The typeface Stempel Sans Print Neo is designed from 2022 for the font foundry Typo Graphic Design by Manuel Viergutz. The display font based on a original set of 29 old rubber stamps (6 cm height). Digitized via hand-stamped, a scanner and Glyphs app. 3 font-styles (Rough, Misprint, Black) with 321 glyphs incl. decorative extras like icons, arrows, dingbats, emojis, symbols, geometric shapes (type the word #LOVE for ♥︎or #SMILE for ☻ as OpenType-Feature dlig) and stylistic alternates (6 stylistic sets). For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! Font Spe­ci­fi­ca­ti­ons ■ Font Name: Stempel Sans Print Neo ■ Font Styles: 3 font styles (Rough, Misprint, Black) + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play Script for head­line size ■ Glyph Set: 321 glyphs (incl. decorative extras) ■ Lan­guage Sup­port (36 languages): Asu Bemba Bena Chiga Cornish English German Gusii Indonesian Kalenjin Kinyarwanda Luo Luyia Machame Makhuwa-Meetto Makonde Morisyen North Ndebele Nyankole Oromo Rombo Rundi Rwa Samburu Sangu Shambala Shona Soga Somali Swahili Swiss German Taita Teso Uzbek (Latin) Vunjo Zulu ■ OpenType features (16): aalt calt case ccmp dlig liga lnum onum ss01 ss02 ss03 ss04 ss05 ss06 mark mkmk ■ Design Date: 2022 ■ Type Desi­gner: Manuel Viergutz

Aromatron is a friendly yet striking display typeface with a balanced and consistent rhythm. Drawing inspiration from the shapes of nature, unique solutions were employed to achieve a rich, dark, creamy texture. The font is equipped with numerous OpenType features: lining and old-style numerals, automatic fractions, small caps, petite caps, and “medium caps” sized between capitals and small caps, subscript and two sets of superscript characters (one aligned with the ascender and one exceeding it), contextual swash capitals. Petite cap glyphs compose well with regular lowercase and are employed by stylistic sets for a unicase effect or compact typesetting. Aromatron offers support for most Latin-based languages, including: Afrikaans, Aghem, Aja, Akan, Albanian, Alsatian, Asturian, Azeri, Basaa, Breton, Catalan, Central Yambasa, Chinese Pinyin, Croatian, Czech, Dagbani, Danish, Dinka, Duala, Dutch, English, Esperanto, Estonian, Ewe, Ewondo, Finnish, Fon, French, Fula, Gagauz, German, Guarani, Hausa, Hungarian, Icelandic, Igbo, Indonesian, Irish, Italian, Jula, Kabyle, Khoekhoe, Koyra Chiini, Koyraboro Senni, Latin, Latvian, Lingala, Lithuanian, Livonian, Maasai, Maltese, Mapudungun, Marshallese, Mundang, Navajo, Ngiemboon, Ngomba, Northern Sami, Norwegian, Polish, Portuguese, Riffian, Romanian, Scottish Gaelic, Serbian, Shawiya, Shilha, Slovak, Slovenian, Spanish, Swedish, Tagalog, Tlapanec, Turkish, Uzbek, Uzbek (planned reform), Vai, Vietnamese, Walser German, Welsh, West Frisian, Yoruba, Zarma, Zazaki, Zulu. The International Phonetic Alphabet with mark attachment is supported too. A selection of symbols and ornaments completes the vast character set.

