Because of the need for a new condensed serif font family, Jack Yan created this individualistic style of typefaces complete with one of the largest collections of unusual ligatures available at the time of launch in the mid-1990s. As well as the usual selection of double-f and ct, JY&A has provided gr, gt, ty, and other ligatures for JY Integrity Roman and Italic.

Spotted in an online auction was a set of brass stencils (possibly handmade) of which some of the characters were individually displayed. The interesting placement of where the letters were broken into stencil parts inspired the creation of Trade Stencil JNL, which is available in both regular and oblique versions.

Earthpig is based on samples of poster lettering from classic club posters of the 1960s, from venues like the Fillmore in San Francisco and the Armadillo in Austin. It combines elements of several different styles to recreate the unique look of poster lettering of the psychedelic era. It's far out, man.

Hairline display fonts are elegant and subtle with touch of luxury. They are the Champagne of type. Ambassador Plus Family represents a set of classy typefaces best suitable for magazines, cosmetics packaging, advertising or any kind of fine and sensitive design. The quality of spacing and kerning ensured by Igino Marini.

This font is a must for dinosaur lovers, as it brings back to life a variety of these huge reptiles. Besides figures of complete dinosaurs there are also a number of 'portraits' and poses. A creative combination of dinosaur figures allows the depiction of various situations, fighting, eating, etc. Have fun!

Educator JNL joins the large library of Jeff Levine's stencil fonts and was re-drawn from a set of individual letter stencils with the distinctive look of Franklin Gothic. All of the irregularities of the original die-cut letter forms were left intact, giving a "real world" look to the font.

Based on a revival of one of the popular Textura fonts of the early 20th century; suitable for display, or text.

A revival of one of the popular sans serif wooden type fonts of the 19th century, narrow, short ascenders and descenders.

The lower case of Lettergical is a mixture of several medieval styles and the upper case is a variant of Lombardic.

Based on a revival of one of the popular wooden type fonts of the 19th century, suitable for display, or text.

Based on a revival of one of the popular wooden type fonts of the 19th century, suitable for display, or text.

Based on a revival of one of the popular type fonts of the 19th century, suitable for display, or text, bold.

Tabloid Press JNL is one of a number of classic typefaces re-drawn from screen captures of actual vintage newspaper headlines.

TT Norms® Std Condensed useful links: Specimen | Graphic presentation | Customization options TT Norms® Std Condensed is the logical development of our bestselling TT Norms®. Since the release of TT Norms®, we received a bunch of requests to create its narrow version and even managed to make several custom projects of the narrow TT Norms® before we decided to start creating a full-fledged commercial version of the typeface. At the very beginning of the project, we did some research and tested several options for the possible width of the typeface. Despite the fact that TT Norms® Std Condensed has narrower proportions than the original family, it inherited the classic proportions of characters, attention to detail and meticulous elaboration of each character in the typeface. The TT Norms® Std Condensed font family consists of 18 faces (9 upright and 9 italics). Each style includes a sufficient set of characters that allow you to solve most of the problems that arise in the field of graphic design, branding, packaging design or website design.

One of the most unusual sets of antique stencils spotted for sale online comprises a set of twenty-four classic logos of early 20th Century automobile companies. For whatever purpose that is now lost to time, these stencils represented the logos of many of America's finest auto manufacturers; most now just historical memories. The logos were painstakingly redrawn, maintaining the distinctive look of the hand made cutting, although it was an exacting process - some of the images were taken at an angle, and a bit of artistic license had to be used as a compensatory factor. It is to be noted that any and all of the logos presented in this font are the intellectual property of the companies, successors or assignees that may still hold the rights to these symbols. No endorsements by such corporate entities are either expressed or implied. Additionally, it is advised that any use of these logos be restricted to historical or hobby purposes, and they should not be used in a way that would construe any authorized reproduction of the logos in a commercial fashion.

This font gets its inspiration from the typography of the Manuale ad Usum (1721), printed by Jesuit missionaries who worked at the beginning of the XVIII century with communities of "Guarani" native indians from the Northeast region of Argentina. It is a manual of sacraments published by Paulo Restivo and some collaborators among the native population. This manual features the peculiarity of being the first printed piece where there is a record of the place where it was printed: at the Loreto mission.

Summerisle was developed from a small sample of hand-lettered characters in one of the two theatrical posters for the cult movie The Wicker Man. The style combines elements of Celtic and Art Nouveau design with a bit of the feel of the late sixties paganistic theme of the movie. We've expanded it to a full character set while preserving the unique look. The name for the font comes from the name of Christopher Lee's pivotal character in the movie.

