Perfume Counter JNL was based on the hand lettered song title found on the 1938 sheet music for "At A Perfume Counter (On the Rue de la Paix)" from Billy Rose's New York revue "Casa Mañana", and is available in both regular and oblique versions.

A French lettering chapbook from the 1920s, entitled "Art du Tracé Rationnel de la Lettre," provided the inspiration for this decidedly Deco exercise in alternative letterforms. Both flavors of this font feature the 1252 Latin, 1250 Central European, 1254 Turkish and 1257 Baltic character sets.

Hello, Friends! Introducing Ravenholm -a new modern gothic font family. Font looks amazing as single words and as full text blocks. It has support for many languages as: Czech, Danish and Norwegian, Deutsch, English, Espanol, French, Italiano, Magyar, Nederlands, Portuguese, Finnish, Swedish, Turkish, Russian etc. Ravenholm font family cast: - Ravenholm Color (color OTF font) - Ravenholm Bold - Ravenholm Inline - Ravenholm Thin - Ravenhol Slant WARNING #1 Color fonts are pretty new technology - they currently show up in Photoshop CC 2017+, Illustrator CC 2018 and some Mac apps. Learn more about color font support on third-party apps here: https://www.colorfonts.wtf/ Enjoy it on your best projects! For any help regarding this font, please feel free to contact me through my profile page and I’ll be glad to offer support. Thanks for buying!

Lucida Handwriting is a casual, connected script designed for smooth and fun reading on screens and in print. Its relaxed personality and vigorous energy sends a distinctive message. Lucida Handwriting was originally released in one weight. It is now available in five weights, from Thin to Black. Lucida Handwriting was designed by Kris Holmes and Charles Bigelow based on historic blackletter style cursives. As with other joining script typefaces, all capital letters usage is not recommended: it is best to use upper and lowercase for optimal legibility. Lucida Handwriting is part of the Lucida superfamily of fonts from Bigelow & Holmes. Lucida is highly regarded for legibility and its extensive range of type styles. The Lucida Handwriting typeface family has a Standard character set with 255 glyphs supporting the basic range of Latin languages.

Opinion varies regarding the role of Claude Garamond (ca. 1480–1561) in the development of the Old Face font, Garamond. What is accepted is the influence this font had on other typeface developments from the time of its creation to the present. Garamond, or Garamont, is related to the alphabet of Claude Garamond (1480–1561) as well as to the work of Jean Jannon (1580–1635 or 1658), much of which was attributed to Garamond. In comparison to the earlier Italian font forms, Garamond has finer serifs and a generally more elegant image. The Garamond of Jean Jannon was introduced at the Paris World’s Fair in 1900 as “Original Garamond”, whereafter many font foundries began to cast similar types. Simoncini Garamond was designed by Francesco Simoncini to be true to the Original.

KAPITAL is an elegant, geometric uppercase sans. It is available in standard and stencil style across four weights – light | regular | medium | demi – covering 346 glyphs. It is based on the capital character set from a previous release – Basik. Continuing the clean, geometric aesthetics, KAPITAL was refined further to create a more minimal style. This enabled the characters to discreetly perform their role – to simply convey the message of the writer without distraction. To achieve this, special attention was applied to the form consistency of the glyphs across the weights and negative space throughout. In many typefaces as the weight is increased the form and style can deviate significantly from the original design. With regards to negative space – although inevitable – wherever possible key letterforms were adjusted to alleviate this.

Typographical Caballero is a family created by Fabio Eduardo Godoy Angel, the concept is inspired by a type with firm and clear, with perfect posture and personality to be used by Graphic Designers and Architects, in terms of print, TV Corporate Identity, Merchandising - Other Projects. Ideal for antetétulos, titles, subtitles, texts from 12 Pts. Caballero Outline and Caballero Outline Italic, are presented as an option for antetétulos, titles and subtitles as well as short texts from 20 Pts. Caballero in his presentation Outline, allows wide range of applications in regard to the use of color, and be combined with Caballero Regular and Caballero Italic. Font Project Caballero, is set with a vertical and horizontal logic calligraphic lines, amount of contrast medium, antlers mullet and its completions are straight.

