A blackletter font of decorative style and of obscure origin which was rescued for all devotees of these old hot-metal letters. This font contains a bunch of useful ligatures, and by typing 'N', 'o' and period and activating the OT feature Ordinals you get an old-style number sign.

Palestina is a sans serif font designed for reading texts and inspired in the condensed Trade Gothic font, which features a strong influence from the time of metal foundry-based typography. The characteristic of its design is easily recognizable and very stable to use for titles and newspaper and magazine headlines.

Hello Everyone, introduce our new product Font Faceless it is lack metal Typeface, Rooted, but still readable.This is a Textured Natural Style and classy style with a clear style and dramatic movement. This font Faceless is great for your next creative project such as logos, printed quotes, invitations, cards, product .

Dissident Font is a cool alternative for you to easily create your Underground band logo or whatever. Using alternative fonts and ornaments will liven up the font and will look cooler and fiercer. It comes with a basic character set and a small group of symbols and signs frequently used in the extreme music sector - Death- and Blackmetal classics such as pentagram drops, roots, wings and more. Features : - All Caps - numbers & punctuation - Multilingual - PUA encoded Please contact us if you have any questions. Enjoy Crafting and thanks for supporting us! :) Thank you

The simple, chamfered lettering of Bike Tag JNL was based on a 1950s-era metal bicycle tag with self-adhesive letters that kids could customize with their name or any short words.

Posterizer KG Rough is basically a hand-printed texture version of the Egyptian Slab Serif font Posterizer KG that already exists. Posterizer Kg Rough looks good on substrates with a rustic texture like wood, metal, textile, rough paper. It contains all the Latin and Cyrillic glyphs.

ArcticPatrol is a modern angular font influenced by military related computer games. Examples include: Ghost Recon and Medal of Honor.

MVB Peccadillo is an interpreted revival of a metal typeface popular in the 19th Century, then known as Skeleton Antique. Highly condensed with extra short descenders, the face makes a big impact in a narrow space. Holly Goldsmith worked from letterpress-printed specimens of 96-point, antique metal type, deliberately retaining subtle distortions due to type wear and letterpress impression. Alan Dague-Greene, referring to printed samples of Skeleton Antique, adapted the design to create two additional optical sizes: “Eight” for smaller text and “Twenty-four” for subheads.

Picking up a concept of Fritz Richter, Circensis is the realization of an adorned diplay font which had not been hitherto available, neither as a hot-metal font nor digitally. It is a great and legible font for circus and variety ads and posters, as well as for films, cafés, ice-cream parlors etc.

Arsis is a condesed modern headline face that was originally produced and cast in hot metal by the Dutch type foundry Lettergieterij Amsterdam. The Arsis font family was designed by Gerry Powell in 1937. Arsis is a Serif (Antiqua) Modern Style font. Arsis font family attributes include roman serif, Didone, elegant, formal, modern style, feminine.

Gothic fraktur inspired design, I wanted to resemble old german calligraphy but making it very geometric, so I used an isometric reticle during sketching. This is a display font, created for BIG sizes, non textual. I recommend it for branding, poster, logos or titles. Its very experimental -- it exists within the limits of legible and illegible reading. I choose the name “Garbancera” because gothic calligraphy has issues that are linked with dark, gloomy, lugubrious things or fear feelings, culturally in Mexico. I related this with death and for mexicans, death is something we celebrate and give us joy and happiness, annoying, the most representative Mexican characters, one of those is “La Calavera Garbancera” or better known as “La Catrina”, a clothes skeleton with only a hat. It was drawn this way to make a critic to all Mexicans at that time, that were poor but they wanted to represent a high lifestyle, “those that where to the bones, but with a French hat with ostrich feathers”. La Catrina was created by José Guadalupe Posada, a Mexican lithographer but also a newspaper illustrator. I think this is a beautiful font that can lead to great results, just use it wisely.

