Revij Anovik is a unique and modern decorative serif font. This playfully conceptual typeface font will look truly outstanding in a wide range of contexts.

A revival of one of the popular wooden type fonts of the 19th century, suitable for display, geometric slab serifs unbracketed, short descenders, very condensed.

Cardboard Cutouts JNL is a blocky sans serif font re-drawn from some old "kiddie" stencils from the 1950s or 1960s acquired by Jeff Levine.

Introducing Sangira - Modern Ligature Serif inspired by the famous minimalist logo, perfect for the purposes of designing templates, brochures, videos, advertising branding, logos and more.

Introducing Glamorez - Luxury Display Serif inspired by the famous minimalist logo perfect for the purposes of designing templates, brochures, videos, advertising branding, logos and more.

Cordel Interior family draws inspiration from covers of 'cordel literature’, - small booklets of popular story-poems that played an essential role on the folk-popular cultural life of Brazil. Printed in coarse paper, usually with an woodcut illustration and lettering in the front, these booklets were sold on the streets, in marketplaces and town squares, hung in a cord - therefore the name ‘cordel’.

A modern display typeface with ultra sharp detailing. The unique line style takes influence from earlier fonts produced in the 1970’s by Letraset. These lines are then blended with a stronger letterform creating a more visually dynamic font suitable for today’s market. Details include: three unique styles, all caps character set with alternatives, manually edited kerning and Euro symbol.

Online auctions offer a myriad of unique, vintage and novel lettering devices – all which are fertile ground for typographic inspiration. In this instance, a set of stamped metal letters for outdoor signage was the basis for Stamped Metal JNL. Some of the non-traditional letter weights makes these simple block letters a wonderful change of pace for bold, attention-getting headlines.

Proudly Introducing, Biomorph! Biomorph is a brand new condensed sans font family released by us. This font is very suitable for your projects especially for brandingm publishing, titles, book, magazine, website, etc. Biomorph is font family that comes from thin, extra light, light, regular, medium, semibold, and bold version, with all of these styles gives yoiu freedom to design as you like!

Inspired by early cool cartoon fonts, early rock and hippie posters, I created the casual 'DT Stoner Toon' font. Then by adding strategic dots to add a little more quirkiness to the mix, I came up with this organic 'DT Sticky Stones' font. Please use with contextual ligatures turned on when possible. These letters like to adapt to their neighbours.

Frames and Borders Too is the follow-up font to Outside the Line’s top selling font Frames and Borders. These borders are a more playful take on borders that are packaged with layout and drawing programs. All hand-drawn for that touch of whimsy. And check out Rae’s newest frame font Frames & Banners and the ever favorite Frames and Borders.

Due to some grease on a menu, I misread "Spicy Avocado" as "Spacy Avocado" which led me to the name of this font. I love Avocados and I love things that are a bit spacy, and I love the combination of these two! Space Avocado is my handdrawn, layered headline font. Mix the layers or use them as a single font - you choose!

It's all about these subtle nuances that make a neutral sans typeface different. Pure geometry with a human touch is a recipe that works in every generation. Inspired by classical fonts from the early 20th century, General rides the line between traditional and modern styles. With its 5 light weights, the General family is a strong tool for a clean design.

Retro Signs JNL collects nearly 50 designs modeled from old water transfer sign decals once manufactured by the Duro Decal Company of Chicago, Illinois and adds in a generous amount of additional phrases newly-drawn in the same hand lettered style. These vintage sign panels are perfect for creating nostalgic signage to fit projects centered around the 1950s and early 1960s.

Introduce, New Font in Fearless Queen Inspired from old skool graffiti Sketch and street art, we created this Typeface. Drawn in Procreate app, then vectorized and crafted carefully with passion, love and Prides :). Fearless Queen Typeface Suitable for many design project, branding, packaging, logo, wall art, headline, template, banner, poster, and many more projects. These include all caps, punctuation, and numerals.

Estampa Script is a 5-weight script typeface, designed by Sofia Mohr, with high contrast between thick and thin strokes, and teardrop terminals that remind us of Didone typefaces. These elements are the main feature of the font and give it a very strong character. Estampa Script is well-suited for clothing, interior design, branding, packaging, advertising and publishing design.

