The type design which inspired Stencil Maker JNL comes from a 1920s-era machine used in movie theaters of the day. It rendered tiny punched out letters (some characters solid and some in stencil form), enabling the user to make projection slides of important messages or general notices for the theater audience to read.

Hermann Zapf made his first scetches for Orion in 1963. Zapf's aim was to create a neutral textface which can be ideally used as a newspaper face. Its strokethickness and open letterforms also fits well for book and magazine production. The final two weights of Orion were released in 1974 for the Linofilm photocomposing machine.

Ludwig Sans is a modern Sans Serif Font Family inspired by american Gothics. It also contains many Alternates that are inspired by Ludwig Sütterlin’s Latin Script from 1911. All those Alternates can be combined seamlessly within the neutral Sans Serif Typeface, so you get both: a bread-and-butter type and a display font.

Angelic Bonques – Perfect Pair Font Duo is a combination of an elegant sans serif font & beauty handwritten script font based on the expression of real handwriting. Angelic Bonques – Perfect Pair Font Duo will work perfectly for fashion, e-commerce brands, trend blogs, wedding boutiques or any business that wants to appear upscale and chic.

Arya is a display typeface, based on Roman proportions. It has three versions, differentiated by the amount of the drawn lines. Single is solid. Double is sturdy but light. Triple is versatile and includes alternatives. They can be combined in layers. Capsule versions (White and Black) are designed to do quick, simple and elegant labels.

Mo' Funky Fresh is the work of New York designer David Sagorski. It is an all capital typeface which includes a set of alternative capitals, compatible symbols and lively illustrations. Mo' Funky Fresh brings to mind sunny days, tiki bars, surfboards and cool drinks and is a great choice for headlines requiring a vital, energetic look.

Ignorance is a script typeface that mimics traditional handwriting found in America in the 19th century. Full of vitality and personality, this typeface includes a wide range of Opentype ligatures, alternates and swash characters that allow multiple choices for each setting. This design is principally aimed for use in display and titling setting that will reveal it's finer details.

Banja is a single weight, non connecting script typeface filled with vitality. Designed for branding and editorial design, this dynamic style is filled with a selection of swash letters and ligatures to add even more variety and choice for layouts. Banja includes a full extended latin character set that covers most european languages including Turkish, Icelandic or Polish.

In a future world where technology reigns supreme, communication must adapt to convey the cold and calculated efficiency of machines. Pirulen is the answer to this need. This hi-tech headliner is a futuristic marvel that transcends the limitations of traditional typography. Pirulen takes inspiration from the bold and daring style of 1930s Bank Gothic, but with a unique and revolutionary twist. It strips away any hint of warmth or humanity and replaces it with a cold and calculated design that perfectly captures the feeling of machines and technology. The result is a typeface that is both imposing and captivating. One of the most striking features of Pirulen is the lambda-style “Λ”, which adds to its already bold and robust appearance. This iconic symbol is a clear indicator of Pirulen’s futuristic design and sets it apart from other typefaces. And if you’re looking for even more variation, Pirulen offers barred “A” and accented variants that can be easily accessed through your application’s stylistic alternates function. With six different weights and italics, Pirulen is a versatile typeface that can adapt to any situation. Whether you’re creating sleek and modern designs or gritty and industrial ones, Pirulen can help you convey the cold and calculated efficiency of the future. So don’t be left behind—embrace the future with Pirulen. 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.

