Samuel Welo’s “Studio Handbook for Artists and Advertisers” was a popular book of inspiration for sign painters, graphic artists and designers from the 1920s through the 1960s. Many digital revivals of Welo’s hand lettered typography have been made available. Formal Notice JNL is one such revival, and is available in both regular and oblique versions.

Cross Stitch Formal is based on upper case characters 20 stitches tall and contains upper case characters A-Z. All characters are linked by at least one stitch.

Lettering found on the cover of 1915 textbook pamphlets from the Woman’s Institute of Domestic Arts and Sciences, Inc. [of Scranton, PA] inspired the creation of Nouveau Formal JNL. This attractive serif typeface is available in both regular and oblique versions.

A vintage Canadian-published music book circa the 1940s had the title "Strauss Waltzes" hand lettered in a bold Art Deco sans serif that featured block style letters with rounded corners. This was the working model for Formal Dance JNL, which is available in both regular and oblique versions.

The thin, condensed serif lettering found in a 1937 magazine ad for Chris Craft boats inspired Formal Invite JNL, which is available in both regular and oblique versions.

Monotype Imaging is pleased to present David Hadash (New" David), the full family of typefaces by Ismar David, in its intended authentic form. The Estate of Ismar David has sought to revive this jewel of Twentieth-Century design by granting an exclusive license to Monotype Imaging to implement it in industry-standard format. Never before has the typeface in its full set of sub-styles been made available to the design community. David Hadash consists of three style families, Formal, Script, and Sans. Each of these appears in three weigths: regular, medium, and bold. Originally devised as a companion to the upright Formal style, the Script style has a beauty and grace all its own that allows it to be used for full-page settings also. While it is forward-leaning and dynamic, it does not match any of the existing cursive styles of Hebrew script. Ismar David created an eminently readable hybrid style which is like no other by inclining the forms of the upright while blending in some features of Rashi style softened with gentle curves. One can say that the Script style is the first truly italic, not just oblique, typeface for Hebrew script. Although the proportions of the Sans style are very similar to those of the Formal style, its visual impression is stunningly different. If the Formal style is believably written with a broad-point pen, the Sans is chiseled in stone. Rounded angles turn angular and stark. The end result is an informal style that evokes both ancient and contemporary impressions. David Hadash (Modern) supports the writing conventions of Modern Hebrew (including fully vocalized text) in addition to Yiddish and Ladino. David Hadash Biblical is a version of the Formal style that supports all the complexities of Biblical Hebrew, including vocalization and cantillation marks. "

The hand lettered actors’ credits on a title card from the 1937 film “Shall We Dance” served as the model for Formal Event JNL – an Art Deco sans serif font available in both regular and oblique versions.

Coral had its origins in the font Leah. I had requests from users that I create a cursive version of Leah. (In a cursive font the letters are joined together as in handwriting). In the process of development it changed sufficiently that I decided to release it under its own name. Hence "Coral". Coral is relaxed but very readable. It is, perhaps, a tad more formal and regular than Leah but not sufficiently so as to detract from its relaxed quality. The font is fully professional: carefully letterspaced and kerned. It contains over 235 characters - (upper and lower case characters, punctuation, numerals, symbols and accented characters are present). (It has all the accented characters used in the major European languages).

foria is a Neo-classic serif inspired by a combination of Baskerville and Bodoni with round corners to give a soft impression, looks feminine and classy so it is perfect for fashion, branding, menus, cooking, and female inspiration and is also suitable for neutral typography

Norma was my second sans serif. You can find a few details in common with Dialog, but the graphic impression of Norma is totally different.Every typeface has some characters that are the favourites. In Norma I simply love the lowercase roman a. Don't you, too, think that it is perfection itself? Norma was released in 1994.