This font pair was crafted by hand under inspiration of old-fashioned typography on different vintage labels, packages, sighs and others. It’s will be a godsend for those who want to add vintage mood to design project. Collection includes Script, Serif and it’s variations like Regular, Rough and Aged. This pair perfectly cooperating with each other. Brokson can be used in different purposes: lettering and logotype, labels, t-shirts, product packaging, advertising and many others. In addition to the basic set, Brokson Script has beautiful alternatives of Uppercase characters, variations of the end for Lowercase and some ligatures. Also, there are two types of end-swashes and eight lengths of each style. Brokson Serif was designed as a secondary and additional font after Script, but in the process of their use I realized it also look great as a priority. Quick combinations for Opentype features: Uppercase Alternates - just add for example «2, 3, or 4» after Uppercase; End-letter - just add «2» at the end of the word; End-swashes (tails) - just add _1, _2, _3… or /1, /2, /3…up to 8, where number is length of tail. This combinations works only with activated Standard Ligatures option in Opentype panel (Adobe Illustrator / Photoshop). Multilingual Support Danish, Dutch, English, Estonian, Faroese, Finnish, French, German, Hungarian, Icelandic, Italian, Norwegian, Polish, Portuguese, Slovene, Spanish, Swedish, Turkish.

Schotis Text is a workhorse typeface designed for perfect reading on running texts. Its design is based in Scotch Roman 19th-century style but designed from scratch, with a more contemporary and not nostalgic look. It has seven weights plus matching italics, with 1100 glyphs per font, with a very extended character set for Latin based languages as well as Vietnamese, and shows all its potential with OpenType-savvy applications. Every font includes small caps, ligatures, old-style, lining, proportional and tabular figures, superscript, subscript, numerators, denominators, and fractions. The Scotch Romans were one of the most used letters during the 19th and early 20th century, but they don’t have their own place in the main typographical classifications. They appeared at the beginning of the 19th century with Pica No. 2 in the catalog of William Miller (1813) and assumed the British route towards high contrast and vertical axis modern Romans. In fact, they were called just Modern. In opposition to the continental route of Fournier, Didot, and Bodoni, the English way opted for a wider, more legible letter also resistant to bad printing conditions. The name Schotis comes from the misspelling of Scottish that gave the name to a popular dance in Madrid in the 19th-century. It first was called Schotis and today is knows as Chotis.

Hello, friends! I recently bought myself an old game console, the SEGA Mega Drive 2. For a long time I couldn't understand why, when I was a kid, it seemed incredible to play it. Nowadays there are a lot of games with stunning graphics and realism, but still there is something warm and light in old games. Maybe it's just a memory of a carefree childhood. After playing it, I decided to create this font so that everyone could do something in the style of old games that an army of designers and programmers hadn't worked on yet. Good luck and love to you!

The Oronteus Finaeus map, published in 1531, shows Antarctica before it was "discovered" and how it looked ice-free. There is still much controversy about the validity of the map, but I was intrigued by the letter forms which appeared on the map itself. I used the typeface appearing on the map as a visual guide in developing my design for Oronteus Finaeus regular and old style figures. I liked that it reminded me of old maps, exploring and adventure. Definitely oldish and roughish in character. This new font is perfect for all those old style and antique applications, or for that vintage typography look.

Revival 565 is the Bitstream version of type Berling. The face was created by Karl-Erik Forsberg for the Swedish Berling foundry in 1951, with other weights added in 1958. The design is an old style roman, particularly useful for books, journals, and other text applications. Despite the fact that it has higher contrast than most old style typefaces, Berling has the classic features of old style romans with its small x-height, and ascenders that exceed the height of the capital letters. Berling is good for text settings as well as display work. Cyrillic version was developed for ParaType by Manvel Shmavonyan in 2008.