A friend once jokingly told me that what I really do is mine extinct arts for parts to use in modern things, like going to the scrapyard to pick up bumpers, quarter-panels and dashboards off of Datsuns and Ponies to build a shiny new Ferrari. I still kind of grin at that, but I certainly do spend a lot of time looking at old things and imagining ways they would work today. This shiny new Ferrari here is called Bibliophile, and it contains scrap heap parts from various pages by Louis Prang, the Prussian-American printer and publisher who inspired my Prangs fonts. This is my second engagement with the late 19th century man, and it’s quite a bit more intricate than just an italic Didone with a connected lowercase. Bibliophile marries Round Hand calligraphy with Italian capitals, two styles not often relayed in the same alphabet, but work together beautifully when combined well. When you combine them well with a few long-practised tricks of the trade, then mix in a few trusted features from my previous work over the years, you get my usual crazy exuberance, like 17 different shapes for the d, 21 different forms for the y, endings, beginnings, swashes, ornaments, and so on. It’s no secret that I can get carried away when I’m so consumed by an idea. — Bibliophile comes in 2 weights, each of them with over 900 glyphs covering all the latin languages. Bibliophile also comes with a bold weight, something I’m always reluctant to do with something as adventurous and complex as the structure of this historical mashup. But I couldn’t chase away the idea of increasing the contrast while maintaining the hairlines in a lowercase this narrow. Part of it was the curiosity about the outcome, and part was the sheer challenge of it. I think it turned out OK. Words set in either weight will show delicateness and elegance, and the more time you spend inside the font and micro-manage the setting, the more ways you will find to magnify either. Bibliophile can be as muted or luxurious as you want it to be. This is the kind of alphabet that fits well in fashion marketing and high-end packaging, from the very subdued to the super-exquisite. Enjoy the gleaming new vehicle made with freshly polished old parts.

Bunyan Pro is the synthesis of Bunyan, the last face Eric Gill designed for hand setting in 1934 and Pilgrim, the machine face based on it, issued by British Linotype in the early 1950s — the most popular Gill text face in Britain from its release until well into the 1980s. Gill’s last face doesn't date itself anywhere near as obviously as Gill’s other serif faces, which were all really products of their time, heavily influenced by the richly ornamental and constantly changing aesthetic trends of the interwar period. When compared to Gill’s previous work, Bunyan seems like a revolution in the way he thought and drew. It’s as if he was shrugging off all heavy burden of what was popular, and going back to the basics of older standards. Bunyan had no bells and whistles, doesn't risk functionality with contrasts that are too high or too low, and didn't venture far outside the comfortable oldstyle rhythm Gill grew up with. By interbellum standards, this was utter austerity, a veritable denial of deco excess. Surprisingly, even without all the cloying trivialities, Bunyan still stood indisputably as an aesthetically pleasing, space saving design that could have been made only by Eric Gill. Bunyan Pro comes in three weights and their italics. The main font is intended for use between 8 and 14 points. The medium and the bold are great for emphasis but also have good merit in larger sizes, so can make effective display types as well. All six fonts include small caps, ligatures, alternates, six sets of figures, and three original Gill manicules. We tried to keep the best features of the handset (Bunyan) and machine (Pilgrim) versions while building a text face that can function in today’s immersive reading media. Deciding on which useful letterpress features to preserve for aesthetic importance was hell on our eyeballs — which lead to complex and painstaking ways of ironing out irregularities and inconsistencies related to metal technologies, in order to provide something with authenticity. The result is a unique typeface based on a Gill design that, to a much greater extent than any of his other faces, works well as a text face that can be used for entire books and magazines. For more information on Bunyan Pro’s character set, features, development process and some print tests, please consult the PDF in the gallery section of this page.

Upton is a modern and condensed sans serif. The initial inspiration for its design came from lettering Wim Crouwel created for a poster design. It also takes some cues from neutral grotesks like Helvetica and Akzidenz. Because of its narrow letterforms, Upton is best applied to headlines and poster-sized typography. Upton’s italics were designed with high-quality compensation for all circles and strokes. Upton ships in two different formats. Depending on your preference, you can install the typeface as two Variable Fonts or use the family’s 14 static OpenType font files instead. Those weights run from Extralight to Extrabold. While the static-format fonts offer a good intermediary-step selection, users who install the Variable Font have vastly greater control over their text’s stroke width. The weight axes in Upton’s Variable Fonts allow users to differentiate between almost 1,000 possible font weights. That enables you to fine-tune your text’s exact appearance on-screen or in print. In its fonts, Upton has several ligatures. That includes optional “discretionary ligatures,” which bring a unique tone to display usage. For instance, the fonts include optional ligatures for the letter combinations “E-T”, “F-l”, “L-E-T-T-E”, “L-E-T-T”, “L-E-T”, “L-E-L-O”, “L-U”, “i-j”. and “m-m”. There are also many alternate glyphs. Stylistic Set 1 substitutes in new forms for “G”, “R”, “a”, “f”, “g”, “i”, “r”, “t”, and “y”. Six more Stylistic Sets have alternates for the “æ”, “g”, “k”, “o”, “K”, “O”, and “Q”. Additional OpenType features activate other useful features, such as fractions, numbers in circles, or symbols.

