The name and design inspiration for Theater Bar JNL comes from an image of an old bar with an overhead neon sign in very stylized sans serif lettering (most likely from the 1940s) and is available in both regular and oblique versions.

AdvertiserÆs Gothic Light, from a volume of headline fonts, was designed by Robert Wiebking in 1917. Wiebking was a skilled type engraver from Chicago who created his own pantographic machine, used to cut punches drawn by other successful type designers, including Frederic Goudy.

Rigaster is a font that encompasses four distinct styles, skillfully blending elements from classic serif fonts with those from modern typography. This fusion results in dynamic characteristics that lend themselves perfectly to contemporary designs as well as those with a retro aesthetic.

This humanist slab-serif style is an extension from Gazeta font family, the letterform are more sharp, racional and mechanical. Italics are having small differences from roman letterforms, the characters are slightly more narrow (weight) and the proportions are less open (width).

This font was created from the handwriting of my friend Ingrid. I always felt she had great handwriting and this font is proof of this. There are for styles to choose from, a great alternative to the common handwriting fonts seen everywhere.

Ornata A is the first of a series of old ornaments that I am trying to save from oblivion. I am not just scanning these, I am completely redesigning the ornaments from scratch, thereby eliminating imperfections. Your digitizing type-designer, Gert Wiescher

Broad pen script typeface from 1930s and 40s; magazine advertising.

FT Tantor is a heavy weight font from Fenotypes basement.

This font was inspired by music from the band Mae.

Based on the original typeface from Face, London, circa 1972.

QwatickPlacard has letters from the font Qwatick on shadowed rectangles.

This font was inspired by music from the band Asteria.

Broad pen script typeface from 1930s and 40s; magazine advertising.

Thorowgood is designed from an original wood font specimen sheet.

Broad pen script typeface from 1930s and 40s; magazine advertising.

This font was inspired by music from the band Silverstein.

You will distinguish these elegant strokes from a mile away.

From the remnants of an old freeware font by Ray Larabie comes Cardholder Dispute SRF. Thoroughly rebuilt from the ground up by Jeff Levine, this post-80s techno lettering can also double as a pop culture font evoking 60s or 70s rock concerts and hippie colonies or (as the name implies) credit cards. The net profits from my font sales help defer medical expenses for mysiblings, who both suffer with Cystic Fibrosis and diabetes. Thank you.

Prumo is a new type system, based on a unique skeleton that flows, like a pendulum, from high contrast to low contrast. It’s a sort of typographic journey, from the 18th century typefaces to the 19th century slab serif typefaces, gathering information from the Scotch Roman fonts on its journey. Prumo is a type family with classic proportions that takes advantage of the recent type production technology while looking carefully at the most important historical references.

Prumo is a new type system, based on a unique skeleton that flows, like a pendulum, from high contrast to low contrast fonts, is a sort of typographic journey, from the eighteen century typefaces to the nineteen century slab serif typefaces, gathering information from the scotch roman fonts on it's journey. Prumo is a type family with classic proportions, that takes advantage of the recent type production technology while looking carefully at the most important historical references.

Prumo is a new type system, based on a unique skeleton that flows, like a pendulum, from high contrast to low contrast. It’s a sort of typographic journey, from the 18th century typefaces to the 19th century slab serif typefaces, gathering information from the Scotch Roman fonts on its journey. Prumo is a type family with classic proportions that takes advantage of the recent type production technology while looking carefully at the most important historical references.

Prumo is a new type system, based on a unique skeleton that flows, like a pendulum, from high contrast to low contrast. It’s a sort of typographic journey, from the 18th century typefaces to the 19th century slab serif typefaces, gathering information from the Scotch Roman fonts on its journey. Prumo is a type family with classic proportions that takes advantage of the recent type production technology while looking carefully at the most important historical references.

The Old Times American Family is derived from several letterpress books from the 1880s in the midwest. The fonts were painstakingly compiled from over 100 pages of text and optically balanced for optimum results. Old Times American is part of the Grit History Series A font set. The set encompasses serif and sans-serif fonts in varying weights to meet the needs of designers. The less-than-perfect letterforms evoke a sense of the non-digital.

Prumo is a new type system, based on a unique skeleton that flows, like a pendulum, from high contrast to low contrast. It's a sort of typographic journey, from the 18th century typefaces to the 19th century slab serif typefaces, gathering information from the Scotch Roman fonts on its journey. Prumo is a type family with classic proportions that takes advantage of the recent type production technology while looking carefully at the most important historical references.