Out of a lifelong inner struggle, Philip Bouwsma unleashes a masterpiece that reconciles classic calligraphy with type in a way never before attempted. Maestro takes its cue from the Italian chancery cursive of the early sixteenth century. By this time type ruled the publishing world, but official court documents were still presented in calligraphy, in a new formal style of the high Renaissance that was integrated with Roman letters and matched the refined order of type. The copybooks of Arrighi and others, printed from engraved wood blocks, spread the Italian cancellaresca across Europe, but the medium was too clumsy and the size too small to show what was really happening in the stroke. Arrighi and others also made metal fonts that pushed type in the direction of calligraphy, but again the medium did not support the superb artistry of these masters or sustain the vitality in their work. As the elegant sensitive moving stroke of the broad pen was reduced to a static outline, the human quality, the variety and the excitement of a living act were lost. Because the high level of skill could not be reproduced, the broad pen was largely replaced by the pointed tool. The modern italic handwriting revival is based on a simplified model and does not approach the level of this formal calligraphy with its relationship to the Roman forms. Maestro is the font that Arrighi and his colleagues would have made if they had had digital technology. Like the calligraphic system of the papal chancery on which it is modelled, it was not drawn as a single finished alphabet, but evolved from a confluence of script and Roman; the script is formalized by the Roman to stand proudly in a world of type. Maestro came together on screen over the course of several years, through many versions ranging widely in style, formality, width, slant, weight and other parameters. On one end of the spectrum, looking back to tradition it embodies the formal harmony of the Roman capitals and the minuscule which became the lower case. On the other it is a flowing script letter drawing on the spirit of later pointed pen and engravers scripts. As its original designers intended, it works with simple Roman capitals and serifs or swash capitals and baroque flourishes. The broad pen supplies weight and substance to the stroke which carries energy through tension in balanced s-curves. Above all it is meant to convey the life and motion of formal calligraphy as a worthy counterbalance to the stolid gravity of metal type. The Maestro family consists of forty fonts distributed over two weights. The OpenType version compresses the family considerably down to two fonts, regular and bold, each containing the entire character set of twenty fonts, for a total of more than 3350 characters per font. These include a wide variety of stylistic alternates, ligatures, beginning and ending letters, flourishes, borders, rules, and other extras. The Pro version also includes extended linguistic support for Latin-based scripts (Western, Central and Eastern European, Baltic, Turkish, Welsh/Celtic, Maltese) as well as Greek. For more thoughts on Maestro, its background and character sets, please read the PDF accompanying the family.

In the world of typography, there’s always a desire for something new and innovative that can make your design stand out. If you’re looking for a typeface that is as unique as it is bold, look no further than Ulian. Ulian is a striking display typeface that fuses the best of two worlds: the flat sides of traditional blackletter and the contemporary shapes of modern letterforms. The result is a typeface with a refreshing twist that is sure to capture the attention of your audience. One of the most striking features of Ulian is its distinctive flat sides. These straight lines give the typeface a bold and confident feel, perfect for grabbing attention and making a statement. But Ulian doesn’t stop there; it also features elements of modern typefaces, including curved serifs and varying thickness in the strokes. The squared geometric typefaces have also been incorporated into the design, adding a touch of sleekness and modernity. This combination of traditional and contemporary design elements creates a unique visual impact that is both striking and memorable. Ulian also comes with a range of variants, including Regular, Italic, Bold, and Bold-Italic. This versatility allows you to use the typeface across a range of applications, from logos to headlines and everything in between. But Ulian doesn’t just look good—it’s also functional. In OpenType-capable applications, you can access old-style lowercase numerals, giving you even more flexibility in your designs. Overall, Ulian is a one-of-a-kind typeface that is sure to elevate your design game. With its distinctive flat sides, modern letterforms, and unique flair, it’s the perfect choice for anyone looking to make a dauntless statement. So why settle for ordinary typography when you can have Ulian? 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.

Sales Book JNL was recreated from sample letters found in the wood type section of an old printer's supply catalog.

Hand-drawn by my 10-year-old daughter, this font comes in 4 whimsical styles- chunky, 3D, regular, and outline.

Timbro – Italian for ’rubber stamp’ – is an all-caps, decorative display typeface based on lettering from old Land Registry records.

Inspired by an old document from the New York and Western Railroad, American West brings the olden days to mind.

A retro multiline display font for your old-school, nostalgic projects. Supports a large set of characters incl. Cyrillic script.

This font was inspired by lettering found on the cover of an old Almanac style cookbook from the 19th century.

The hand lettering which inspired Matchbook JNL was used on an old matchbook from the Carrousel Restaurant in Miami Beach.

Luft is blackletter typeface with a modern feel. Inspired by old writing letters and preparation for using in modern design.

A square san serif font family for short texts and headlines. Inspired by old hand-painted signs in Tel Aviv.

A Slab Serif font family of five weights for headline and text use, with old style numerals and small caps.