This typeface was inspired by Gering and Remboldt's work during the late 1490s. Their printing concern, the Soleil d'or in Paris, was one of the printing business to engage in the use of blackletter printing, when the rest of the Parisian printers where using humanist influenced roman typefaces. This peculiar backwards trend was really one of the original examples of "retro", taking advantage of the desires of the more conservative northern Europe that had not yet embraced the newer roman types.

The Wall Street Journal commissioned the original version of Escrow. Cyrus Highsmith designed forty-four styles in this new Scotch series, which sets the tone of the front page of the Journal, envy of the newspaper industry. This version of the family is part of the Reading Edge series of fonts specifically designed for small text onscreen, having been adjusted to provide more generous proportions and roomier spacing, and having been hinted in TrueType for optimal rendering in low resolution environments.

In the 70's I went out with a girl whose father was a card-carrying member of 3 of the biggest unions in the printing arts. He gave me 2 things, a pre-war Linotype specimen book and an ancient 'how to' lettering book that contained 30 or 40 script specimens from lettering artists of the time. Tiamaria is the developed glyphs of one of these specimens. Tiamaria is the name of one of the islands in the Galapagos chain.

Brick Lane is an picture font consisting of 52 detailed, hand drawn illustrations of people seen on Brick Lane, a street in the heart of the Bangladeshi community in the East End of London. It has over the last few years become the home of parts of the creative industries in London, mainly media, fashion and graphics. All illustrations are based on photographs taken on location over a period of time. The photographs are then hand traced to create high quality, detailed silhouettes.

A revival of one of the popular serif wooden type fonts of the 19th century, tall x height, quite short descenders, thin, rounded serifs, thick stems, based on Roman styles, deliberate, accurate rendering of the original.

Meaning of Tinkuy. Tinkuy is a Quechua word that means a meeting of opposing forces that complement each other. A meeting of opposites and differences. A meeting point where different thoughts, interests, feelings and aspirations confront and converge, providing the resurgence of new ways of thinking and that are embodied in confrontational actions, in mobilizations that seek change. Tinkuy patterns is born from the analysis of different archaeological pieces of native cultures of the Andes, where the visual signs that are recorded on them are related to the concept of encounter. It is part of the research project Crónicas Visuales del Abya Yala by designer Vanessa A. Zúñiga Tinizaray. — The Tinkuy Patterns. The Tinkuy Patterns system is divided into six files containing a total of more than 2650 modules that can be combined together creating an infinite range of possibilities. The digitization of the typeface family has been carried out by Ale Paul, through the Sudtipos foundry. An infinite number of possible combinations can be accessed by using the letters on the keyboard. Although a certain shape predominates in each set, they can be combined with each other.​​​​​​​

PT Sans Pro is a comprehensive type family intended for a wide range of applications. It consists of 32 styles: 6 weights (from light to black) with corresponding italics of normal proportions; 6 narrow styles; 6 condensed styles; 6 extra condensed styles and 2 caption styles (regular and bold). The design combines traditional conservative appearance with modern trends of humanistic sans serif and possess enhanced legibility especially in caption styles. These features, besides conventional use in business applications and printed materials, make the fonts usable for direction and guide signs, schemes, screens of information kiosks, and other objects of urban visual communications. The fonts have extended Latin and Cyrillic character sets serving alphabets of all title languages of the national republics of Russian Federation and supporting the most of the languages of neighboring countries. Each font contains about 1400 characters including small caps for all alphabetic characters, 4 sets of figures with lining and old style variations, stressed Cyrillic vowels, indices, fractions and so on. Design -- Alexandra Korolkova with assistance of Olga Umpeleva and supervision of Vladimir Yefimov. The fonts released by ParaType in 2010.

NaNa Arabic is a new creation of Naghi Naghashian. It was developed in 2012/2013 on the basis of specific research and analysis of Arabic characters and definition of their structure. This innovation is a contribution to the modernisation of Arabic typography, giving the font design of Arabic letters real typographic arrangement and providing greater typographic flexibility. This step was necessary after more than two hundred years of relative stagnation in Arabic font design. NaNa Arabic supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. The NaNa Arabic Font Family is available in four weights: Thin, Light, Regular and Bold. The design of this font family is inspired by two classic scripts: Kufic and Naskh. The quasi-geometric character of Kofic melds with the calligraphic grace of Naskh, which was invented by Iben Moghleh, an Iranian savant of the ninth century. He lived in Baghdad and was assassinated at the instigation of an Abbasid caliph. He was a polymath and a renowned scholar. I dedicate the design of this font family to the memory of this great man.

