Introducing our latest display typeface called Jatmika Typeface- Modern Blackletter Typeface – Display Vintage Serif can make your logotype become more interesting. Best Vintage font multilingual support. inspired by the decorative arts and architecture movement Jatmika Typeface fonts is perfect for your project and allows you to create designs, headlines, posters, logos, badges, and many more that are beautiful. It is also best used for posts, logos, posters, certificates, labels and more.

Asterik is a bold script and also provides some Stylistic Alternates, Ligatures, Contextual Alternates and Swashes, Multilingual support and already PUA encoded. This font is made with Horizontal/Vertical anchor points so this font is clean. It will be great for Logotypes, Posters, Digital Lettering Arts, Clean Design, Branding Design, Sign, Merchandise and Social Media Posts. Please visit our popular products: https://www.myfonts.com/fonts/rochart/bellsmore-brush/ Thank you!

ITC Vinyl was designed by J. Keith Moore, who was born in Germany but raised in Colorado. The typeface is a hybrid of Art Nouveau, street attitude, and 1950s design and was created with pen, ink, and French curves before being converted into digital fonts with Adobe Illustrator. ITC Vinyl is a family of four display faces in outline and solid designs with corresponding sawtooth" variants for each."

Akrux is a futuristic variable wide font. It is inspired by forms that are close to futurism, stars and space. Everything related to space, movies, cartoons, art, books, spaceships. Ideas came from everywhere. The font is suitable for headlines, posters, logos, large typography, magazines, everything related to cars and anything that can be futuristic and meaningful. It has great language support, and Cyrillic is planned in the future.

Paget is a modern exploration of Tuscan design. Here you'll find simple geometric outlines with an 'Arts and Craft' charm about them. Paget is beautifully clear and easy to read, but offers a distinctive charm that conventional sans serif and serif faces don't. Paget is offered in regular and oblique forms and is an ideal way to merge tradition and all that is new and fresh in your designs.

Steffinella is a sweet, soft hand-lettered handwritten font. Fall in love with its authentic feel and use it to create gorgeous wedding invitations, beautiful stationary art, eye-catching social media posts, cute greeting cards, apparel, and logo. This font is PUA encoded which means you can access all of the cute glyphs and swashes with ease! It also features a wealth of special features including alternate glyphs and ligatures.

Introducing Graphy, the font that fuses the energetic spirit of street art and the trendsetting vibes of y2k culture. This unique typeface offers three distinct styles: Filled, Anti Counter, and Outline, whether you're working on logos, branding, or social media graphics Graphy Main File Has 3 style: Filled, Anti Counter, and Outline Instructions (Access special characters, even in Cricut Design) Unique Letterforms Works on PC & Mac Thank you, Dharmas Studio

Klick is a Slab Serif Font family. The style are light, outline and Blurred. This font is elegant and it based on the combining a variety of styles. Suitable for Logo, greeting cards, quotes, posters, branding, name card, stationary, design title, blog header, art quote, typography Features : Uppercase and lowercase Numeral and Punctuation Please contact us if you have any questions. Enjoy the font and thanks for supporting us. Regards, Grontype.

Sheet music for the 1915 song "Is There Still Room for Me Neath the Old Apple Tree" had the title hand-lettered in a condensed, square sans serif. Although far from the more decorative lettering styles of the Art Nouveau period, this type of simple understatement was also a popular choice for the illustrators of the day. It is presented digitally as Nouveau Square JNL in both regular and oblique versions.

Erangle is an elegant serif typeface inspired by a vintage type specimen I found recently at an art fair. Thin to thick contrasting lines and elegant curves make Beginta the perfect font for this type of logo and display purposes. Hope you enjoy it Feel free to contact you with any questions or concerns you may have and I will get back to you as soon as I can.

Island Time JNL is based on the hand-lettered title from a piece of 1940s sheet music called "An Island Melody". This Art Deco typeface is perfect for projects where a clean, yet attractive headline font is needed. The font's name is based on the euphamism popular amongst Caribbean Islanders that when someone is excessively late for an appointment, date or event they are running on "island time".