A classic example of a narrow 19th century 'egyptian' style font. Excellent for old-fashioned posters where space is limited.

Impact As its name suggests, Impact, a bold sans serif, is designed to make an impression on the reader. Obviously a display font, Impact makes use of its thick strokes and blocked style, to catch and hold the eye. Because Impact is so striking, it is best placed in plenty of white space so that it does not overwhelm any accompanying text.

Conestoga was a challenge that I took on which was to take a logo from an old antique vegetable crate label and create a complete font based on its design. The original logo was curved on a path and was caps only. The new letters were drawn straight and a matching lowercase was created to turn this old custom logo into a working font.

Bague is a classical roman typeface, which was inspired in Old Dutch style, especially in the work of Jan Van Krimpen. Bague family comes with two different lengths of stem (ascenders-descenders), with three weights in each style: Text and Caption OpenType features: Discretional and standard ligatures; Swash, Contextual and stylistic alternates; Case sensitive forms, tabular figures, numerals, denominator, numerator, Small-Caps and Old Style figures.

St Friska, based on old movie title lettering, is made just for headlines. It comes with a slight touch and feeling of art deco but it’s designed to be contemporary in 2010 and beyond. Friska comes with a big bunch of OpenType features, so a designer can play with it like Lego, using it alongside old or new typefaces. It has stylistic sets and lots of ligatures.

Calanda is a forceful, sturdy and dynamic slab serif with distinctly shaped characters. The Calanda family consists of 16 styles and comes in OpenType format with extended language support. Calanda is very well suited for ambitious typography. All weights contain ligatures, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals and arrows.

DubTone is simple sans serif font with a halftone texture from an old newspaper scan on an old flatbed scanner. This font was created for a movie poster in 2003 and then finally converted to a font in 2012. Each of the characters were individually designed with care to make sure that in small or large sizes it remained readable with a unique texture.

Magic Spell is a mystical, fun font based on a handlettered alphabet in an old 1930s book on lettering. It captures that old world feel of magical wizards and fairy tales. Conjur up some fantastic designs with this bewitching font! Jukebox fonts are available in OpenType .otf format and all fonts contain basic OpenType features as well as support for Latin-based and most Eastern European languages.

In 1994 I took a picture of an old movie marquee in Times Square, New York City. 7 years later, I decided to design a typeface based on the big plastic letters found in those old marquees. I scanned in the picture I took and began to draw the letterforms. Like most of my font designs, the initial inspiration came from an urban environment.

Are you tired of flimsy typefaces that can’t stand up to the rigors of modern design warfare? Then it’s time to enlist in the Tank army! Tank is a typeface that means business. With its heavy letterforms and industrial appearance, it commands attention and demands respect. The tight spacing and lack of negative space give it a robust precision that other typefaces can only dream of. It’s the perfect weapon for delivering a knockout blow with bold color blocks or as a photo cut-out effect. And don’t let the name fool you—this typeface may be called Tank, but it’s far from slow or clunky. It comes in a large Regular style that will leave your competitors in the dust, an ironically titled Light version that still packs a punch, and a pair of oblique styles that add a dynamic twist to your designs. So what are you waiting for? Show the world that you mean business with the heavy headline artillery of Tank. Most Latin-based European, and some Cyrillic-based writing systems are supported, including the following languages. A Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, 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, Komi-Permyak, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, 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.

In isolated Eastern European states, atop cold castle towers, nefarious nonbelievers are discussing their diabolical devises with their minions, acolytes and sweet little Yorkshire terriers! Evil Doings is a font that gives form to the softly spoken schemes and terrifying tweets of these psychopaths, sociopaths and just plain naughty boys and girls. Will Good Triumph and Defeat the EvilDoings of EvilDoers?! Only if we listen to the cries of the oppressed proletariat and quash the devilish dreams and evil schemes of Fascist Dictators EVERYWHERE! Features: Four fonts (Regular, Italic, Bold & Bold Italic) with upper and lowercase characters. Includes Western European international characters.

