Painting Stencil JNL was modeled in part from a vintage set of 8 inch Gothic stencils. Alphabets of this size were generally referred to as painting stencils because each letter could be painted individually in marking signs, streets or buildings, where the classic 'lettering guide' type of stencils were used for smaller projects and had alignment holes for accurate letter spacing as well as multiples letters per page.

The typeface Ruano was inspired from “Lettera cancelleresca formata” by the Vatican calligrapher Ferdinando Ruano, carved and cast in 1926 by Nebiolo of Turin on the advice of Raffaello Bertieri who designed the capital letters and numbers, missing in the original. The difficulty of the design of this chancery font lies in its original vertical layout, bending the calligraphic harmonies to the Gothic style, thus distinguishing it from contemporary cursive alphabets.

Introducing our newest gothic font called WAXEN, presenting a vintage and elegant style. With a classic Roman typeface, this font evokes confident elegance with striking details on each side of the lettering. This font can be used in a variety of projects to create a vintage and elegant style. Use it to enhance visual projects, titles, or banners, packaging with a bold classic look that exudes style, elegance, and strong personality.

Tisk is a superb blackletter font. The Blackletter typeface (also sometimes referred to as Gothic, Fraktur or Old English) was used in the Guthenburg Bible, one of the first books printed in Europe. This style of typeface is recognizable by its dramatic thin and thick strokes, and in some fonts, the elaborate swirls on the serifs. Use this font for any crafting project that requires a personalized look!

Within the pages of “The Essentials of Lettering” by Thomas E. French and Robert Meiklejohn (circa 1912) is an example for creating a sans serif alphabet and numerals. The lesson plate is entitled “Upright Single-Stroke Gothic”; a basic monoline font most useful for architectural and drafting plans because of its easy-to-read properties. This type design is now available as Drafting Class JNL, in both regular and oblique versions.

Introducing Fenwick—a typeface that pays homage to Ontario’s rich heritage. With its unique take on late-nineteenth-century sans-serif typefaces, Fenwick is a perfect addition to any vintage-themed graphic design project. At first glance, Fenwick may resemble old-fashioned gothic typefaces, but upon closer inspection, you’ll notice its inspiration from once-popular serif display fonts and elegant clock digits. Fenwick’s unique design blends the best of both worlds, resulting in a timeless font that captures the essence of a bygone era. For added authenticity, Fenwick features proportional old-style numerals that can be easily accessed in OpenType-friendly applications. The typeface is available in Light, Light-Italic, Regular, Italic, Bold, Bold-Italic, and an engraved all-caps style, giving you the flexibility to use Fenwick in a variety of contexts. Whether you’re designing a vintage-inspired logo or creating a custom poster, Fenwick is the perfect typeface to add a touch of Ontario’s heritage to your project. So why not give Fenwick a try and see how it can elevate your designs to new heights? 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.

Embark on an epic journey with "Mythical Vikings Power," a font infused with the might of Norse warriors, runes, and Viking ships. Channel their fearless spirit and unleash your creative potential in every design. Follow the link for more info: https://www.behance.net/gallery/137062963/Mythical-Vikings-Power-font

Textus Receptus is a historical revival based on the Roman and Greek types used by Johann Bebel (and later also Michael Isengrin) in Basel in the 1520s. The Roman is a low-contrast medium-to-heavy Venetian reminiscent of Jenson or Golden Type. The unusual polytonic Greek, not previously digitized, is lighter in weight and supplied with all the ligatures and variants of the original. Yet when used without historial forms the Greek has a surprisingly contemporary feel: it’s quirky and playful as a display face, but still easily legible in running text. Bebel’s Greek extended and refined the one used for the first printed Greek New Testament, Desiderius Erasmus’ Novum Instrumentum Omne, published in Basel in 1516 by Johann Froben. The name of the font was chosen in honor of this edition, which was so influential that it was later called the Textus Receptus (the “received text”), serving as the basis for Luther’s German Bible in 1522 and much subsequent scholarship for over 300 years. Following 16th century practice, Textus Receptus contains 130 ligatures and stylistic alternates for Greek, accessible either with OpenType features or with five stylistic sets. The Greek capitals, often printed bare in early editions, have been equipped with accents and breathings for proper polytonic or monotonic typesetting. The Roman includes both standard and historical ligatures along with the abbreviations and diacritics typically employed in early printed Latin. For expanded language coverage it has the entire unicode Latin Extended‑A range and part of Latin Extended-B. The capital A is surmounted by a horizontal stroke, as in some 16th century Italian designs, and the hyphen and question mark have both modern and historical form variants. Mark-to-base positioning correctly renders fifty combining diacritics, and with mark-to-mark positioning the most common diacritics may be stacked, permitting, for example, accents and breathings on top of length-marked vowels. Numerals include old-style, proportional lining and tabular lining. For further details, please download the 31-page Textus Receptus User Guide.