Soundgarden is a Display Typeface. This font describes about stylist, modern, psychedelic look, and easy to use. Soundgarden Display Typeface inspired from the modernity, psychedelic art and natural beauty. FEATURES - Uppercase and Lowercase letters - Numbering and Punctuations - PUA Encoded Characters - Multilingual Support - Works on PC or Mac - Simple Installation USE Soundgarden Display Typeface works great in masthead, Logo, T-shirt/ Apparel, Poster and Magazine. Enjoy using! Thanks. HIRO.std

Introducing Al Zaina, a font with Arabic style, inspired by classical Latin handwriting and Arabic calligraphy art. Fonts designed with a touch of arabic style are very suitable for use in your various projects, product packaging, magazine covers, book covers, flayer backgrounds, beauty products, boutiques, and are used for writing at Islamic annual events. Equipped with alternate, and swash makes it easy for you to explore your design.

introducing MALIHAH - Lettering Font Pack- MALIHAH is great for lettering, quotes, wedding card, logo, t-shirt designs, mugs, interior ornaments, tote bag designs, cards, banners, social media, and anything about craft projects. It came with 4 different fonts with extra doodle font. Features: - Uppercase - Lowercase - Numeral - Multilingual - doodles - PUA encoded Let's create your own quote to be beauty lettering art. I hope you love it. regards, Abo Daniel Studio

The model for Bensonhurst JNL was a 1930s-era hand-lettered WPA (Works Project Administration) poster for the play "Hell Bent For Heaven". Although the basic style is a classic Art Deco "thick and thin" format, the design (in certain characters) starts to take on the feel of a 1970s revival style. With this in mind, Bensonhurst JNL is a bit of a hybrid between the 1930s and the 1970s.

David Berlow drew Romeo Medium Condensed during winter of 1990, basing the design on the Estrecha Fina weight of Electra, a spectacular art deco sanserif with an unusually fine condensed series. Carlos Winkow designed it circa 1940 for the Nacional typefoundry of Madrid, the leading typefoundry in Spain. Jill Pichotta drew the ultra-light Skinny Condensed, a digital tour de force released with Medium Condensed; FB 1990–91

An elegant, stylish unicase font with alternative lower-case letter-forms designed to fit the capital’s X-height. The lower-case forms are available in many of the lower-case keystrokes, with even more available as “stylistic alternates” or a “stylistic set”, which can be activated in Adobe apps. Eye-catching, sophisticated and contemporary. Available in five weights. A more sober companion to the original op-art version of “Dazzle” .

Emosia is an elegant serif typeface inspired by a vintage type specimen I found recently at an art fair. Thin to thick contrasting lines and elegant curves make Beginta the perfect font for this type of logo and display purposes. Hope you enjoy it Feel free to contact you with any questions or concerns you may have and I will get back to you as soon as I can.

Mario De Libero designed Swanstone while investigating XIX Century Old Style typefaces. Designs like Theophile Beaudoire’s Romana (1860) or Miller & Richard’s Modernized Old Style, that re-imagined the classical “Venetian” letterforms adding flared serifs and early Art Nouveau influences. In Italy, one of these fonts was Raffaello Bertieri’s Raffaello, which De Libero used as the starting point of his research in a contemporary retelling of these exuberant and sexily unsettling letterforms.

The American Sign Museum in Cincinnati houses an amazing collection of vintage signage from all kinds of sources and covering many eras of retail advertising. Someone visiting the museum posted online an image of one particular piece of glass with hand lettering saying “gold leaf” in a bold Art Deco stencil style. Etched Stencil JNL was inspired by that image and is available in both regular and oblique versions.

The addition of serifs to an existing typeface can drastically change the look and feel of a design. Sign Card JNL and its oblique version is just such a treatment of Sign Shop JNL. By adding the serifs, there is not only a brand-new Art Deco typeface possessing a regal and formal style, but a distant resemblance to a Russian Cyrillic font with its mechanical form and function.

This swoopy, loopy script was inspired by an “American roundhand” presented by John M. Bergling in his Art Alphabets and Lettering, first published in 1914. Bergling’s unique talent crafted uppercase letters which manage, at the same time, to be both elegant and ostentatious. The PC Postscript, Truetype and Opentype versions contain the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

Introducing vintage classic display typeface its called Burnic Typeface. Inspired by antique, mix victorian and art deco period with decorative shapes*. Those all will make you work easily to create : Posters, Logos, Print, Quotes, Headers, Clothing, Labels, Packaging etc. Features : Character Set A-Z Numerals & Punctuations (OpenType Standard) Accents (Multilingual characters) Ligatures Above the description of this font, I hope you're satisfied with what I have created. Thanks and enjoy designing.

