughty and decidedly Deco, this is the smart font to use! This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

A light handwritten script font that is feminine and informal. Will lend a casual yet elegant feel to any design. Contains language support for both Latin-based and most Eastern European languages.

Decorative font Stonegert equipped with alternative characters, ligatures, and multi-language support. This font equipped with several features such as alternative characters, ligatures, and multi-language support that makes it easier for you to design. This font is perfect for your design needs such as poster design, logo design, branding, social media design, book, magazine, etc.

Designed for global branding and supporting 93 languages, the SST® typefaces blend the organic readability and controlled structure of modern sans serif designs. In combining these attributes, the SST family is understated, versatile – and sure to be a timeless design. The SST Japanese Pro family has 6 fonts in total. It spans four weights from ultra light to bold, and has two condensed weights to further expand the family’s vast range of uses. SST’s subtle design traits provide a quietly handsome and consistently friendly typographic presence that can be used for just about any typographic application. Broad range branding applicability, combined with coverage for almost a hundred languages, makes SST one of the most widely accessible and usable typefaces available. Originally designed in partnership with the global consumer brand, Sony, the SST family is one of the most comprehensive type families available. Since extensive multi-lingual support was a critical design goal from the beginning, Akira Kobayashi, Monotype type director and primary designer on the project, turned to a network of local designers around the world for their individual language expertise. As a result, the details – which could be as subtle as stroke curvature and width – are consistent across Latin, Greek, Cyrillic, Arabic and multiple Asian languages. SST performs equally well in print and on-screen and the designs can be used at very small sizes in packaging and catalogs; while massive print headlines – even complicated wayfinding projects — pose no stumbling blocks to the family’s typographic dexterity.

SK Glypher™ is a super experimental accidental typeface. It is designed under the impression of petroglyphs (ancient writing), which ancient people painted the walls of their caves. The angular and very unusual shape of the typeface allows you to create stunning typeface compositions based on it, which are suitable for both poster design and web design. The SK Glypher supports many languages and language groups: Latin Pro, which supports all 104 Latin languages, Cyrillic Pro, which is suitable for most Slavic languages, as well as the typeface supports Greek. As a nice bonus, the SK Glypher typeface has specially drawn icons and arrows that perfectly diversify the text.

Progreso is a condensed, unicase, serif gothic type design inspired by the hand-lettering on Russian posters from the 1920s. Supports most European languages, including modern Greek and most languages that use the Cyrillic alphabet.

Benjammin' is a handwritten sans-serif font. My 12 year old brother wrote this font himself, and it would be great for any kid's design or project! - Contains over 200 accented characters for language support. Some of the languages supported are: English, Spanish, Portuguese, German, Italian, French, Polish, Catalan, Irish, Norwegian, Croatian, Gaelic, and more! If you would like to know if a certain language is supported, please contact me with the language and/or any special characters you wanted to know about.

EightZeta is a hand-drawn font designed by Bartek Nowak. It can be used for invitations, greeting cards, posters, advertising, weddings, books, menus etc. Language support includes Western, Central and Eastern European character sets, as well as Baltic and Turkish languages.

Padraig Nua is a font conceptualized and designed by Tony Fahy. It is a European Celtic font, contemporary to many languages, not just of Europe but of the world. It’s origin is influenced by events in Ireland in the 1960s when it was decided that the uncial letterform should not be used further in Irish schools for the Irish language—Gaelic—and that it should be replaced by the Roman letterform—the Cló Romhanach as it was called afterwards. This happened overnight without any apparent discussion. It probably had a lot to do with Ireland joining the EEC, as the EU was called then. It had a massive effect on the Irish language and culture, in that the distinguishing factor that gave the language it’s identity—the half uncial/uncial fonts that were in use in all school, government and society documentation and merchandise—were lost overnight. No one said how or why. It was just done. To this day, all documentation is bi-lingual in government and Gaelic is taught in schools and universities—and decreed so by the European Union—but the presentation for both languages is the Roman letterform. Throughout the world, there are millions of Irish Americans and Irish Canadians, Irish Europeans, Australian Irish, African Irish and many living in the Middle East and Asia—and this new font—Padraig Nua, will appeal to many of them, visually recalling their roots. No one had thought, in those days, of commissioning a design that might update the Gaelic language to a more contemporary appearance that would keep the cultural nature of it intact with a revised and updated font—at one with Europe, the US and the world. Tony Fahy designed Padraig Nua (New Patrick) to address the problem. It keeps an appearance that lends towards the Gaelic language but steers it in the direction of Roman fonts. Some characters reflect letterforms from the Irish/Gaelic manuscripts and uncial fonts.

Designed for global branding and supporting 93 languages, the SST® typefaces blend the organic readability and controlled structure of modern sans serif designs. In combining these attributes, the SST family is understated, versatile – and sure to be a timeless design. The SST Pan-European family has 17 fonts in total, supporting the W1G character set. It spans six weights from ultra light to heavy, each with an italic complement. In addition, three condensed designs and two monospaced (typewriter) typefaces were drawn to further expand the family’s vast range of uses. SST’s subtle design traits provide a quietly handsome and consistently friendly typographic presence that can be used for just about any typographic application. Broad range branding applicability combined with coverage for almost a hundred languages, makes SST one of the most widely accessible and usable typefaces available. Originally designed in partnership with the global consumer brand, Sony, the SST family is one of the most comprehensive type families available. Since extensive multi-lingual support was a critical design goal from the beginning, Akira Kobayashi, Monotype type director and primary designer on the project, turned to a network of local designers around the world for their individual language expertise. As a result, the details – which could be as subtle as stroke curvature and width – are consistent across Latin, Greek, Cyrillic, Arabic and multiple Asian languages. SST performs equally well in print and on-screen and the designs can be used at very small sizes in packaging and catalogs; while massive print headlines – even complicated wayfinding projects pose no stumbling blocks to the family’s typographic dexterity. While the family is also large enough to manage complicated typographic hierarchy, SST pairs handsomely with typefaces as far reaching as ITC Berkeley Old Style®, Meta®, PMN Caecilia®, Malabar® and Neue Swift®.

Nanami Pro is the heavily engineered follow up to the hugely successful Nanami and Nanami Rounded font families. Nanami Pro contains all the wonder of the original Nanami families, but with vastly extended language support including Cyrillic and Extended Latin, leading to a total of 458 carefully crafted glyphs. The original Nanami was a key font in many a typography collection, but with these new multi-lingual credentials, Nanami Pro has become a true must-have font for anyone who’s serious about design.

Rollink is a simple brush font that is very comfortable to read. It will elevate various design projects to the highest level, be it branding, headings, hands, logos, labels, wedding designs, invitations, signs and more! included - uppercase and lowercase - multi language - alternate - ligature - swash

Basecoat is a handcrafted, geometric sans serif inspired by sign painting and influenced by modern gothics. It has a subtle organic feel without sacrificing legibility. The design of the uppercase began with chalk marker lettering for a side project and eventually grew into a small type family. Basecoat comes in three weights and includes more than 500 glyphs with European language support. It has popular OpenType features plus catchwords in multiple languages and arrows for all your sign making needs.

Burgendry is a bold, high-detail brush font. It comes with regular and slanted version, which aim to give a different feel. Equipped with an open-type feature and more than 300 glyphs, which are very useful for today's design needs. This font is perfect for designing t-shirts, stickers, headlines, sports, quotes, logotypes, brandings, and posters. LANGUAGE SUPPORT : Burgendry covers almost all European languages. Check out the supported languages by typing specific letters in the font preview. Please enjoy this font like a beautiful summer.