Hello! Introducing a decorative font named Chewing Gum. It's an abstract shape smooth typeface with curly elements. For the English alphabet, there are alternative characters included. It basically simplified letters that are more readable in small sizes (You can access these letters by activating a "Stylistic Alternates" on your OpenType panel). Twelve fancy ligatures will make your lettering more organic and natural.

The Redikut Letter Company of Hawthorne, California specialized in die-cut cardboard display letters used by sign makers to achieve a three-dimensional effect on show card and display work. A set of these letters purchased by Jeff Levine brought back memories of classic movie houses with their fancy display and lobby cards, and thus was created "Aisle Seats JNL".

Lichtspiele Reklame is the ultra condensed version of Lichtspiele inspired by the 1920s — the golden age of cinema — where neon lights and marquee letters decorated cinema facades. Lichtspiele Reklame is crafted for large narrow formats and contains the display font and two italics (italic & contra-italic), like in these 20s, a time where movie announcements were shown on huge so called Litfaßsäulen.

A set of rounded Art Deco initials set inside circular borders was found amongst the pages of the vintage French lettering book "Modèles de Lettres Modernes par Georges Léculier”. Now made into a digital font called Deco Spot Initials JNL, these classic letter forms are available in both the original white-on-black version and as a black-on-white alternate design.

October Wish is a casual handwritten font with bold handwriting style. Each stroke and curve of this font is unique charm that effortlessly enhances any project, from invitations to digital designs. Adding an authentic touch that resonates across diverse themes and mediums. Elevate your creations and evoke a sense of artful individuality as you harness the power of these versatile handwritten fonts.

Clairvaux is a part of the 1990 program Type before Gutenberg, which included the work of twelve contemporary font designers and represented styles from across the ages. Linotype offers a package including all these fonts on its web page, www.fonts.de. Herbert Maring developed his Clairvaux based on early Gothic typefaces. Its clever design resulted in highly stylized yet legible characters.

Prop-a-ganda offers retro-flavored fonts inspired by lettering on retro propaganda posters, retro advertising posters, retro packages all the world over. This is perfect font for your retrospective project. Very bold stems. Pointed Apexes. Bars and some of the terminals which designed as a ball are very eye-catching. These features make a strong impact with nostalgic feel.

The 1935 catalog for Vitrolite (a brand of pigmented structural glass) featured artist renderings of how the glass could be applied to business exteriors. One of the lettering styles used in these examples was an Art Deco lower case. This design has been turned into a digital typeface called Retail Establishment JNL and is available in both regular and oblique versions.

Ballard Ave is inspired by old vintage signage found in Ballard, Washington, an old neighborhood of Seattle. Ballard Avenue is a protected historical district filled with turn of the century brick buildings that have been converted into quaint shops and independent businesses. This alphabet is based on the antique signage that still exists on the sides of many of these buildings.

Here comes a New font, Stoopid Markers is a Bold Market Typeface that is written casually and quickly. these strong Letters are made with Market Typeface on Procreate. Then crafted carefully drawn into a vector format. That is why Stoopid Markers has a charming, authentic, and relaxed characteristic more natural look to your text with a more natural look to your text.

Is This the End has three different ornamental endpieces ready to use in end chapters, final pages in books, magazines and several artistic representations. Each endpiece may be used in different languages like German, Bulgarian, Croatian, Danish, Spanish, Finnish, French, Dutch, Italian, Norwegian, Polish, English and Portuguese. Intellecta Design researched these endpieces from the very rare Richard Gans type catalogue from 1882.

Now showing at your local picture house is the latest romantic comedy coupling featuring Matinee Idol and Matinee Idol Bold; famous faces you've come to know and love in features like Warners' "Hush" and Columbia's "The Evil That Men Do." Stop by our lobby and check these fonts out. Oh, and please remember to refrain from smoking and talking during the show!

Over the years I have bought many books and music CDs in persuit of my passion for African and Latin (and especially Afro-Latin) cultures. I've noticed that a great number of these books and CDs feature either of two popular display fonts that are, in my opinion, very much overused. As an alternative, I designed Tambor. The Tambor family includes seven styles.

Finally an animated alphabet with a tall tale to tell -- perfectly suited to putting words in the mouths of mutts, talking tigers and anthropomorphic animal characters of all kinds. The precise thick and thin pen strokes of these eight versatile weights are well suited to gag strips, classic cartoons and maybe even that internet meme you've been thinking about for weeks!

