CA Recape is a weird and beautiful vintage script family with two styles. It’s an excellent choice for creating logotypes, headlines, signs, poster and any design that requires a custom-made feeling. The basic inspiration for CA Recape comes from American 50s lettering. But instead of reviving one special style, it is a kind of “Best of”-Remix. It takes the weirdest and most beautiful letterforms of a weird and beautiful time and merges them into one font. The outcome is a charming bastard. Guess what it looks like: Weird and beautiful. CA Recape is packed with a lot of OpenType features like underlining swashes, Stylistic, Discretionary, Titling and Contextual Alternates and Ligatures for use in OpenType savvy programs. It also comes with some nice Ornaments. Derived from the original typeface, Cape Arcona Type Foundry also offers a Raw style that has the distressed look of a poorly printed raw font. See the specimen PDF in the Gallery for all OpenType features and instructions.

The inspiration for this font came from a wall-writing in Cuba. At first glance we thought: "There is something wrong with the wall-writing." But a closer look revealed, that it just mixed up different stroke-styles. That "feature" became the designing principle behind CA Segundo: Round characters like O, U or C are available either with a fat or a thin stroke, whereas other characters with orthogonal lines come in two different styles – uppercase characters emphasize the vertical strokes, while lower cases emphasize the horizontal strokes. This gives you the opportunity to design just while you type.

CA Kink was originally created for a book cover. Mostly suitable as a headline font and for all kind of "space" themes.

CA Saygon was originally conceived for a large corporate design project, but as this was never implemented, the way was free to make a public font. As a striking corporate typeface, it transports the fractions of a society after the post-modernist phase. After hundreds of sketches a bunch full of letters were selected, some of them quite twisted, others rather conventional. The combination of these letters reflects a rebellion of individuality but also leads to a coherent typeface. Additionally there are alternative letterforms in the Stylistic Sets or in the glyphs palette, which keeps the font always exciting to the designer. Thanks to the Cyrillic and Latin Extended character sets, a huge language area is covered that even extends to Vietnam! Numerous OpenType features make life easier for the professional typographer: There are fractions, superscript and subscript numbers, as well as proportional and tabular numbers.

CA Normal is a typeface aiming for beauty without ostensible effects, merely relying on clarity and well balanced proportions. True beauty is not to be found in perfect geometry, so slight irregularities and inconsequences are spread throughout the typographic image. That’s perfection through imperfection. CA Normal merges influences from European grotesques and American gothics, breeding an experimental mongrel. The underlying concept stays in the background, giving the design a great self-evidence. Although it is doubtful if there can be such thing as neutrality, CA Normal comes pretty close to what people mean when speaking of a neutral font. Nevertheless it’s not faceless, anonymous or confound able. It’s just that the charm comes from subtle details rather than obvious design features. As good text typefaces must not be too smooth nor too agitated, CA Normal is smuggling little uneven details into the typographic image, that keep the readers eye awake. The well crafted oblique follows the grotesque tradition which knows no individually drawn italics. A rather unexpected addition is the reverse oblique, a style mainly used for maps. Under the classic surface lies a modern well equipped font, featuring small caps, a Central European character set and numerals in all kinds of flavors. Numerous ligatures round up the overall impression. By default CA Normal will set numbers as proportional lining figures. But if you prefer oldstyle figures, or tabular figures, just use the OpenType functions of your layout program. These allow access to the small caps as well, which feature a complete central European character set, brackets, punctuation and lining figures in small caps height.

This font invites you to play with it. The Real version has longer tails, while the Roman version cuts them up to make the font more suitable for text. The Script version connects the letters, while the Dynamic version is just an italic style.

Cas Pixalatte Typeface - Dive into Y2K Nostalgia with Pixel Perfection Unleash the power of pixelated aesthetics with Cas Pixalatte Typeface, a cutting-edge font inspired by the iconic Y2K era. This unique typeface is a masterful blend of typography, graphic design, and pixel art, crafted to infuse your projects with a distinct visual style that's both nostalgic and contemporary. Two Distinct Pixel Font Styles Tailor your designs with precision by choosing between the 'Regular' and 'Rounded' styles, allowing you to achieve the perfect balance between retro charm and modern aesthetics. Multi-Language Support Cas Pixalatte goes beyond borders, offering comprehensive support for Latin-based languages across Western Europe, Central Europe, South Eastern Europe, South America, Oceania, and Esperanto. Why Cas Pixalatte? Here's what sets it apart: Visual Versatility: Whether you're working on a gaming interface, website design, or branding project, Cas Pixalatte adds a unique visual flair, making your creations truly stand out. Easy Integration: With a range of file formats, seamless integration into your design workflow is guaranteed, ensuring a hassle-free creative process. Global Appeal: Break language barriers with multi-language support, allowing you to reach audiences around the world without compromise. Elevate your design, embrace nostalgia, and make a lasting impression with Cas Pixalatte Typeface. Discover the possibilities, unlock creativity, and transform your projects into unforgettable visual experiences.