Beginning in January, 1932, Becker, at the request of then-editor E. Thomas Kelly, supplied SIGNS of the Times magazine’s new Art and Design section with an alphabet a month, a project predicted to last only two years. Misjudging the popularity of the “series”, it instead ran for 27 years, ending finally two months before Becker’s death in 1959, for a grand total of 320 alphabets, a nearly perfect, uninterrupted run. In late 1941, almost ten years after the first alphabet was published, 100 of those alphabets were compiled and published in bookform under the title, “100 Alphabets”, by Alf R. Becker. And so, as published in August, 1937, The Fontry presents the truly "modern" version of Becker’s 187th alphabet, Moderne Caps, complete with OpenType features and Central European language support.

The Face2Face (F2F) series was inspired by the techno sound of the mid-1990s, personal computers and new font creation software. For years, Alexander Branczyk and his friends formed a unique type design collective, which churned out a substantial amount of fresh, new fonts, none of which complied with the traditional rules of typography. Many of these typefaces were used to create layouts for the leading German techno magazine of the 1990s, Frontpage. Branczyk and his fellows would even set in type at 6 points, in order to make it nearly unreadable. It was a pleasure for the kids to read and decrypt these messages! F2F Frontpage Four is one of 41 Face2Face fonts included in the Take Type 5 collection from Linotype GmbH. Branczyk designed 16 of these himself."

Bouba Round is more than it seems on first sight. It combines the best of two worlds, having an expressive character with its round and friendly shapes and performing great in every typographic aspect. The type family is a true workhorse, ready for serious typography. Creating a round typeface with a great reading experience has been our guiding principle throughout the design process — Bouba Round needed to work in small sizes and long text as well as in Headlines. To ensure a great reading experience in most languages, Bouba Round has a huge language support including nearly all latin based languages, Greek and Cyrillic. On top of an extensive language support, Bouba Round is loaded with a lot of icons, arrows and graphic elements for modern UI/UX design.

The Face2Face (F2F) series was inspired by the techno sound of the mid-1990s, personal computers and new font creation software. For years, Alexander Branczyk and his friends formed a unique type design collective, which churned out a substantial amount of fresh, new fonts, none of which complied with the traditional rules of typography. Many of these typefaces were used to create layouts for the leading German techno magazine of the 1990s, Frontpage. Branczyk and his fellows would even set in type at 6 points, in order to make it nearly unreadable. It was a pleasure for the kids to read and decrypt these messages! F2F Burnout Chaos is one of 41 Face2Face fonts included in the Take Type 5 collection from Linotype GmbH. Branczyk designed 16 of these himself."

The Face2Face (F2F) series was inspired by the techno sound of the mid-1990s, personal computers and new font creation software. For years, Stefan Hauser and his friends formed a unique type design collective, which churned out a substantial amount of fresh, new fonts, none of which complied with the traditional rules of typography. Many of these typefaces were used to create layouts for the leading German techno magazine of the 1990s, Frontpage. Hauser and his fellows would even set in type at 6 points, in order to make it nearly unreadable. It was a pleasure for the kids to read and decrypt these messages! F2F Haakonsen is one of 41 Face2Face fonts included in the Take Type 5 collection from Linotype GmbH. Hauser designed two of these himself."

Vessia a lovely script font - a new modern & fresh script with a handwritten and script style make this font looks cute, elegant, stylish and perfect for any awesome projects that need lettering taste. Vessia would perfect for watermark, social media posts, advertisements, logos & branding, invitation, product designs, label, stationery, wedding designs, product packaging, special events or anything that need lettering taste. Vessia also includes full set of uppercase and lowercase letters, multilingual symbols, numerals, punctuation. The font has smooth wet ink texture, so would be perfect for all types of printing techniques+you can do embroidery, laser cut, gold foil etc. Features : ligature alternate multi lingual We hope you enjoy this font. If you have any questions please don't hesitate to drop me a message :) Thank you, Best regards alphArt

The new typeface system is based on legibility of Renaissance and Baroque Antiqua. It maintains the quality of drawings without an overpowering historical legacy. The current concept makes the system a universal whole. Abrading of sharp edges which could catch one’s attention leads to a fine rounding of details. In this way, a sans drawing does not look hard and sterile unlike most of its contemporaries. Special attention was paid to every detail of each letter. The professional question of how to incorporate brightening wedges into the dark places of individual strokes’ onsets was resolved by rounded shapes that have their graphic response in the detail of the serifs. Particularly in larger sizes the typeface offers drawing sophistication and dimensional interconnection. Apart from Cyrillic alphabet, the alphabet design includes ­Vietnamese ­accents.

