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

CONCEPT/CHARACTERISTICS The typeface “Soul Lotion” is a sans serif font for display sizes. Con­struc­ted, clear and sim­ply with mono­line cha­rac­ter. The round and unador­ned look is modern & simple. APPLICATION AREA The modern, clear and simply sans serif font “Soul lotion” would be happy as a display typeface in headline size on the following areas and there simply feel good: Logos/Wordmarks, party flyer, album covers, CD covers, Poster design, video game design, and much more as display typeface for print and digital magazines, books and websites. TECHNICAL SPECIFICATIONS Head­line Font | Dis­play Font | Sans Serif Font “Soul Lotion” Open­Type Font (Mac + Win) with 6 styles (regu­lar, bold, light + 3x italic) & 354 glyphs. Incl. accents, alter­na­tive let­ters, liga­tures & €. Desk­top Font (.otf) + Web Font (.svg, .eot, .woff) KONZEPT/BESONDERHEITEN Die Schrift »Soul Lotion« ist ein serifenloser Font für Headlinegrößen. Kon­stru­iert, klar und einfach mit gleich­blei­ben­der Strich­stärke. Die run­den und schnör­kel­lo­sen For­men wir­ken modern & schlicht. EINSATZGEBIETE Die moderne, klare und einfache Sans Serif Schrift »Soul Lotion«, würde sich als Aus­zeich­nungs­schrift in Head­line­größe über fol­gende Ein­satz­ge­biete sehr freuen und sich dort schlicht wohl­füh­len: Logos/Wortmarken, Flyer für fast jede Party, Plat­ten­Co­ver, CD-Cover, Pla­kat­De­sign, Video­spiel Design, als Head­line­schrift für print und digi­tale Maga­zine, Bücher und Web­sei­ten u.v.m. TECHNISCHE INFORMATIONEN Head­line Font | Dis­play Font | Sans Serif Font »Soul Lotion« Open­Type Font (Mac + Win) mit 6 Schrift­schnit­ten (regular, bold, light + 3x italic) & 354 Gly­phen. Inkl. dia­kri­ti­sches Zei­chen, alter­na­tive Buch­sta­ben, Liga­tu­ren & €. Desk­top Font (.otf) + Web Font (.svg, .eot, .woff)

The typeface family TV Nord is based on the corporate typeface NDR Sans which was developed by Elsner+Flake for the Norddeutsche Rundfunk (www.ndr.de) between 1999 and 2001. This new design came into being as part of a complete overhaul of the visual image of the NDR. This became necessary because the NDR, founded in 1954, incorporated the stations of the East German states Mecklenburg-Vorpommern (1992) and Brandenburg (1997) after the re-unification of Germany. The Hamburg advertising agency DMCGroup developed a new and unified image for the NDR which is in existence to this day. The typeface TV Nord relates to the design of the Trade Gothic and similar American sans serif typefaces of the early part of the last century. Its development concerns itself as much with good legibility for print, as it does for the reproduction on TV screens, which among others, is achieved through its high x-height. The logotype for the NDR as well was developed from the capitals of the NDR Sans. In 2014, the TV Nord was revised stylistically and expanded to incorporate all European-Latin languages. As part of this effort, further complementary cuts were added.

In 1925, at the request of Barnhart Brothers & Spindler, the foundry he worked for, Oswald Bruce Cooper designed a wide selection of "screamers", oversized exclamation points used to grab attention in display advertising. The foundry rushed the screamers into production, much to Cooper's dismay. Cooper was disappointed with the final form of the screamers– they were designed in assorted weights to match the assorted Cooper series of typefaces, as well as in a variety of other formal solutions- squaredoff, incised, wavy, Tuscan, and rounded. Cooper's working design methodology was to re-draw his projects a number of times in order to refine the formal results. However the screamer project was hastily cut by the head of BB&S's matrix engraving room in fourteen sizes from the initial sketches, causing Cooper to fire off a fiery missive stating, "Everything I draw is bum the first half-dozen times I draw it; the trouble with these is that I drew them only once!" This typeface is the result of researching Cooper's original drawings and series of engraved proofs for the screamers, as well as the original Screamer type specimen. Cooper Screamers have never been available before in digital format.