ITC Tactile is a puzzle of subtle typographic contradictions. Capitals have traditional epigraphic proportions, but the lowercase has a uniform optical width. Light weights are stately and elegant, but bold designs are almost jolly. This paradoxical alphabet even combines two distinctively different serif designs. Designer Joe Stitzlein says, “I wanted to create a modern and dynamic serif face that draws its forms from antiquity. I also wanted to have as much fun as possible with the drawing and architecture of each letter. Hopefully I've created a very legible typeface that grabs the reader's eye in a nice, 'tactile' way.” The apparent inconsistencies of the design are the result of careful consideration. Of the seemingly odd serif design, Stitzlein explains, “The transitional serif is an entry point for the eye into the letterform, and the long slab is an exit, leading to the next letter.” The result is a typeface that's easy to read at text sizes but offers surprising details when enlarged to display sizes, setting ITC Tactile apart from more traditional designs. While this is his first commercial typeface design, Stitzlein has ample experience creating custom typefaces for corporate branding, including companies such as Silicon Graphics and Sempra Energy. His graphic design business has served a wide range of clients, including Apple Computer and the 2002 Salt Lake City Olympics. The ITC Tactile family is available in three weights, with complementary italic designs and a suite of small caps for each of the roman designs. Stitzlein drew the small caps to match the height of the lowercase x-height, which enables “bi-form” or “unicase” setting in display copy.

Clean and welcoming, the distinct look of Yorkten is remarkably satisfying to the eye. Straight to the point, Yorkton features a fashionable, geometric composition with angled main stems. There are no fewer than fifty-four fonts in the family, all of which are characterized by one of three widths – extended, normal or condensed. Each individual subfamily is equipped with eight weights from Thin to Black with respective Italics, giving Yorkten a breathtaking range of fonts to boast. The greater value for you, though, is its members’ ability to work well together. With a deep toolbox of weights and widths to choose from, this family provides you with significant value and a broad number of design solutions, making sure you have the tools you need for each challenge. So where should you use the font? Jeremy Dooley designed Yorkten’s underpinning structure to be compact. Combined with its superior features and terrific legibility, this versatile font can be used effectively for many jobs, whether in print or on screen. Use it freely for e-books and apps. Yorkten is particularly great for headlines, banners, posters, and websites. As with all insigne fonts, fonts that are well received by the market are expanded into future variants such as rounded or slab serif types. Yorkten’s later expansions will increase the versatility and functionality of the family. There’s no need to wait for these future releases, though. This new face already complements a number of other insigne faces, such as Grayfel, Look, or the Cabrito Superfamily. So what are you waiting for? Get Yorkten today and bask in the rich potential it offers! Get Yorkten and luxuriate in its straightforward multifunctionality!