Tale is an experiment to convert the script-style calligraphy into bitmap format. The two variants have the same dimensions, but (as the naming suggests), Forty has double amount of pixels in it when compared to Twenty. Both variants have hand made bitmaps to compliment these correlating point sizes, and you can always get the appropriate bitmaps by multiplying by two.

Type books and lettering manuals of the 1900s were resplendent with examples of chamfered type faces, as this was a popular and simple style of lettering that was easy to reproduce with little effort. Poster Chamfer JNL is one such example taken from one of these turn-of-the-century publications that exemplifies the style as a condensed version of the letters.

The Pictographs MT font was contains over 700 emoji icons (emoticons). These symbols, pictures and images cover a range of expressions and uses. Emoji were very popularized in Japan and have become widely adopted and integrated into the Unicode specification. The Pictographs MT font was created to support messaging applications, and to give designers and developers a robust set of emoticons.

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.

FranklinGothicHandLight is part of a series of hand-drawn fonts from way back in time – before computers changed the way we worked. When I was in advertising – before computers – a very time consuming part of my daily work was sketching headlines. I used to be able to sketch headlines in Franklin Gothic, Times, Futura, Helvetica and several scripts. We had a kind of huge inverted camera – which we called Lucy. We projected the alphabet onto a sheet of transparent paper, outlined the letters with a fineliner and then filled them in. It was very tedious work, but the resulting headline had its own charm and we had a permanent race going on who was best and fastest. I won most of the time! They used to call me the fastest "Magic Marker" this side of the Atlantic. Great days, just like today! Your sentimental type designer from the past Gert Wiescher

FranklinGothicHandDemi is part of a series of hand-drawn fonts from way back in time – before computers changed the way we worked. When I was in advertising – before computers – a very time consuming part of my daily work was sketching headlines. I used to be able to sketch headlines in Franklin Gothic, Times, Futura, Helvetica and several scripts. We had a kind of huge inverted camera – which we called Lucy. We projected the alphabet onto a sheet of transparent paper, outlined the letters with a fineliner and then filled them in. It was very tedious work, but the resulting headline had its own charm and we had a permanent race going on who was best and fastest. I won most of the time! They used to call me the fastest "Magic Marker" this side of the Atlantic. Great days, just like today! Your sentimental type designer from the past Gert Wiescher

Eckhardt Poster Text JNL continues Jeff Levine's series of sign painter-oriented fonts, named in honor of his good friend Albert Eckhardt, Jr. (who ran Allied signs in Miami, Florida from 1959 until his passing). Sign painters are the true heroes of lettering, for they make the alphabet and style fit the job. Printers and layout artists were constricted by metal and wood type; that is until photo lettering, then digital type opened up unexplored territories in design possibilities. There is a unique charm (and nowadays pretty much a lost art) to hand-lettering word copy in a way that draws the eye like an arrow to a target. Even a simple sanserif such as Eckhardt Poster Text JNL can have the effect of that hand lettering when applied to posters and pages with plenty of white space and matching type designs of the period.

Rufina was as tall and thin as a reed. Elegant but with that distance that well-defined forms seem to impose. Her voice, however, was sweeter, closer, and when she spoke her name, like a slow whisper, one felt like what she had come to say could be read in her image. Rufina’s story can only be told through a detour because her origin does not coincide with her birth. Rufina was born on a Sunday afternoon while her father was drawing black letters on a white background, and her mother was trying to join those same letters to form words that could tell a story. But her origin goes much further back, and that is why she is pierced by a story that precedes her, even though it is not her own. Maybe her origin can be traced back to that autumn night in which that tall man with that distant demeanor ran into that woman with that sweet smile and elegant aspect. He looked at her in such a way that he was trapped by that gaze, even though they found no words to say to each other, and they stayed in silence. Somehow, some words leaked into that gaze because since that moment they were never apart again. Later, after they started talking, projects started coming up and then coexistence and arguments, routines and mismatches. But in that chaos of crossed words in their life together, something was stable through the silence of the gazes. In those gazes, the silent words sustained that indescribable love that they didn’t even try to understand. And in one of those silences, Rufina appeared, when that man told that woman that he needed a text to try out his new font, and she saw him look at her with that same fascination of the first time, and she started to write something with those forms that he was giving her as a gift. Rufina was as tall and thin as a reed, wrote her mother when Rufina was born. Photo (Fragilité): Karin Topolanski / Post: Raw (www.raw.com.uy) - María Pérez Gutiérrez