CA Oskar came into being as a custom typeface for the international Traumzeit music festival. As a substantial part of the new corporate identity, it had to be characteristic, but also flexible in use. Starting with the design of compressed caps for headlines, the typeface was soon expanded by a condensed weight for setting of text and further developed into a fully functional font with two widths and two weights. Both weights are very space-efficient, which was -- apart from aesthetic considerations -- an important issue in the process of the design. CA Oskar is a mixture of industrial harshness and friendly round forms, reflecting the spirit of fusion, which is basically what the whole festival is about. Its very slim proportions in two widths make it an attractive alternative to fonts like Alternate Gothic, but CA Oskar adds an extra portion of personality and a coherent choice of weights.

CA Zentrum is a compelling mix of conciseness and pragmatism. Bold, distinct and original, contemporary and versatile. At a closer look, it reveals rounder reading-friendly forms. The choice of weights aims at an easy, straight forward use. A set of five well-balanced weights and three widths ranging from light to black and from condensed to wide. This variety ought to be enough to cover most needs without throwing the typographer into questions. The family’s glyph set supports over 100 Latin languages. With its blend of timelessness and modernity, the type-family is uniquely suited for modern corporate visual languages, websites, corporate design, editorial design and advertising. Careful spacing and a great choice of OpenType features make it especially well suited for text copy and/or editorial design.

CA Mechano is quite what the name suggests – A mechanical typeface. Pretty straight forward and all-caps as long as you don’t activate the stylistic set "disorder". You will see what happens then: a lot of fun for the typographic eye. A more consumable distraction is offered by the other stylistic set. You will dis­cover peacefully rounded letters in the neighborhood of strictly mechanically constructed glyphs.

Around 2018 or 2019, the State of Florida introduced new letter and number characters on its auto plates. Inspired by this change, Jeff Levine Fonts offers up a digital version of this lettering named New Car Tag JNL, which is available in both regular and oblique versions (for those who want a more sporty look). Some people prefer a rounded 'zero' to differentiate between the regular zero and the letter 'O'. You can find this alternate character located on both the solid bar and broken bar glyphs.

Comic books based on popular characters have been around pretty much since the advent of comic books themselves. An edition of the "Car 54 Where Are You?" series published by Dell (and based on the hit TV show created by Nat Hiken) displayed "Car 54" in a bold hand lettered stencil design on the cover. These few characters became the inspiration for Patrol Car Stencil JNL, which is available in both regular and oblique versions.

ALTERA a typeface based on a logotype André Toet made for a dutch broadcast company. This typeface is in fact carries a transformation in itself: it’s composed of three different weights and shapes. In our humble opinion the possibilities are endless ! So be a sport and use this typeface for logo’s and headings. Kick the can ! Concept/Art Direction/Design: André Toet © 2017

WYGGLE is a dynamic (capital) font taken from my Alphatool project. It’s an interesting typeface which can be used for interior and/or exterior (3D projects). Concept/Art Direction/Design: André Toet © 2017

POWERPLAY a monospace lowercase alphabet with a 3D twist. Designed by André Toet in 1976 (during his study at Central School of Art & Design, London, UK) and he redesigned this in 2011. The name Powerplay is based on the Battersea Power Station, London. The remarkable architecture of the building is also used as a decor for films and for one of the covers by Pink Floyd (Animals, the flying pig). Concept/Art Direction/ Design: André Toet © 2017

NATH !* Is a peculiar typeface. It’s design came by the fascination of Optical Illusions and 3D on a flat surface, like with Holborn and Powerplay. The typeface is named after a girlfriend of André Toet. *Made in the UK, 1974, London (Central School of Art & Design). (Redesigned 2013 by André Toet / Jasper Terra). Concept/Art Direction/Design: André Toet © 2017

Découpé Based on a French children’s play from 1906. In a car boot sale André Toet found a funny looking box containing a lot of cut out cardboard figures, in fact it looked a bit like a geometric puzzle! He played around a bit and succeeded to create a workable typeface with it ! The interesting thing about this particular font is, that in fact it’s organized chaos. The 26 letters of the alphabet are a mix between caps and lowercases, so within one word caps and lowercases will be used next to each other. It’s a very useful font for different projects. Concept/Art Direction/Design: André Toet © 2017

SPECX This is my #11/12 Font a slabserif typeface. In fact it’s a very, very basic and extreme strong typeface! We gave this new Font a special touch by adding an extra family-member: a stencil-version of the SPECX. My inspiration for the SPECX is based on the cover of a 1955 French School-Notebook. Concept/Art Direction/Design: André Toet © 2017

Gush Kettle is a distinct note font made manually with a pen contains 50+ ligatures with two alternative. Gush Kettle is great for branding, posters, logos, invitation, writing and headings. Feature Uppercase & Lowercase Number & Symbol International Glyphs Multilingual support Alternative Ligature Thanks so much for checking out my shop and feel free to drop us a message any time and follow my shop for upcoming updates

Digital Kauno is a soft geometric script type. It is recommended for headlines and display use. Digital Kauno was originally designed in 2002 and it has now been redesigned with full character set and more distinctive letters.