Astrid Grotesk is a normalized version of Schizotype Grotesk. Normalized; not neutralized. Where many neo-grotesks appear cold with their harsh neutrality, Astrid has a warmth, eminating from its (for want of a better word) clunkiness. With the latest update, it becomes a true workhorse, with a range of widths and italics for the normal widths. Astrid Grotesk, while being clearly a neo-grotesk in appearance, has a personality all of its own. Standout characters include the f and t, and the default binocular g, unusual in neo-grotesks. And the right angled terminals on c, e and s. Stylistic sets offer up alternate forms of a, g, y, I, @, dutch IJ, german eszett and l. A full complement of numerals is included: proportional and tabular, lining and oldstyle, plus fractions, subscript and superscript. Note also that the tabular figures are duplexed across weights - very useful when highlighting specific entries in tables. The tabular figures feature also substitutes in fixed width (across all weights) comma and period, so your decimals line up perfectly always. Lastly, case sensitive forms of certain glyphs are included for all-cap settings. This typeface will be useful for corporate identities and branding work. It’s spaced more for text settings in the normal width, and gets more display-optimized as the width decreases, but with careful tracking, all styles can sing at display sizes. Bored of those other Swiss style typefaces? Astrid Grotesk could be the face you need to breathe new life into your designs. Coupled with Schizotype Grotesk, its more eccentric cousin, you've got an unorthodox branding system ready to use straight out of the box.

Meet the successor of our bestselling design kit 'Chameleon': Perron. The concept of designing multiple contrasting designs under the same name was first introduced by Fontforecast in TyfoonSans and TyfoonScript. Two font families that were designed to complement each other. And that's exactly what this new release does. With the three designs in Perron, which means 'platform' in dutch, you will be able to take your design projects where ever you want them to go. This flexible kit consists of 7 fonts in three basic designs, and when combined Perron No1, No2 and No3 reïnforce each others charm. This offers great potential for creating lively layouts for many different projects, e.g. invites, menu's, magazines, brochures, packaging, greeting cards, T-shirts, etc. Perron No1 is a serif display font with large and small Caps. This font requires an Opentype savvy application to reach its full potential. Turn on contextual alternates and beginning and ending characters are replaced by their alternative versions, as you type. Stylistic sets and swashes offer even more variations. Perron No1 comes in two versions: No1 and No1 Shade. They can be used separate or layered for a colorful or shaded effect (if your application allows you to stack text frames). Perron No2 is a charming handwritten font, with slightly rough contours, that was added for an extra personal touch. It comes in regular and Italic. Perron No3 is a clean, tall and very skinny font family. It has large and small Caps and comes in three weights: Light, Regular and Bold. Because of its clean appearance No3 adds a modern touch to the design kit.

Hermann is one of our most readable typefaces so far. Since last year, the W Design team had been examining closely the possibility of developing a text font. Thus, we dug into concepts within some of our favorite novels, such as The Steppenwolf and Brave New World, written by Hermann Hesse and Aldous Huxley respectively. Ideas like duality, surrealism, and wildness mainly appeared. With these concepts in mind, we analyzed carefully the typefaces used in both Hesse’s and Huxley’s creations; Sabon and Garamond showed up catching our attention and, of course, awakening our admiration. Consequently, the challenge was to combine the key features of these fonts with the concepts already identified. At first, we made a text font which was suitable to compose long texts. However, we realized that we needed to refine some characteristics to convey all the ideas. A full set of capital discretionary ligatures was designed, which convert Hermann in a display font when is required. We also designed swashes (from A-Z) and final forms (in letters h, k, m, n, r and x in romans, and in letters a, d, e, h, i, l, m, n, r, t, u, x and z in italics), conveying more dynamism and versatility when it comes to composing visually. Hermann was designed not only to be accurate in terms of legibility but also to be wild and bold. That is why we took a big leap and designed from the beginning a font that is inspired by the world of 20th-century novels, using the name of one of its greatest exponents, Hermann Hesse.

Short Message is a 3 font combination that is suitable for all your design projects that aim to convey your message to your loved ones, with the font packages offered will definitely satisfy you Short Message came with opentype features such stylist ligatures good for logotype, poster, badge, book cover, tshirt design, packaging and any more.

We Love Nature Leaves is an extensive and versatile collection of foliage illustrations. This font consists of 52 highly detailed drawings of twigs and leaves which can be used on their own or in combination with the other illustrations in the ‘We Love Nature’ font collection. All illustrations are drawn by hand and of the highest quality.