Unveil the depths of terror and embrace the macabre with our latest font creation,Horier Time - – a bloody mesmerizing horror display font. Prepare to embark on a spine-tingling journey into the darkest realms of design, where fear and fascination intertwine. Features : Uppercase & lowercase Numbers and punctuation Alternates/Ligatures Multilingual PUA encoded

The days of hot metal may be behind us, but Anvil looks as if it has been forged in a smithy’s fire: a handsome, heavyweight display face that is both impressive and impactful.

Big Display Sans JNL is an all-caps version of Ludlow’s metal type “Samson”, originally designed by Robert Hunter Middleton in 1940. This digital version is available in both regular and oblique versions.

Oddly Nouveau JNL is a charming Art Nouveau design based on “Eccentric”, a metal typeface issued by American Type Founders (circa 1898). This digital version is available in both regular and oblique versions.

Introducing the "Violent Brave Brutalism Typeface" - a cutting-edge font that seamlessly merges modern aesthetics with a fearless and commanding metal concept. This typographic masterpiece is designed for those who seek to make a bold statement with their visual communication. Design Concept: The Violent Brave Brutalism Typeface exudes an uncompromising and audacious personality. Inspired by the world of heavy metal, the font features fierce and firm spines, capturing the essence of raw power and strength. The design strikes a perfect balance between modernity and bold brutality, making it a standout choice for those who crave a unique and impactful typographic experience. Style Characteristics: The font boasts a distinctive metal-inspired aesthetic with sharp edges and robust letterforms. Each character is meticulously crafted to convey a sense of aggression and intensity, creating a visual impact that leaves a lasting impression. Glyph Diversity: With an expansive set of 1240 glyphs, this typeface goes beyond the ordinary. It includes ligatures, alternates, and a comprehensive multilingual character set. The ligatures and alternatives add fluidity and variation to the text, allowing for a dynamic and expressive display of content. The multilingual PUA Unicode support ensures compatibility across various languages, making it a versatile choice for global communication. Usage Scenarios: Ideal for graphic designers, musicians, and artists who want to inject a dose of unapologetic boldness into their projects. Whether used in album covers, posters, merchandise, or any other creative endeavor, the Violent Brave Brutalism Typeface is designed to command attention and convey a sense of fearless individuality. Key Features: Modern and bold metal-inspired design. Fierce and firm spines for a powerful visual impact. 1240 glyphs with ligatures and alternates for versatility. Multilingual PUA Unicode support for global accessibility. Incorporate the Violent Brave Brutalism Typeface into your projects and let your words roar with the intensity of a metal anthem, making a lasting impression on anyone who encounters your design.

This font was inspired by Lviv ArtDeco architecture dominating in 1920s-30s. This collection of ornaments is a graphic representation of building decorative elements, mostly of metal tracery elements and wall bas-relief. This font can be used for a variety of purposes, in graphic design as well as in industrial design.

Herbert Thannhaeuser’s 1953 titling font Erler-Versalien which was distributed by Typoart in hot-metal times, was carefully redrawn and redesigned. To preserve its handwritten character, irregularities in the letters’ strokes were left as they are. This font spreads best its beauty in book titles, magazines, diplomas, greeting cards or as initials.

"Blamtastic" is a 3D display font designed with a comic theme and sharp characters. This font offers three distinct styles: solid, inner shadow, and outline. Fonts with multiple styles like this are ideal for creating depth and visual interest in text. The solid style provides a bold and straightforward appearance, while the inner shadow style adds depth by giving the characters a three-dimensional effect. The outline style outlines the characters, emphasizing their shape against the background. With its comic-inspired theme, sharp characters, and various styles, "Blamtastic" is suitable for a wide range of design projects that require a playful and attention-grabbing typographic style. It can be used effectively in comic books, posters, titles, or any design where a bold, dynamic, and multi-dimensional font is needed to create an impactful visual presence.

Rumbler is a typeface inspired by old school car lettering, while trying to push it in a unique direction. Reflecting the limitations and constraints of shaped metal, the letter forms twist and contort to create a readable font that can evoke motion and speed, strength, and a retro feel.