AT Bountys Rounded is stylish and beautiful sans serif font with variable file. It will look perfect in photography designs, watermarks, social media posts, advertisements, logos, branding, and various other projects. The main strokes contain small breaks simulating modulated variations on the letterforms, these details are more present on large body sizes. All font versions contain Latin and Cyrillic encoding characters and also ligatures, case-sensitive forms, fractions, oldstyle and finally tabular figures.

FRUTTA (Fruit) is a new typeface made with the ever expanding food industry in mind. But don’t let that deter you from using our font on the cover of the forthcoming cd of the Black Keys or Beady Eye or Damon Albarn or Paul Weller or Daft Punk or Whatever... Concept/Art Direction/Design: André Toet © 2017

Googie Architecture, also known as "Midcentury Coffee Shop Modern," was born in California during the Atomic Age. Martini at Joe's is based on lettering from several historic Googie sources - many of which no longer exist. The futuristic Martini at Joe's collection was named for Northern California's famous Italian-themed "Joe's" restaurants, some of which are still serving up large portions of charbroiled beef steak, canned buttered veggies and pretty decent martinis. Martini at Joe's contains many fabulous typographic extras – and is available in single font packages or as a 15 font interchangeable Megaset (with "italic-esque" obliques and "retro obliques"). Martini at Joe's is perfect for use as commercial signage, on the menu for your coffee shop, supper club, tiki bar, fish grotto, smorgy, space port or destination casino. It also holds its own in any vintage store, on greeting cards, t-shirts, hi-brow gallery announcements, product skins, your 'zine masthead, on the faceplate of your futuristic microwave oven, tv dinner packaging, at millionaire's conferences or even embellishing the fuselage of your latest jet airline venture. Martini at Joe's: there's no better way to say, "Hold the olive, I'm having a moment."

STRAW The inspiration for this capital alphabet came from those beautiful haystacks you see in summer and the old fashioned Mikado game! We wanted to create a light, fragile and airy typeface with an optical effect. And here it is ... it’s just STRAW ! Concept/Art Direction/Design: André Toet © 2017

WOLFSZN Anniversary! WOLFSZN is the tenth Font of André Toet. The inspiration for this capital alphabet came from the trails of an agricultural machine (think tractor) leaves in the soil after working the land. But it’s not meant to be ‘like a heavy workload’, in fact to us it seems like a very useful Font for headings, logotypes, advertising or films. We hope WOLFSZN will be happily and wisely used by my dear colleagues. Concept/Art Direction/Design: André Toet © 2017

Pictograms of military boats, personnel, firearms and other weapons.

BULKY is the 19th Font of André Toet. It’s Unusual, it’s Heavy, it’s Irregular, it’s Rough, it’s Stripy, it’s Angular, it’s BULKY. But it has character and extremely useful for headings, posters and even logotypes. Just-Use-It! Concept/Art Direction/Design: André Toet © 2017

Kids at Play is a playful and curious font with children silhouettes in the form of letters. The letters/children are engaged in a variety of poses and activites. If you want to develop a text, story, or publication for or about children, this is a must-have font. Includes full set of accented characters.

High Tide is inspired by the lettering made by the fisherman of Cornwall. Shapes made by hand that are created to be functional with a geometric precision, yet appear hand-drawn and human for an honest and sincere quality.

PiPi is named after a happy Italian cat with a remarkable pattern, color and attitude. Designed by Andre Toet in 2011. Every letter is a different expression in itself although it has an identical base. It gives a joyful feeling to use this font in all your designs whether they be graphic or digital. M E O O O W ! Concept/Art Direction/Design: André Toet © 2017

Hidden Forest is a collection of 52 hand drawn tree silhouettes. It is a super fast tool for creating wonderful illustrations!

Grotesk Polski FA developed in 1998-2006, was inspired by the Polish eminent pre-WWII text typeface - Antykwa Półtawskiego. Adam Półtawski designing his antiqua had took into consideration the special qualities of Polish language. He designed unique letters: k, w, y, z and R, K, Y. Another unique element of his typeface was polygonal dot. Grotesk Polski keeps all that shapes and goes further. It is a contemporary sans serif in four cuts: Regular, Italic, Bold and Stencil. The proportions of the typeface were rebalanced to give it a neo-grotesque form with a Polish twist.