Baraquiel is based on an interesting style of calligraphic script we found in a turn-of-the-century magazine ad. It is much more acutely slanted than most scripts, and has pretty dramatic variations in weight. Nonetheless it has high readability and works well in combination with many of our text fonts, particularly Evadare and Albemarle.

BR Sonoma is a new geometric grotesque built for the 21st century with a finely tuned modern aesthetic. BR Sonoma builds on the foundations laid by the classic Swiss grotesques such as Helvetica and Univers but combines their features with a stronger geometric base usually found in other early classics such as Avant Garde, Futura and Avenir.

An old printer's advertising cut for Red Star Oil Stoves yielded a typeface that was both vintage and somewhat techno at the same time. Originally drawn as a slanted logo, the individual letters had an array of chamfered, angled and flat sides combined with a bold outline. This font is available in both vertical and oblique versions.

Proudly Present, BODYNOTE Font. BODYNOTE is a Fun Handbrushed Font. Bodynote is a fun and playful display font. This font is perfect for children themed designs, especially when combined with bright colors. This font includes TTF and OTF, BODYNOTE also multilingual support. Enjoy the font, feel free to comment or feedback, send me PM or email. Thank you!

Fine and Dandy JNL comes from the hand lettered title of the 1929 movie "Isle of Escape"; found on the sheet music for its theme song "My Kalua Rose". An engraved and fancy Roman, the style combines elements of Western, Art Nouveau and Art Deco into one attractive type design; available in both regular and oblique versions.

Dans Le Noël is a Christmas dingbat. Perfect for use as ornament greeting cards, patterns, posters, websites and visual compositions that need Christmas show in a language full of personality, inspired by vintage illustrations. Dans Le Noël is part of the serie Dans, with Dans Le Cuisine and Dans Le Jardin. You can combine them as you like. Enjoy!

Introduction of our new collection of playful doodle font styles. The Hypercrack Handwritten all-caps Font with scribbles styles font. Also, Hypercrack has a unique stylistic alternates character. So you can create a combination of whatever you want! This font is perfect for your display project for headlines, quotes, editorial design, print posters, and much more.

SERID is a display font condensed and regular designed for editorial applications. Inverted contrast, features a serif hybrid that gives a decorative character and personality to the font. Being a display type, intended for use in titles or in small blocks of text, from 24pt. The name SERID comes from the combination of words “SERif” and “hybrID”, resulting SERID.

This elegant unicase uncial face is based on a work by German type designer Ernst Engel from 1927.This typeface masterfully combines Art Deco sensibilities with medieval letterforms, and is suitable for both text and headline use. Both versions of the font include 1252 Latin and 1250 CE (with localization for Romanian and Moldovan) character sets.

Paragon is a display Roman family of nine faces, combining elements of formality and fun. It embodies a high degree of contrast between near hairline horizontal strokes and bold vertical strokes. The family is offered in three widths and in regular, small capitals and title faces. Use Paragon to lend impact to your next design project.

«KRAYS» is an ultra-thin font display. Simple structure and fine uniform strokes contrast with bold squares in the structural units. The combination of gravity and lightness. Krays supports Basic Latin and Extended Latin, Cyrillic — in total about 90 languages are supported. The font has one Regular weight. All uppercase. Krays font was designed by Viktor Pesotsky.

Bright Rainbow is a classy brush font. The brush combined with handwritten font will make your design project more beautiful. Made for any professional project branding. It is the best for logos, branding and quotes. Every letter has a unique and beautiful touch. Features: Multilingual Support PUA Encoded Numerals and Punctuation Thank you for downloading from Din Studio.

ITC Temble was designed by Andreu Balius and draws influences from the European mediaeval period of King Arthur. The characters combine the angular qualities of mediaeval metallurgy with a modern tempo and the symbols included in the font exhibit the same stylistic forms. ITC Temble is perfect for work which should have a mediaeval or mystical appearance.