Suffix Mono is a monospaced sans-serif family that offers an extensive range of weights and styles. Additionally, it provides numerous OpenType features, including 16 distinct stylistic sets for users to experiment with. The core concept behind Suffix Mono is to explore the distinctive textures often associated with monospace fonts, which are primarily characterized by their "fixed width" nature. Suffix Mono enhances these textures by introducing various stylistic features that enable users to replace closed glyph contours, such as those found in characters like 'f,' 'r,' 'i,' and 'j,' with more open and airy alternatives. Enabling these alternates results in an overall transformation of the textural appearance of Suffix Mono. Furthermore, Suffix Mono boasts one of the hallmark features of modern typefaces: extensive language support, encompassing nearly the entire Latin script.

The new typeface system is based on legibility of Renaissance and Baroque Antiqua. It maintains the quality of drawings without an overpowering historical legacy. The current concept makes the system a universal whole. Abrading of sharp edges which could catch one’s attention leads to a fine rounding of details. In this way, a sans drawing does not look hard and sterile unlike most of its contemporaries. Special attention was paid to every detail of each letter. The professional question of how to incorporate brightening wedges into the dark places of individual strokes’ onsets was resolved by rounded shapes that have their graphic response in the detail of the serifs. Particularly in larger sizes the typeface offers drawing sophistication and dimensional interconnection. Apart from Cyrillic alphabet, the alphabet design includes ­Vietnamese ­accents.

Inspired by the diverse and dynamic neighborhoods around their studio, kapitza’s most recent work is about observing and recording the transient nature of inner-city populations. This visual research results in vibrant sets of silhouettes with site-specific names like ‘Liverpool Street’, ‘Victoria Park’ and ‘Brick Lane’. This ongoing project charts the visual component of local transformation, managing to reflect something that is deeper, invisible and beyond the surface. These fresh, creative typologies make sense of sensory overload. Though stark and simple, these silhouettes make the increasingly complex connections between people (s) and place(s). Somehow identities are represented in the absence of context and locations are curiously referenced without surroundings. By focusing on an area’s inhabitants, their work highlights distinct subtleties regarding the interplay time and place.

This font is created with original hand drawn strokes for a relaxed, beautiful and elegant impression. This font also offers beautiful abstract typographic harmony for a wide variety of design projects, including natural handwriting in digital form for designs, quote designs, for social media business designs, advertisements, trademarks, promotional banners, posts, posters, signatures, and all designs require handwriting or whatever design you want. This font is equipped with uppercase, lowercase, numbers, punctuation marks, swhases and several variations on each character including multi-language. This font is best suited for open type friendly applications. How to get alternative glyphs from open type fonts: http://adobe.ly/1m1fn4Y PUA Character Code - Fully accessible without additional design software. We hope you enjoy this font.Feel free to send whatever message you want to convey.Thank you Regards

My teacher used to say my writing looked like ‘hanenpoten’ (“rooster legs”). It is a Dutch expression for a scrawly script. When this script emerged, it had ‘scrawl’ written all over it! Scrawlerz is a messy script font with a lot of joie de vivre. Enjoy!

Thud is a family of seven weights with roman and true italics. Weights are done with parabolic formula by Luc(as) de Groot for each weight to be optically in between the next weight. Made for headlines, but kerned well enough for larger amounts of text.

Created by veteran Sign Painter, Bruce Bowers and Lettering Artist, Charles Borges de Oliveira. Mocha Script boasts over 243 characters which includes alternates, ligatures and special end characters which allows the Designer to create a magnitude of variations of letters to produce unique hand lettered words. Enjoy!

Canadian designer Anthony De Meester created the font in 1989. Vienna Extended is a light, elegant sans serif. Simplicity is the hallmark of Vienna and it can be used most effectively where a look of regal elegance is desired. Vienna is a trademark of International Typeface Corporation.

A 1930s casual Art Deco type style with as much influence in 1970s graphic design as in its day was found within the pages of the 1930s French publication L'Art du Tracé Rationnel de la Lettre. Discotheque JNL is available in both regular and oblique versions.