Giselle Dolicia is an elegant and assertive serif font. Fall for its ravishing style and use it to create gorgeous wedding invitations, beautiful stationary art, eye-catching social media posts, and much more! Giselle Dolicia is also included full set of: uppercase and lowercase letters multilingual symbols numerals punctuation standard ligatures Wish you enjoy our font and if you have a question, don't hesitate to drop message & I'm happy to help :)

Sheet music for the song "Today I Feel So Happy" from the 1932 motion picture "Sunshine Susie" provided both the visual model and the name for Sunshine Susie JNL, available in both regular and oblique versions. The lettering is a bold Art Deco thick-and-thin design, and comes not from the song's title, but the hand lettered name of the movie as it appeared on the cover the song folio.

Get in the swing with Metairie. This high-contrast script from Jeremy Dooley sets the rhythm for your next headline or short phrase with its fresh, expressive forms. Metairie’s (sometimes exaggerated) scrawled letterforms play on the colorful world of calligraphy to bring you a fully developed personality of its own. Inspired by elixirs and pharmaceuticals of the 1800s, this design has forms that dig down deep to the soul. It brings a unique, vibrant feel for your next message. The typeface supports all major Latin languages, and the expanded OpenType capabilities let you slide elements easily and quickly into your design. Metairie also includes a number of distressed options. Improv a bit, too, with Metairie’s decorative ornaments, variations on the fleur de lis. Ornaments and tails are accessed through the glyph palette or using the Swash function. An extensive set of ligatures gives you more options for humanizing the handwriting on the page. Then take it up a notch by using the glyph palette to find the perfect solution for project. You have full access to this amazing capability with InDesign, Illustrator, QuarkXpress and similar software. We recommend that you explore what this font can offer by using the glyph palette. Get a glimpse of ​​the font’s strength by looking over the brochure in PDF format in the "Gallery" section. Ready to step in? Take a stab at your next design with Metairie. It could be just the color you need.

Are you tired of playing it safe with your typography? Want to stand out from the crowd and make a bold statement? Look no further than Desperate, the punk rock font that will bring a rebellious edge to your designs. With interlocking shapes that give it a new wave feel, Desperate is a font that refuses to play by the rules. And with OpenType technology, it generates wild ligatures for over 200 letter combinations, adding to its unpredictable, untamed vibe. But Desperate isn’t just about making a scene. It delivers your message with an aggressive, hard-hitting style that commands attention. Whether you’re designing a gig poster, album cover, or anything in between, this font will give your work the punk rock attitude it deserves. So why settle for boring fonts when you can embrace your inner rebel with Desperate? It’s time to make your mark and let your designs scream out loud. 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.

Y’all, have you met Caryn? She’s a typeface that’s as friendly as a front porch conversation on a sunny day. With her short brush strokes and swooping flourishes, she’ll make your words sing with genuine warmth and charm. Caryn is like a cozy quilt or a hot apple pie, bringing a homemade touch to everything she touches. Whether you’re crafting a wedding invitation, designing a logo for your farm stand, or just writing a letter to a friend, she’ll help you express your message with a down-to-earth grace. And here’s the best part: Caryn doesn’t put on airs. She’s unassuming and approachable, like a neighbor who always has a smile and a kind word. You don’t need fancy design skills or a big budget to make Caryn work for you. She’ll fit right in with your homespun style and make you look like a pro. So if you want to add a touch of warmth and hospitality to your next project, give Caryn a try. She’s the perfect typeface to welcome your readers, customers, or loved ones with open arms. 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.