Prumo is a new type system, based on a unique skeleton that flows, like a pendulum, from high contrast to low contrast. It’s a sort of typographic journey, from the 18th century typefaces to the 19th century slab serif typefaces, gathering information from the Scotch Roman fonts on its journey. Prumo is a type family with classic proportions that takes advantage of the recent type production technology while looking carefully at the most important historical references.

The first design of Elensans consisted of 4 styles that are including two weights and their italics which I designed in my student years in 2002. It was designed with a little Art Nouveau style touch with inspired by classical geometric based fonts such as Friz Quadrata and Eras. It was updated with according to the orientations of the day in 2012 and eventually it took its final form with actual touches in 2020. The family has 18 weights, ranging from Thin to Black in normal styles and including their italics. It 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.

The Vtg Stencil fonts from astype are based on real world stencils from several countries. The US No. 4 design was derived from a typical antique US-American stencil-plate. This revolving stencil-plate was invented by Eugene L. Tarbox and patented in 1868. It was a mass factored product and a very common tool in the United States until the success of the interlocking stencils. In case of US No. 4 an original early stencil plate from New York Stencil Works was used. The Regular font style is a clean font design featuring an extended Latin glyph set including some typical stencil ornaments and tabular figures. The Paint font style is made from true stenciled letters and features all the letters of the stencil-plate only. If you like the later interlocking design have a look to my Vtg Stencil US No.2 font. More info: pdf specimen

Chapman is the result of spending too many hours staring at the often all-capital engraver typefaces from long-gone foundries. The wide serifs, high contrast, and various widths seem to have so much character but also remain so neutral. From these references, Chapman began to emerge. It seemed natural that the lowercase would be based on a Scotch Roman model, much like the original all-capital faces. Chapman does not pull directly from any one source but from the genres themselves. It was, from the beginning, the goal to create a typeface that would be relatively neutral but not boring; an adaptable solution that works anywhere and, depending on the chosen width, can be squeezed or stretched to fit anywhere. The idiosyncrasies of the original designs are tamed in some places and turned up in others. The result is something familiar but unique and contemporary.

Here’s a workman-like collection of border elements gleaned from the specimen books of various American manufacturers of woodtype from around 1840 to 1885. Refer to the PDF guides for detailed, yet simple, instructions for constructing various border patterns, all with Victorian grace and charm.

Originally issued as Palm from the A. D. Farmer Foundry in New York, about 1887. This is a good early example of the transition from the ruffles and fluorishes of Victorian fonts to the more restrained decoration that came to be called Art Nouveau.

Bistro and Hot Sauce have been prepared quickly. In Bistro you will find 10 fine traces from coffee cups, and in HotSauce 10 pleasant-for-eyes stains from sauce. Both fonts are created in the 1998. OpenType revision, with extended Latin characters, made in 2009.

ALYRAK is born from the anxiety of the future dystopia of the human race. The fear of Artificial Intelligence, robots, and technology that potentially invade living things. Represented in a font and visual to emulate the vibe every time you type it from your keyboard.

The Znak Symbols family includes 2 fonts (Znak Symbols 1 and Znak Symbols 2) each with set of 94 strictly geometric symbols. The original concept and highly applied graphics from Znak Symbols recommend it for miscellaneous purposes, from ornamental and vignette use to visual communications.

From the vintage record cover, "Music from MR. LUCKY", composed and conducted by Henry Mancini, comes this offbeat and full of life condensed serif typeface. A uniform stroke structure and a light baseline bounce give this typeface a festive yet serious duality of a personality.

Teethee is a font family dedicated to oral hygiene. The characters are made from toothbrushes, toothpaste and toothpaste tubes, and teeth. Both fonts in the family are caps only, but most letters on the lower-case keys differ from those on the upper case keys.

False Idol is based on bad rub-down lettering from 1970s pornographic magazines and home-made religious leaflets. The letterforms were intended to mimic a feeling of cheap glamour but just became seedy. Somehow an alluring beauty emerges from this mix of sleaze and chic...

Here's a handy-dandy collection of border elements gleaned from the specimen books of various manufacturers of woodtype from around 1840 to 1885. Refer to the PDF guide for detailed, yet simple, instructions for constructing sixteen different border patterns, all with Victorian grace and charm.

Inspired by the Techno sound of the 1990s, Alexander Branczyk designed a series of new, wild and controversial fonts which mark a complete departure from typographic traditions. MadZine font is part of the Face2Face package, together with 7 other fonts from young and unconventional designers.