A vintage metal stencil from a saw mill with the term "reusable skid" was the model for Saw Mill Stencil JNL. Although the original was what would be termed a semi-stencil (some letters did not have 'breaks' in them), the font was designed with a more traditional look.

This redesign is made from proofs, rather than the metal, and so is heavier, with particular attention to the Harris and the Monotype revision, which was made from proofs of Baskerville’s Great Primer (16pt).

"Rose Jane" is a vintage-themed script font enriched with stylistic alternates and swashes to elevate your designs' impact. With its timeless and graceful style, this font adds a nostalgic touch of elegance to your projects. Additionally, the font offers two distinct styles: regular and shadow effects, providing options for depth and dimension in your designs. .

Sworded is a font family of 8 fonts that was inspired by such diverse things as architecture, tombstones, video games, watching old movies or reading comic books. The art of creating beautiful letters has slowly declined with the rise of the digital age and its solid-colour, 2D fonts. And most of the time, the care given to typography in cultural products just isn't what it used to be anymore. This was the inspiration for Sworded, a family of 4 layerable fonts that can bring a feeling of depth to its letters, and offers endless possible combinations. Sworded Regular is the basic shape of all the characters. Sworded Deep gives an impression of depth to characters or acts on its own as an illusion. Sworded Bright can be used as the bright side of a bevel. Sworded Dark can be used to flesh out the dark side of a bevel. Sworded Shadowed is a contour font with a shadow effect. Sworded Wire is a wire font without depth indication. Sworded Outline is an outline font. Sworded Hatched is a variation of Sworded Shadowed with lines giving a gradient illusion. But of course, any font can be combined with any other font(s) to obtain various results. There are hundreds possible combinations with these eight fonts. Have fun!

"Ghost Blood" is a special Halloween horror font that is very unique and scary. This font looks like melting blood, which will add horror to your Halloween moment. Apart from Halloween, this font can also be used for party invitations, metal concert invitations, horror movie titles, and more. Equipped with uppercase, lowercase, numerals, punctuation, and multilingual support.

Roncial is an Ultra Bold font with a hint of serif. This is one of the fonts originally designed before the advent of digital and started out being a bolder, slightly serifed version of Folio Extra Bold which was one of the boldest fonts at the time (old metal set). It is available as Roman and Italic.

Forme Furniture Type Em and Furniture Type En Designed by using the pieces of letterpress furniture usually hidden, to create letter shapes. The square nature of the type means it could be used as a low resolution type. Forme Furniture Type Em – Low resolution type. Designed using *Furniture and **Em quads from letterpress printing. *Furniture: Pieces of wood or metal placed around or between metal type to make blank spaces and fasten the printed matter in the chase. ** Quads: (originally quadrat) is a metal spacer used in letterpress typesetting. An em quad is a space that is one em wide and one em high. Also available as Em Shadow to be used as a headline or display font. Forme Furniture Type En – Low resolution type. Designed by using *Leads and ** En quads from letterpress printing. *Lead or Reglet is a piece of Lead or wooden spacing material used in letterpress typesetting, to provide spacing between paragraphs. **An En quad is a space that is one En wide half the width of an Em quad, and the same height as the typeface. Also available as En Shadow to be used as a headline or display font.

Presenting Mango Lover - a whimsical and organically handwritten sans serif font that dances with a playful charm. But that's not all; Mango Lover comes with its own Shadow version to add depth and character to your text. With a delightful array of ligatures and alternate characters, this font becomes a creative playground for your projects .

Paper Cube font family is the first font I've created. I unconciously started to draw letterforms with straight horizontal and vertical lines contained in a square. Soon this experiment became a 3d outlined display family of 3 weights, each one of them gaining depth and articulating into planes. Designed in Cuenca (Spain) in 2011.

The ITC Blair™ typeface is a revival and reimaging of an early 20th century metal typeface of the same name. Even though only available as single weights of extended and condensed proportions, metal fonts of the face were sold well into the 1950s. In 1997, Jim Spiece resurrected the original extended design for digital imaging and, in the process, added two new weights. Almost 20 years later, he collaborated with Monotype type designers to extend the basic family again. The result was a new suite of three condensed designs and italic complements for all the roman weights. The family also benefits from a large set of alternative glyphs and many OpenType® features.