Blackletter typefaces follow certain fixed rules, both in respect to their forms and to the orthography. Possibly, they were a reaction to the half-developed Carolingian minuscule which was soon to end in the Latin script. Narrow, ordered script was to replace the round, hesitant and shattered shapes of letters in order to simplify writing, to unify the meaning of individual letters, and to save some parchment, too. Opposed to the practice common in monasterial scriptoriums where Uncial, Irish and Carolingian inspiration flew freely and as a result, the styles of writing differed in each monastery, the blackletter type was to define one, common standard. It was to express spiritual verticality, in perfect tune with the architecture of the Gothic era. Typography became an integral part of the overall style of the period. The pointed arch and the blackletter type were the vanguard of the spectacular transformation from the Middle Ages towards the modern era, they were a celebration of a time when works of art were not signed by their makers yet. Some unfortunate souls keep linking blackletter solely with Germany and the Third Reich, while the truth is that its direct predecessor, the Gothic minuscule, evolved mostly in France. Even Hitler himself indicated blackletter type obsolete in the age of steel, iron and concrete – thus making a significant contribution to the spreading of the Latin script in Germany. Once we leave our prejudice aside, we find that the shapes of blackletter type have exceptional potential, unheard of in sans-serif letterforms. The lower case letters fit into an imaginary rectangle which is easily extended both upwards and sideways. In its scope and in the name itself, the Moyenage type family project is to celebrate the diversity of the Middle Ages. I begun realizing the urge to design my own blackletter when visiting the beer gardens of Munich and while walking through the villages of rural Austria. The letters from the notice boards of inns are scented with spring air, with the flowers of cudweed, with white sausage and weissbier. The crooked calligraphic hooks and beaks seem to imitate the hearty yodeling of local drinkers and the rustle of the giant skirts of girls who distribute the giant wreaths of beer jugs. Moyenage is, however, a modern replica of blackletter, so it contains some otherwise unacceptable Latin script elements in upper case. I chose these keeping the modern reader in mind, striving for better legibility. The font is drawn as if written with a flat pen or brush, and with the ambition to, perhaps, serve as a calligraphic model. In medium width, the face is surprisingly well legible; it is perfect for menus as well as posters and CD covers for some of the heavier kinds of music. It has five types of numerals and also a set of Cyrillic script, symbolising the lovelorn union of Germans and Russians in the 20th century. Thus, it is well suited for the setting of bilingual texts of the German classic literature, which, according to the ancient rules, must not be set in Latin script.

I love geometric sans serifs, their crispness and rationality. Le Havre taps into this style, but for a while, I've wanted to create a font recalling the printed Futura of the 1940s, which seems to have an elusive quality all its own. After seeing an old manual on a World War II ship, I developed a plan for "Le Havre Metal" but chose to shelve the project due to Le Havre's small x-height. That's where Steagal comes in. When Robbie de Villiers and I began the Chatype project in early 2012 (a project which led one publication to label me the Edward Johnston of Chattanooga!), we started closely studying the vernacular lettering of Chattanooga. During that time, I also visited Switzerland, where I saw how designers were using a new, handmade aesthetic with a geometric base. I was motivated to make a new face combining some of these same influences. The primary inspiration for the new design came from the hand-lettering of sign painters in the United States, circa 1930s through 1950s. My Chatype research turned up a poster from the Tennessee Valley Authority in Chattanooga, Tennessee, which exhibited a number of quirks from the unique hand and style of one of these sign artists. Completing the first draft of Steagal, however, I found that the face appeared somewhat European in character. I turned then to the work of Morris Fuller Benton for a distinctly American take and discovered a number of features that would help define Steagal as a "1930s American" vernacular typeface--features I later learned also inspired Morris Fuller Benton's Eagle. The overall development of Steagal was surprisingly difficult, knowing when to deliberately distort optical artifacts and when to keep them in place. Part of type design is correcting optical illusions, and I found myself absentmindedly adjusting the optical effects. In the end, though, I was able to draw inspiration from period signs, inscriptions, period posters, and architecture while retaining just enough of the naive sensibility. Steagal has softened edges, which simulate brush strokes and retain the feeling of the human hand. The standard version has unique quirks that are not too intrusive. Overshoots have almost been eliminated, and joins have minimal corrections. The rounded forms are mathematically perfect, geometric figures without optical corrections. As a variation to the standard, the “Rough” version stands as the "bad signpainter" version with plenty of character. Steagal Regular comes in five weights and is packed with OpenType features. Steagal includes three Art Deco Alternate sets, optically compensated rounded forms, a monospaced variant, and numerous other features. In all, there are over 200 alternate characters. To see these features in action, please see the informative .pdf brochure. OpenType capable applications such as Quark or the Adobe Creative suite can take full advantage of the automatically replacing ligatures and alternates. Steagal also includes support for all Western European languages. Steagal is a great way to subtly draw attention to your work. Its unique quirks grab the eye with a authority that few typefaces possess. Embrace its vernacular, hand-brushed look, and see what this geometric sans serif can do for you.

An image spotted in an online auction online of a 1940 Milton Bradley child's activity set consisting of wooden letters formed the basis for School Activities JNL, which is available in both regular and oblique versions. Although the basic characters feature chamfered corners, the nature of bending the steel rule dies to form the letters to be cut from the wood provided rounded edges as well, creating their unique look.

At one time, the Hampton Publishing Company of New York specialized in producing reading and activity books for children. The “Letters and Numbers Stencil Book” (probably from the late 1940s or early 1950s) was the basis for Kiddie Stencil JNL. This bold sans serif type style replicates the handmade steel rule dies used for cutting the stencil pages of the book, and is available in both regular and oblique versions.