Meet Buyan, a unique typeface family that draws inspiration from the iconic Mongolian film title "Nugel Buyan" 1963. Buyan is your go-to All Caps and Sans-Serif typeface, crafted with a sleek Condensed design that effortlessly blends style with readability. Elevate your projects with this versatile display font, adding a cool and contemporary touch to your text. This font family boasts a comprehensive range with 6 distinct weight styles and italics, allowing you to play with contrast and customize your text to suit your creative vision. Whether you're working on branding, headlines, or any display application, Buyan is the perfect choice to bring a modern and impactful aesthetic to your work. Elevate your design game with Buyan!

Hakodate is a very unique and elegant font for you to use in your design project because it adapts to various themes. Hakodate is a font with distinctive handwritten characters and is perfect for branding projects, logos, wedding designs, media posts, advertisements, product packaging, product designs, labels, photography, watermarks, invitations, stationery, and any project that needs a handwritten feel. Features : • Character Set A-Z • Numerals & Punctuations (OpenType Standard) • Accents (Multilingual characters) • Ligature There it is! I really hope you enjoy it - comments and likes are always welcome and accepted. More importantly, don't hesitate to send a message if you have a problem or question. Now just read this, go there and make it happen!

Torjus is so rigid and stiff typeface. While designing a more dry and stiff handwriting typeface, I tried to remove the Bezier curves. Rhythms were also created by dramatically simplifying the paths used in the Glyphs and emphasizing individual contrasts. 60 predefined Ligatures to bring your passion and inspire you to wonder. Ligatures : Ba, Be, Bo, Ca, Ce, Co, Da, De, Do, Ea, Fa, Fe, Fo, Ga, Ge, Go, Ha, He, Ho, Ja, Je, Jo, Ka, Ke, Ko, La, Le, Lo, Ma, Me, Mo, Na, Ne, No, Oa, Pa, Pe, Po, Ra, Re, Ro, Sa, Se, So, Ta, Te, To, Va, Ve, Vo, Wa, We, Wo, Ye, Yo, ee, ff, ll, oo, rr.

Meet Buyan, a unique typeface family that draws inspiration from the iconic Mongolian film title "Nugel Buyan" 1963. Buyan is your go-to All Caps and Sans-Serif typeface, crafted with a sleek Condensed design that effortlessly blends style with readability. Elevate your projects with this versatile display font, adding a cool and contemporary touch to your text. This font family boasts a comprehensive range with 6 distinct weight styles and italics, allowing you to play with contrast and customize your text to suit your creative vision. Whether you're working on branding, headlines, or any display application, Buyan is the perfect choice to bring a modern and impactful aesthetic to your work. Elevate your design game with Buyan!

Welcome to Happy Letters shop :) Happy St. Valentine's Day! Lovingly includes unique heart flourishes that give a charm and romantic love holiday mood ornaments, Valentine greeting cards, invitations, etc. Thin, elegant calligraphic lines like a light breeze give freshness and dreaminess to your handmade creations. Ornament font Lovingly is mapped to regular keyboard keys, so you don't need any additional programs to use them. Just install font, type and go! Lovingly is perfect for: decorating your albums, for holidays, logos, phrases, gift shops, Valentine's Day card, gift cards, tags, labels, stickers, wedding invitations, header images, Etsy presentations, ideal for handmade, scrap booking, printed paper items, promoting seasonal blog posts, social media posts, Pinterest, Instagram and much more.

Layered font set 3D Bulb lamp Bulblamp is a 12 component font system that can be layered in different ways to create endless classic titling effects used commonly in signage by skilled sign painters and sign makers and any who interested in simple and flexible ways to make graphic design. Examples of how to use this you can see on the images. Moreover, You can start fast in Figma, Illustrator and Photoshop with predefined downloadable package. ! Download free predesigned Figma, Illustrator and Photoshop sets for this fonts here: https://drive.google.com/open?id=17ogdSIjPuLA5-CUaAO1TlqJGbRPWy5iA&authuser=popov_av%40koriphey.ru&usp=drive_fs Each file is named according to its purpose. The number indicates the recommended order of the layers. 1 below, 5 on top. 1 means you should place it first. Of course, you do not have to use all the fonts, and vice versa - you can repeatedly use the same font style with different styles. What is Layered font? In fact, these are common fonts located in a stack strictly one above the other. This allows quickly create unique text effects using ordinary fonts. Where can you use this? These fonts can be used in any program that allows you to stack fonts as objects strictly one above the other, however it is recommended to work in professional programs such as Illustrator, Photoshop, Figma and so on ... How to use this font set quickly? For quick use, I recommend using ready designs for Figma, Photoshop or Illustrator. Download fonts and Install all fonts. Go to the link https://drive.google.com/open?id=17ogdSIjPuLA5-CUaAO1TlqJGbRPWy5iA&authuser=popov_av%40koriphey.ru&usp=drive_fs which has contained pre-made solutions for this font applicable in Figma, Photoshop or Illustrator and download presets. Follow the recommendations on the pages. Basically, you will need to replace the words in the template with your own, then edit colors and transfer the result to your design. In that’s all, it's easy.