Oscar Niemeyer is one of the greatest architects of our time—his unique way of mixing straight lines and abstract curves gives rise to an unmistakable and characteristic style. This typeface is my own tribute to Brazilian architect Oscar Niemeyer. The design process started when my wife and I visited Brazil while she was running a series of workshops on calligraphy. In my spare time, I would walk through the streets of beautiful cities like Rio de Janeiro or São Paulo, enjoying the local architecture and urban life. I had also the opportunity to attend to some of the workshops during which I was able to observe the organic of calligraphy and people. Then, I started to draw some shapes that reflected everything about this beautiful place: Niemeyer’s architecture and work and, in his own words ‘the curves on the body of the beloved woman’. This versatile typeface comes in 8 weights with matching italics, alternative characters, oldstyle figures and much more! Niemeyer is well-suited for logotypes, advertising, publishing, branding and corporate use. Special thanks to everyone in the Latinotype Team (especially to César Araya) for their support, help with corrections and digital editing.

Pliego is a textface designed to offer a comfortable continuous reading, with humanist proportions, an even texture, and informal calligraphic details noticeable only at big sizes, that gives it a contemporary feeling. Pliego has been named after Pliegos de Cordel, the Spanish word for the popular books that were common during the XVI, XVII and XVIII centuries. These were rough, cheap books that basically consisted in a folded sheet attached to a string, hence the name. Their content was varied, from popular tales to ballads and songs, but also crimes and mysteries. They were cheaply made, roughly printed and bound. The name Pliego evokes the idea of a rough look, angular edges, informal taste, but classical look. To cover today’s needs, Pliego includes five weights with matching italics. Designed and engineered for continuous reading, the Book, Regular and Medium weights will perform at their best under 14 points. However, don’t be scared to use for headlines and titles: because of its quirky details and calligraphic flavour, Pliego’s personality is accentuated when enlarged. With an extensive Latin character set, Pliego covers a wide amount of Latin-based languages, including Latin Plus encoding and Vietnamese support.

A clean, smooth rendition of the magnificent B42-type used by Johann Gutenberg in his famous 42-line Bible. In addition to the usual standard characters for typesetting modern texts, the font includes a comprehensive set of special characters, alternates and ligatures, plus Opentype features, that can be used for typesetting (almost) exactly as in Gutenberg’s Bible and later incunabula. Also available as The Oldtype “Gutenberg C” Font in a slightly roughened style simulating irregularities and ink spreads associated with old metal types, papers and parchments. The main historical sources used during the font design process were high-resolution scans from several printings of Gutenberg’s Bible. Other sources were as follows: Kapr, A. (1996), Johann Gutenberg - The Man and his Invention, Aldershot: Scolar Press (ch. 7); De Hamel, C. (2001), The Book - A History of The Bible, London: Phaidon Press (ch. 8); Füssel, S. (2005), Gutenberg and the impact of printing, Burlington: Ashgate (ch. 1); and Man, J. (2009), The Gutenberg Revolution, London: Bantam (ch. 7). Specimen, detailed character map, OpenType features, and font samples available at Alter Littera’s The Oldtype “Gutenberg B” Font Page.

In the collection of vintage and historic images available online from the Library of Congress is one of the exterior of the Town Talk Diner in Minneapolis, Minnesota. Regrettably, on May 28, 2020, the Town Talk Diner was damaged by vandalism, and subsequently destroyed by a fire that engulfed the building early on the morning of May 29th due to civil unrest following the death of George Floyd. The restaurant first opened in 1946, closed in 2011 and subsequently re-opened under new ownership in 2014 with French cuisine, then from 2016 until its demise as an American bistro. While this was not known at the time of selecting the image for a typographic model, subsequent research on the diner turned up these facts. The large vintage sign above the entrance was in big, bold Art Deco letters with rows and rows of bulbs for illuminating the name at night. Coffee and Danish JNL, modeled from the image of that sign, is available in both regular and oblique versions. Perhaps, in a way, the type design will serve as a bit of historic recognition for a popular eating spot.

Letterpress Illustrations JNL is another collection of dingbats, cartoons, catch words, embellishments and ad helpers all re-drawn from vintage source material.