Based on some script in the 19th century. Inky texture gives realistic handwriting appearance. Smooth writing feeling creates antiqued and nostalgic atmosphere. Big flourish and elegant script! There are two other script designed by in the same concept. -Daisy Lau -Lily Wang -Pansy Bo

Adelheid a wonderfully whimsical excursion into the realm of blackletter typefaces is a font based on a 16th century Swiss publication. With over 500 glyphs many things are added to make it a fully functional font. It is delivered in two flavors OTF, and TTF.

Marceta is based upon the uncial & half-uncial scripts of the fourth to eighth centuries. The font has been designed with different capital and lowercase characters which can be intermixed to give variation to the text and to enable pleasing word patterns to be created.

Based on retro vinyl records in the early and middle of 20th century. This font includes small caps for advanced typography. There are three other fonts designed by in the same concept. -Moon Star Soul -Rebel Train Goes -Word From Radio -African Elephant Trunk

Sweet Titling No. 11 is a 2009 addition to the Sweet Collection of engraved lettering styles from the 20th Century. This obscure, art deco design would have been used for engraved letterhead, business cards, etc., and likely first appeared in the 1920s or ’30s.

Our first font of Grecian was so old that it had been cast in a hand mold. Extremely popular face in the nineteenth century, made by many foundries and wood type makers in various widths. Lowercase was added by some foundries in later years.

The former hot-metal font Sebaldus Gotisch, a 19th century Berthold in-house design, was carefully redesigned and updated for today’s use. This font contains a long s which you can access by typing alt b or by using the historical alternate OTF feature.

Pacifica – hand lettered elegant bold script for decorative typography inspired by American branding typography from end of XX century. Comes with different variates – filled, highlighted or pressed. Perfectly for headers, signs, logos, prints, etc. Comes with ending and some middle alternates and some standard ligatures.

Cartographer Carl Beckman was appalled by the low standard of lettering in Sweden during the 18th century. He published an instruction and pattern book with four different letter forms in Stockholm 1794. The Carl Beck font is based on his Cursiv Skriften no. 1.

Based on the original design of Nicholas Jenson 1470-76, this is a revival of one of the popular wooden type fonts of the 19th century. This font was also created in a slightly different version by William Morris circa 1890. Suitable for text.

SchwarzKopf is an 18th Century European "Schwabacher" blackletter which features a distressed edge for creating authentic "antique" documents. Old features the long "s" and other archaic forms. Both Old and New variations feature many additional ligatures such as tz, sch, ss, ff and ck.

Designed at Polygraphmash type design bureau in 1986. Based on "English" bold styles of the Ossip Lehmann type foundry (St.-Petersburg), of mid-19th century. The digital version was developed at ParaType in 1992 by Vladimir Yefimov. For use in advertising and display typography.

Based on some script in the 19th century. Inky texture gives realistic handwriting appearance. Smooth writing feeling creates antiqued and nostalgic atmosphere. Rising Star on March 2007. There are two other script designed by in the same concept. -Daisy Lau -Lily Wang -Pansy Bo

Palace Script is a formal English script from the 1920s. This typeface, inspired by centuries-old copperplate engravings, could add the perfect touch to any number of holiday cards. You could also make cute little names tags for all of your presents with Palace Script.

Here's a collection of Art-Noueveau-era border elements, gleaned from the pages of various German type foundry catalogs from the first decade of the twentieth century. Refer to the accompanying PDF guide for instructions on constructing twelve different, distinctive and elegant border sets.

CS are the initials of Carsten Strinkau, a young German graphic and type designer who studied in Hamburg. CS Courthand is based on 16 hundred century English monks handwriting. Text in CS Courthand looks like a pattern, like a text-carpet, but still readable.

"Baker’s Showcard Book" (1916) was an early 20th Century instructional book on sign lettering. One of the sample alphabets entitled “Decorative Roman” was a spurred serif, Art Nouveau design that has been recreated digitally as Elegant Showcard JNL in both regular and oblique versions.

Based on a popular design of the 50s-60s, Sandcastle JNL has the retro-casual charm of many prints ads of that era. It lends itself well to headlines, price tags, announcements, name plates and just about anything that recreates the mid-century panache.

Ellida is a very elaborate and elegant script in the tradition of the 18th-century English calligrapher George Bickham and the 19th-century American calligrapher Platt Rogers Spencer. I really enjoyed designing this script and maybe one day I will add starting and ending letters. Doing this script was extremely time- and brain-consuming, it is a huge challenge to make calligraphic letters work on computers so that they join perfectly. That's also the reason that this has become my most expensive font so far, but I think the price is fair for the incredible amount of work I put into the script. I really need a break from scripts now! Yours very exhausted Gert Wiescher.