This is what you get when you mix monoline rounded letters with some bracketed serifs and finish it off with a sprinkle of ornamental appendages. The result is very readable, rather original and quite charming. I have fixed some inconsistencies in serif designs across the weights, cleaned up the serif connections - and added a fourth weight. But I have kept all the wonky curves and slightly differing stroke thicknesses, as they are so integral to the charm. Kevin King says: "I guess all type designers at some point think 'Well, I'll just have a go at a standard text face...' There is a long story here somewhere, suffice it to say that I started with the thinnest version - typical. I wanted to make a standard serif text face - until I saw it in print and thought "Yuk! it looks like everything else!" - still does really but with twiddles and pooneys..." If you find the "twiddles & pooneys" too much you can tone them down with the OpenType Stylistic Alternate feature (which will make sure they don't appear on three consecutive letters) or remove them completely with the OpenType Swash feature. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

TT Bricks useful links: Graphic presentation | Customization options Do you love the early Soviet visual culture as much as we do? We’ve tried going back a hundred years and rethinking the constructivist era. We’ve created an extensive font family that consists of the simplest triangle and rectangle forms. TT Bricks font family includes 16 typefaces: Hairline, Thin, Light, Regular, Medium, Bold, ExtraBold, Black and Italics. Regardless of its Soviet past, TT Bricks is a very fresh and visually powerful font family that perfectly fits the contemporary media landscape. TT Bricks is perfect for mobile apps and corporate websites, as well as for printed press layout. Thanks to the exaggeratedly simple forms of all signs, TT Bricks looks great in very small type sizes. FOLLOW US: Instagram | Facebook | Website TT Bricks language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Arumanian, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Cebuano, Chamorro, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Gagauz (lat), Galician, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Laz, Leonese, Lithuanian, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malay, Manx, Maori, Mauritian Creole, Minangkabau, Moldavian (lat), Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romanian, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Tagalog, Tahitian, Taita, Tatar, Tetum, Tok Pisin, Tongan, Tsonga, Tswana, Turkish, Turkmen (lat), Ukrainian, Uyghur, Vepsian, Volapük, Võro, Vunjo, Xhosa, Zaza, Zulu.

Plantain Stencil is based on Plantain which in turn is my interpretation of Plantin Adweight, which was one of my first commissioned projects (by Smarter Image, long before they went bankrupt). Plantin Adweight is one of the most beautiful designs of the Plantin family, which is a modern revival typeface, cut under the direction of F. H. Pierpont in 1913, who based the design on that of a famous 16th century printer, Christophe Plantin, for whom Pierpont’s font was named. The stencil cut of Plantain adds a bit of sparkle to the design. Supports most European languages that use the Latin alphabet.

Linotype Dropink, from German designer Christine Voigts, is part of the TakeType Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contest 1999 for inclusion on the TakeType 3 CD. A spirited font, Linotype Dropink may remind you of your first attempts with a broad-tipped pen or of schoolwork in days of yore. However, the blots of ink are in this case done on purpose, are indeed the highlight of the font, large and small, round and irregularly sheped. Linotype Dropink is intended exclusively for headlines/display and should be used in point sizes of 18 or larger.

In the early days of PostScript fonts, I designed a font of leaves called XLeafMeAlone. In 2006 I decided to revisit this topic and the result was two sets of new leaf fonts: MapleOaks and MoreLeaves. MapleOaks contains almost 100 images of maple, oak, and sycamore leaves, and MoreLeaves has almost 100 images of leaves of various other species. There are four MapleOak fonts. They have identical images; only the orientation of the images is different. In MapleOaksUR the tips of the leaves point to the upper right, in MapleOaksDR the tips point down to the right, etc.

Borscena is a luxury classic serif font that exudes timeless elegance and sophistication. Its meticulously crafted letterforms feature exquisite, ornate detailing and graceful, high-contrast strokes, making it the epitome of refined typographic design. Borscena’s regal presence and intricate serifs harken back to the golden age of print, offering a sense of opulence and exclusivity, ideal for conveying a sense of prestige and tradition in branding, editorial, or decorative applications. This font stands as a symbol of timeless beauty and an embodiment of the grandeur of bygone eras, making it the perfect choice for projects seeking a touch of sophistication and sophistication.