Type Toys JNL is another collection of letterpress dingbats, embellishments, stock cuts, cartoons and miscellany all re-drawn from vintage source material.

Printers Playthings JNL collects more cartoons, embellishments, ornaments and border pieces into one digital typeface; all re-drawn from vintage source material.

Wood Tuscan JNL is a bold, compressed serif font in the Tuscan style and was re-drawn from vintage wood type examples.

Orb by Superfried has been re-released. Now re-drawn and improved the elegant, geometric uppercase display typeface now also includes a secondary character set activated via the shift key. The glyphs are constructed from two concentric paths featuring intricate interactions and angled incisions, which lead to a very distinct look and feel. Orb includes 266 glyphs in two character and is available in two weights: display and outline.

Cabriolet V8 is a vertical version of the Cabriolet family, a geometric script fontface re-interpretation inspired by old chromed emblems of 1950s.

This font family is based on the letterforms of a fin-de-siècle sans serifs, and comes in two versions - Roman and Shadow.

More cartoon illustrations, sales builders, ornaments, embellishments and miscellany come your way with Message Helpers JNL; all re-drawn from vintage source material.

Vintage Designs JNL is another collection of images re-drawn from illustrations found in catalogs and sign painters' idea books from decades past.

Loosely based on a hand lettered title found on vintage sheet music for the song "Hong Kong", the design for Kwun Tong JNL emulates the letters and numbers formed from pieces of bamboo stalk. Kwun Tong JNL is named for a locality in Hong Kong although (according to Wikipedia) "the Hong Kong Government is unitary and does not define cities and towns as subsidiary administrative units."

1769® Display is an elegant and modern serif typeface inspired by the history of France and more particularly the Romantic movement (1700s and 1800s). The roundness of its characters and its numerous ligatures reflect the grace, refinement and sensitivity that were omnipresent during the 18th century. Its name refers to the birth of Napoleon Bonaparte, the fascinating or revolting emperor, the emblematic figure of this period.

LP Cervo is a typeface designed by German type designer Peter Langpeter. LP has been running his own design studio since 1995, working as a typeface and logo designer, as a calligrapher, cartographer and illustrator. During this time LP created a large number of excellent new typeface designs. With its styles Grotesk, Lapidar, Semiserif and Serif the LP Cervo is well suited for various design possibilities

A fresh, curly and delicious sans serif. Designed by Daniel Hernandez, Merced is a sans serif font that can be given different uses due to its wide variety of alternate types. Its main virtue is the endless number of possibilities for you to write words, texts or paragraphs. Languages include: Basic Latin, Western European, Euro, Catalan, Baltic, Turkish, Central European, Romanian and Pan Africa Latin.

Life is an elegant roman face, designed by W. Bilz and developed by Francesco Simoncini at Ludwig & Mayer in 1964. It is a contemporary design based on the Transitional designs of the eighteenth century. The Life font can be used for almost any kind of copy. Life is especially suitable for newspapers, both in editorial and advertising due to its high degree of legibility.

I’m not particularly fond of beans. I do eat them, but they’re not my idea of a delicacy… But this font has ‘fairy tale’ feeling to it, and I liked the name Beanstalker. Beanstalker is a hand made font (I used a fineliner to draw the glyphs). It is quite neat and organized, but does come with some rough edges and a bit of texture.

Segno. A Splash of Freshness. Cool, young and fresh, Segno surprises with his informal character and convinces for its careful execution. Its rounded forms and serifs evoke discretely the flow of a brush. Due to its moderate inclination Segno is easily readable and suits to more typographic purposes than you probably would expect from an informal typeface. Add a splash of freshness to your artwork, with Segno.

This font is reminiscent of the Middle Ages texture fonts. But geometric shapes make it more modern. It will work well in large and short inscriptions. The large array of text readability is reduced due to the characteristic rhythm of the font. It has the standard ligatures and ligature to failed pairs. There are two sets of numbers: the proportional and the Old style.

MVB Aunt Mildred has a vintage charm that evokes hand-lettered postcards or advertising. Akemi Aoki drew the letterforms with a fine-tip felt pen and named it after her great aunt. Since its release in 1995, Aunt Mildred has been a popular choice for children’s books. Italics and bold weights have been added, making it even more useful for publications, packaging, and greetings of all sorts.