Based on 10th century Carolingian scripts, Silentium Pro sparkles with a quiet but ebullient sense of the human hand. As a multi-featured Adobe Originals OpenType family, Silentium includes myriad alternate forms, ligatures, and titling characters that add an air of tasteful liveliness to contemporary graphic design and typography. Designed by Yugoslavian calligrapher and type designer Jovica Veljović, Silentium works well in both display sizes and text setting as small as 8 points. Silentium is the Latin word for silence, a discipline commonly practiced in the medieval European monasteries and court scriptoria where the Carolingian script flourished. Now, more than ten centuries later, Silentium Pro brings the fluid energy of their work to contemporary design and typography.

Richard Lipton designed Meno in 1994 as a modest yet elegant workhorse serif family in seven styles. In 2016, he expanded this spirited oldstyle into a 78–style superfamily. The romans gain their energy from French baroque forms cut late in the 16th century by Robert Granjon, the italics from Dirk Voskens’ work in 17th-century Amsterdam. Meno consists of three carefully drawn optical sizes—Text, Display, and Banner, with Condensed and Extra Condensed widths added to the latter two cuts. Steadfast in text settings, Meno is replete with alternate forms, swashes, and other enhancements that showcase Lipton’s masterful calligraphic hand. The series offers a complete solution for achieving high-end editorial typography.

Richard Lipton designed Meno in 1994 as a modest yet elegant workhorse serif family in seven styles. In 2016, he expanded this spirited oldstyle into a 78–style superfamily. The romans gain their energy from French baroque forms cut late in the 16th century by Robert Granjon, the italics from Dirk Voskens’ work in 17th-century Amsterdam. Meno consists of three carefully drawn optical sizes—Text, Display, and Banner, with Condensed and Extra Condensed widths added to the latter two cuts. Steadfast in text settings, Meno is replete with alternate forms, swashes, and other enhancements that showcase Lipton’s masterful calligraphic hand. The series offers a complete solution for achieving high-end editorial typography.

Josephine, named for Josephine Baker, the legendary dancer of the 1930s, is a twenty first century sans serif typeface that harks back to the earlier part of last century. Although very modern, it has been greatly influenced by the many art deco fonts produced during the twenties and thirties of the twentieth century.In it I have tried to capture the art deco spirit in a modern humanist font. Josephine is exceptionally readable and yet completely characteristic of the Art Deco period. It can be used for text passages as well as display in posters, advertising, labels and packaging. It is professionally finished and contains all upper and lower case characters as well as all special characters, punctuation and symbols.

Okoye occupies a liminal space between the bonkers curviness of 19th-century grotesques and the sandblasted neutrality of 20th-century models. Both extremes are nice, but there’s something to be said for some neutrality with character left in place, yes? Okoye comes in 9 weights, Thin to Black. If you’re using it for interfaces, each weight lines up from 100-900 in the CSS specification you already know, with Regular sitting at 400 and Bold at 700. You’ll see what you expect to see without extra font-weight specification. There’s extensive Latin language support, a set of small caps which mirrors full-size caps (good for control labels), and arrows. Okoye will be your quirkhorse: hardworking, with personality.

When it comes to poster design, the line between wild west and psychedelic can be surprisingly fine. Dave West combined both typographic genres to create his refreshing Banjo. Developed in the late 1960s for Photo-Lettering, Inc., this curvaceous high-contrast sort-of serif might have been born on the nineteenth-century frontier, but it was raised in the counterculture of the mid-twentieth century. Use it wherever the conventional and uncommon collide. Vectorized by Mitja Miklavčič in 2017. Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

Richard Lipton designed Meno in 1994 as a modest yet elegant workhorse serif family in seven styles. In 2016, he expanded this spirited oldstyle into a 78–style superfamily. The romans gain their energy from French baroque forms cut late in the 16th century by Robert Granjon, the italics from Dirk Voskens’ work in 17th-century Amsterdam. Meno consists of three carefully drawn optical sizes—Text, Display, and Banner, with Condensed and Extra Condensed widths added to the latter two cuts. Steadfast in text settings, Meno is replete with alternate forms, swashes, and other enhancements that showcase Lipton’s masterful calligraphic hand. The series offers a complete solution for achieving high-end editorial typography.

ITC New Baskerville is one of many contemporary type families based on the work of John Baskerville (1706-1775), a writing master and printer from Birmingham, England, whose types were cut by the punchcutter John Handy. Baskerville produced a masterpiece folio Bible for Cambridge University, and today, his types are considered to be fine representations of eighteenth-century rationalism and neoclassicism. ITC New Baskerville is a late 20th-century interpretation of Baskerville’s style, designed by John Quaranda. It makes an excellent and very readable text face; its sharp, high-contrast forms make it suitable for elegant advertising settings as well. ITC New Baskerville® font field guide including best practices, font pairings and alternatives.

ITC Black Tulip was designed by Dudley Rees and inspired by the modular simplicity of the Greek fret band, an ancient repeating pattern formed by tracing a line at right angles between two horizontal rules to form an interlocking motif. Rees admired the discipline of the motif, I saw how that simple rigid rectangular network suggested an alphabet that would need little or no kerning," he says. He describes ITC Black Tulip as a "dramatic headline face"."