Halo! thank for your visit :) Bloody Night is a dark metal handwritten font with a horror feel and creepy impression. it looks stunning on movie title, book covers, photography, greeting cards, creepy quotes, and much more. This font is PUA encoded which means you can access all of the glyphs and swashes with ease!

The 1905 Barnhart Brothers & Spindler catalog featured an ultrawide face called "French Antique Extended". The letterforms have been faithfully rendered here, but this font’s kerning calls for a lot of overlapping and interlocking that the original cast-metal face wouldn't have been able to duplicate. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Ten years or so after his unique treatment of Garalde design with Trump Mediaeval, Georg Trump took on the transitional genre with Mauritius, which was to be his last typeface. He started working on it in 1965. The Stuttgart-based Weber foundry published a pamphlet previewing it under the name Barock-Antiqua in 1967, then announced the availability of the metal types (a roman, a bold and an italic) a year later. The global printing industry was already in third gear with cold type technology, so there weren't that many takers, and Weber closed its doors after more than 140 years in business. Subsequently, Trump’s swan song was unfairly overlooked by typography historians and practitioners. It never made it to film technology or scalable fonts. Thus, one of the most original text faces ever made, done by one of the most influential German type designers of the 20th century, was buried under decades of multiple technology shifts and fading records. The metal cuts of Mauritius seem to have been rushed in Weber’s desperation to stay afloat. So the only impressions left of the metal type, the sole records remaining of this design, show substantial problems. Some can be attributed to technological limitations, but some issues in colour, precision and fitting are also quite apparent, particularly in Mauritius Kursiv, the italic metal cut. This digital version is the result of obsessing over a great designer’s final type design effort, and trying to understand the reasons behind its vanishing from typography’s collective mind. While that understanding remains for the most part elusive, the creative and technical work done on these fonts produced very concrete results. All the apparent issues in the metal types were resolved, the design was expanded into a larger family of three weights and two widths, and plenty of 21st century bells and whistles were added. For the full background story, design analysis, details, features, specimens and print tests, consult the PDF available in the Gallery section of this page.

Welcome Home JNL gets its inspiration from metal letters and numbers affixed to homes, posts and mailboxes in the 1920s and 1930s. The block style of lettering that was silk screened onto enameled rectangles of steel was especially popular during that time period. This font has a limited character set.

An antique, hand-cut metal stencil for the Chicago-Burlington rail route stating “CB&Q RR – Private Property” inspired the sans serif stencil design Midwest Railway JNL, which is available in both regular and oblique versions.

“Brushfire” is a playful font with a handbrush texture, featuring rough edges and uneven strokes for a rustic and organic look. It adds a bold and edgy feel to any project and creates a sense of depth and dimension with its textured appearance. The font is both legible and expressive, making it perfect for a variety of design projects.

Unveil the depths of terror and embrace the macabre with our latest font creation, Deadlamp – a hauntingly mesmerizing horror display font that beckons to the shadows. Prepare to embark on a spine-tingling journey into the darkest realms of design, where fear and fascination intertwine. Features : Uppercase & lowercase Numbers and punctuation Alternates & Ligatures Multilingual PUA encoded

In 1913, Leipzig-based foundry C. F. Ruehl released a hot-metal font called Caesar-Schrift which was cut by the engraver and medalist Georg Schiller (1858-1937). This humanist sans combines successfully traditional classic forms with the flowing lines of the Art Nouveau period. Now revived as Caesar Pro, this font was carefully extended and made multilingual.

The Parkway font family was inspired the Parkway Theater marquee in south Minneapolis and the abandoned hotel signage along a strip of U.S. highway running from Tallahassee to Tampa in Florida. A classic retro font trio, the Parkways speak of nostalgia and Americana. Looks like the little metal tag that dealers stick on the trunk of new cars.