Are you tired of the same old fonts that everyone's using? Add a touch of nostalgia and personality to your designs with Sacharon, a retro pop font! Whether you're working on a vintage-themed project, designing a catchy poster, or simply want to stand out from the crowd, our fonts will give your work the groovy vibe it deserves. Sacharon takes inspiration from the bold and vibrant styles of the '60s and '70s, bringing back the essence of the good old days. From funky disco fonts to psychedelic lettering, we've got the perfect typefaces to transport your audience to an era of fun and excitement. Perfectly fit for logo, branding, advertising, poster, food and beverages, restaurant, book cover, album artwork, decoration, sign painting, and many more. Don't settle for ordinary typography—take a trip down memory lane with Sacharon! Browse our collection now and transform your designs into eye-catching works of art. Get ready to embrace the vibrant, nostalgic spirit of the past in a modern and trendy way. Get it now and let the grooviness begin!

In Greek mythology, Argo was the ship on which Jason and the Argonauts sailed from Iolcos to Colchis to retrieve the Golden Fleece. The Argo Nova font is an adventure though geometric sans universe with a touch of humanistic feel, bringing a different look with curved vertical strokes and high contrast on thicker weights. Designed with OpenType features, it includes extended Latin support, fractions, tabular and old-style figures, ligatures and more. With no excess in mind, it came in 10 styles (5 uprights and is matching italics) and it is a font family ideal for text, branding, signage, editorial, print and web design creations. 5 weights: Thin, Light, Regular, Bold and Black Matching italics Lining and old-style figures with proportional and tabular spacing Ligatures on “f” Alternate characters for a, æ, g and ß Fractions Ordinals Extended language support, designed following the Underware Latin Plus character set, with 534 glyphs, supporting 219 Latin based languages (see https://underware.nl/latin_plus/languages/). * Some features require an application with OpenType support.

Serling Galleria is a classy, classic serif font that exudes an air of fine art and high-end creativity. With its clear, legible letterforms and modernist inventiveness, Serling Galleria brings a touch of strict creativity to your designs, making them stand out in sophistication. This versatile font family is perfect for projects that require a refined, elegant aesthetic. With its variable font feature, you have the flexibility to fine-tune the font to your specific needs and create a truly bespoke typographical experience, or use the pre-defined font styles: Thin, Thin Italic, Extra Light, Extra Light Italic, Light, Light Italic, Regular, Regular Italic, Medium, Medium Italic, SemiBold, SemiBold Italic, Bold, Bold Italic, Extra Bold, Extra Bold Italic, Black, Black Italic The diverse styles in the Serling Galleria font family provide unmatched versatility, allowing you to adapt your typography to various design contexts and moods seamlessly. With this array of weights and styles at your fingertips, you can effortlessly create a visual hierarchy, emphasize key elements, and establish a cohesive, engaging design language across your creative projects. Also includes a variable font! Only one font file, but the file contains multiple styles. Use the sliders in Illustrator, Photoshop or InDesign to manually set any weight and width. This gives you not only the predefined styles, but instead more than a thousand ways to customize the type to the exact look your project requires. Built with advanced OpenType functionality, Serling Galleria ensures top-notch quality and provides you with full control and customizability. It includes stylistic and contextual alternates, ligatures, and other features to make your designs truly unique and tailored to your needs. Serling Galleria offers extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all the characters and symbols you'll ever need, including all punctuation and numbers.

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. This version of Bodoni was done by Morris Fuller Benton for American Typefounders between 1907 and 1911. Although some of the finer details of the original Bodoni types are missing, this family has the high contrast and vertical stress typical of modern types. It works well for headlines, logos, advertising, and text."

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. Parma was designed by the monotype Design Team after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818.

Kustom Style is a urban hand-lettered tattoo / graffiti font inspired by West Coast culture and old Venice Beach Skate Culture.

Modeled after an old sign on a building in New York City, Chinese Menu JNL is a modular style Oriental typeface.

Vinegar Pro is a modern, legible serif typeface. It contains a wide range of characters, sexy ligatures, lining & old style numerals.