Morality is a Modern Elegant Sans Serif Font that perfect for branding, logotyp, poster design, etc A new San Serif Font that we created special for Headline, Title and more stand out typography needs. It's so perfect to add your style and headline overview. And specially for Headline font, we crafted for unique style and modern feels so enjoy to create any project that will show your main idea out. Morality Modern Elegant Sans Serif Font ready with: Any options to get creative variations Preview as a inspirations that you can do with Morality font Ready with All characters Wish you enjoy our font. :)

Comalle is an organic typeface that rescues some elements of handwritten script, but its stroke does not necessarily answer to a literal calligraphy structure. So Comalle could produce a powerful impact on the page, it was designed with thicker strokes than its counter forms. The objective is that the black of the letter fills the page and causes a fastest visual impact than typographies that balance blacks and whites. One of the most important tasks of the Comalle design was to think of how to handle the unequal percentages of blacks and whites in the typeface. The peculiar thing, is that the precision work of the letter does not make the blacks, but the whites; this is the reason why in one first instance it was very valid to start off designing in a very gross way, nevertheless, the majority energies are put in the details of the design of counter space. From the drained filling concept of forms Comalle was born, a typeface that pretends to enchant with its delicate counter space design and to impact with the heavy outlines which compose its form.

Swiss 721™ is a sans serif family that ranges in style from thin to black while mixing in a few unexpected, but beautifully made and ironically flattering, outline weights that spice up the grotesque design. Couple these upstanding letterforms with matching italic styles and you have yourself a beautiful tool that is as legible on screen as it is off, has the technical prowess to conquer even the trickiest of design riddles and will work in a myriad of projects. Swiss 721 is a staple sans serif that you’ll never be sorry you have in your library. It’s been said that a simple sans serif is one of the most difficult typefaces to design. This is because when letters are reduced to their most basic details, irregularities and inconsistencies in design become immediately visible. The Swiss 721 typeface family is a quintessential example of letterforms distilled to their essence while still possessing warmth and verve. Based on mid-century sans serif typefaces, Swiss 721 is a versatile family of weights and proportions ideally suited to a wide variety of print and interactive design projects and is equally at home as headlines on billboards as it is navigation content on small screens. Swiss 721 takes the essence of mid 20th century sans serif typefaces and melds it with modern design consistency and a systematic weight range. OpenType® fonts of Swiss 721 also benefit from a rich character set and a range glyphs supporting most Western European and many Eastern European languages.

An advertisement in a 1936 issue of “The Film Daily” for the movie “Mr. Deeds Goes to Town” had much of its copy set in an extrabold typeface similar to the Beton/Stymie/Karnac group of slabserif designs. This is now available digitally as Serif Formal JNL in both regular and oblique versions.

This font contains every variant found in the Hebrew Bible such as the “mutilated” Waw in Numbers 25: verse 12, the small Heh in Genesis 2: verse 4 and the Nun Inversum before Numbers 10: verse 35 and after verse 36 and elsewhere as well as oversized consonants and various double-wide consonants used in inscriptions.

German type designer Ingo Preuss created this sans Super-family between 2010 and 2015. The family has 84 weights, ranging from Light to Ultra in Normal, Compact, Condensed and Compressed (including italics). It comes in OpenType format with extended language support. All weights contain ligatures, superior characters, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals and matching arrows. The “Adora PRO family” is ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, poster and billboards, small text, wayfinding and signage as well as web and screen design.

CA Normal Serif is the perfect companion to its grotesque brother CA Normal. But it is not just a serifed equivalent. It has a character of its own while preserving the principal proportions and the idea of quirkiness. It was not the aim to build a typeface that can immediately be identified as a relative of CA Normal. The intention was to create a matching typeface in aspects of aesthetic and concept. Whereas commonly serif-companions to grotesques are old-style or slab-serif, CA Normal Serif is situated between modern and slab-serif typefaces. CA Normal Serif is a little bit of an uncomfortable typeface. Nothing is smooth and cozy. It picks up elements of classic newspaper type as brought to us by Chauncey H. Griffith's legibility group, sharing the flavor of abrasive details and "slabbish" serifs. But the proportions are more condensed than the ones of its predecessors giving it a bit more elegance, which moves it closer to the aesthetic of "Scotch Romans".