Sports Wave is a specialty font that can be used for sports-themed projects. Previously available as a free version with only the pictograms, Sports Wave has been a popular download. Now we offer you the added usability of a full and extended character set. Some glyphs have been provided to extend the height of the shorter “banner” glyphs. These glyphs are negatively kerned and appear near the end of the set.

If you watched ND Gestalt glitter in the dark near the Tannhauser gate. You know all these sans serifs will be lost in time, like tears in rain… If you like circles you will like ND Gestalt just as much. The unconventional stem to counter bridge in the lowercase gives this one its rather unique appeal. Fonts like this are unlike any other font – they’re either a benefit or a hazard. Beware!

Kanna Aoki drew the letters for MVB Emmascript while on a picnic near the Conservatory of Flowers in San Francisco’s Golden Gate Park. Mark van Bronkhorst adapted the writing as a font that maintains a very natural scrawl. Later a bold weight was added. MVB Emmascript has been used to add a lighthearted, human touch to everything from fiction paperbacks to potato chip packaging. The typeface is named for Aoki's 1968 Volkswagen, Emma.

Fontfamily “Compotes” was created with love and with care about small collections of "hand-made" fonts. We have created a perfect product for the decoration of home design, small barber’s shops, cafes and bakeries. This fonts is ideally combined with any type of design, for example, you can use them on labels homemade jams and pickles and “Compotes” perfectly can be used in logos and in the press. We did 5 main main typefaces by alphabetical list: A - Apple, B - Basilic, C - Citro, D - Dew, E - Espresso In addition, we have developed five “supplements” for each font!

Some unusual hand lettering was found on the cover of the 1924 edition of a Spanish language novel by Joaquin Belda entitled “La Hora del Abandono” ("The Time of Abandonment"). The title was created as all lower case characters in a semi-serif style reflecting the dawn of the Art Deco movement. A new set of capital letters was created for this digital revival, along with the numbers, punctuation and other necessary glyphs. Mantequilla JNL is available in both regular and oblique versions. For those unfamiliar with the Spanish language, Mantequilla (pronounced mon-tay-key-yuh) means butter.

Need that perfect statement fonts for your designs? Get them the beautiful Something Great., a beautiful font duo. Through the script font, Something Great brings your design to delve deep into the world of elegance, while the serif font creates modern look. This font duo can be combined as a splendid set, or worn separately, with each possessing a head-turning magnificence of its own. Features: Stylistic Sets Ligatures Multilingual Supports Numerals and Punctuations Thank you for purchasing premium fonts from Din Studio. If you have any further questions, don't hesitate to contact us. Happy Designing.

Fontfamily “Compotes” was created with love and with care about small collections of hand-made" fonts. We have created a perfect product for the decoration of home design, small barber’s shops, cafes and bakeries. This fonts is ideally combined with any type of design, for example, you can use them on labels of homemade jams and pickles and “Compotes” perfectly can be used in logos and in the press. We did 5 main main typefaces by alphabetical list: A - Apple, B - Basilic, C - Citro, D - Dew, E - Espresso In addition, we have developed five “supplements” for each font!

Blandford Press strikes again, with a delightful, delicious, de-lovely offering from their 1946 tome, Lettering for the Commercial Artist. The editor, A. H. Hunter, called this one simply "The Elegant Alphabet" and cautioned that it, "being neither quick nor easy, needs to be used with discrimination." Or not...

At the end of the 19th century, the fin de siècle, both Bauer and Berthold released ‚Herkules‘, a heavy Art Nouveau font for ads and posters. This font was carefully redesigned and makes it a great font in Jugendstil surroundings and a splendid partner of the Carlsbad font family.

Ornate Deco JNL is a thick-and-thin Art Deco serif typeface with diamond shapes inside the thicker parts of the characters. It is based on an alphabet example found in the 1949 French lettering book “Album de Lettres Arti”, and is available in both regular and oblique versions.

Based on the fin-de-siècle Helios Reklameschrift of the Klinkhardt foundry, Leipzig, Affiche preserves the beautiful art nouveau character of its hot-metal forerunner and was carefully extended to make it multilingual. For more historical authenticity, you can use the long s by typing [alt] and [b].

This decorative, scalloped thick-and-thin Art Deco type design is one of the many inspirations found within the pages of the 1934 French lettering book “L'Art du Tracé Rationnel de la Lettre”. Now in digital format, Fancy Deco JNL is available in both regular and oblique versions.