PiS Penny Serenade is an elegant all caps high-contrast sans with some serif-y elements in the caps, inspired by the handwritten titles of the 1941 melodrama movie of the same name. Be sure to use the art deco style alternate glyph set for more 1920s vintageness!

Designed by Dave West and released in 1960, the name Barnum associates this face with the famous nineteenth-century traveling American circus and showman P.T. Barnum. The wood-cut influence of the letter makes the PL Barnum Block font ideal for posters, signage and creative titling and packaging.

Sheet music for the 1923 tune "I'm Sitting Pretty (In A Pretty Little City)" had the main part of the title hand lettered in an Art Nouveau condensed Roman type design which became the inspiration for Sitting Pretty JNL. The typeface is available in both regular and oblique versions.

The Red Star has risen. Capitalism is on the decline. Under the supervision of Kommisar Christian Gossett and his Red Star cabinet, Comrade Craft has completed the revolutionary new Soviet Block Letters; RedStar, RedSquare and DropCase. The Proletariat is instructed to rejoice. Today is truly a Red Letter Day!

The Wes Wilson font is an all capitals typeface inspired by the pioneer of 1960s psychedelic poster design, the Californian artist Wes Wilson. A key influence on the letterforms is the work of Austrian Secessionist, Alfred Roller, but this font, like Wilson’s own lettering is more freeform and playful.

Carrosserie is made for display use, inspired by the shapes of the ’30s. It is a capital letter font with alternate characters and special domain symbols (check the PDF in the gallery for details). The font is now available in thin, extra light, light, regular, medium, bold & fat. Enjoy!

A totally off-the-wall sans serif font based on the titling from one of ABC's Movie of the Week series from 1969 called Daughter of the Mind. Turn on Contextual Alternates to automatically alternate between Capitals and Lowercase as you type to really make the font dance!

Shred is the result of staring at so-called three-dimensional shapes for days on end, then capping the meditation by eating the white light at the end of the tunnel and sweating it out a blade a second. Bliss is overrated. Sharpness is where it's at. Get slicin'.

Charon's Obol is a scary, brushed typeface. It was created using cheap paint and stiff brushes - hence the rough texture of the glyphs. Using this font will ensure you a safe passage across the river styx - just don't pay the ferryman until he gets you to the other side…

Designed for a privately-published luxury edition of The Time Machine, HGWelles Ultralight, Regular and Bold are now being made available to the public. This is the Welles of the early 20th century, seeing many of his predictions coming true and anticipating the shape of things yet to come.

Inspired by old surfer movie posters from the 60'ies. Surfing Ashtray consists of straight lines only - ironically the direct opposite of the ocean waves that was a part of the inspiration of this font! Hit the waves with extra ligatures for double letters, swashes and alternate letters.

Mares is an unicase typeface inspired by the American psychedelic movement from the mid 1960’s where capitals and lowercase used to be mixed and distorted to become part of the image. Mares is a bold and modern psychedelic font for use on special occasions. The bigger the better.

The model for Deco Moderne JNL was the hand lettered title on the sheet music cover of "Did You Ever See A Dream Walking" (from the 1933 Paramount musical "Sitting Pretty" starring Jack Oakie, Jack Haley and Ginger Rogers). The typeface is available in both regular and oblique versions.

Introducing Black Aroug, crafted to capture the essence of design from the 1890s. Inspired by the ornate aesthetics and artistic intricacies of the period, this typeface combines the elegance of Victorian-era typography with a touch of modern refinement, creating a unique blend of old-world charm and contemporary

Unusual decorative capitals from embroidery work in a German church. Upper case has a diamond-shaped frame around each letter; lower case is just the letters without the diamond frame; and the ampersand gives just the diamond frame so you can use a different colour from the letter.

A light chancery script font influenced by both the hand-held pen and the typefounder’s machinery. The curves are reminiscent of the beak of the avocet, a wading bird. This font was originally engraved in metal and copper matrices made for casting into hot metal type for letterpress printing.

A semi text type with thin stresses, in Granite Semi Stencil the overall weight of the Granite Regular has been decreased by a set unit which has obliterated the stress to leave white space. This gives the typeface an idiosyncratic almost arbitrary take on the utility Stencil aesthetic.

An elegant typeface from the turn of the last century named "Venezia", issued by Karl Brendler and Son of Vienna, provided the inspiration for this little gem, with hints of the exotic. Both versions of this font include the complete Unicode Latin 1252 and Central European 1250 character sets.

CAPUT is a typeface consisting of only capitals with the appearance of a handwritten font, due to the many ligatures. Written with a soft pencil, the resulting structure fits in with the quirky and raw look of the typeface. It’s very suitable for headlines, posters and packaging design. Enjoy!

A vintage booklet from the Japan Tourist Bureau entitled "How to See Matsushima and Environs" had the title hand lettered in the Art Deco style which is the basis for Travel Brochure JNL. For those who prefer a more traditional 'E', it is located on the broken bar keystroke.

Avadar is a typeface with a fine serif of straight lines and an inner line that breaks the glyph in two. The type is indicated for use in large or very large sizes, especially for display graphics; the spacing between glyphs makes the readability of the text increase.

Naveid Arabic is new version of Naveid with the addition of Arabic glyphs, for Arabic, Urdu, and Farsi. Basic form for arabic font is refers to the arabic kufi style, with combining the cuppped serif on top and the tinny Subtle Flaring on the terminal, to harmony with Latin.

Although Andi AW. Masry designed his Coomeec typeface with one eye on comic books, this is more than just another cartoon font. Even in our short profile of the font below, we're sure you'll find enough to be surprised by the calligraphic aesthetic and the wide range of potential uses of Coomeec. Typography had been one of Andy AW. Masry's hobbies before he turned professional in 2008 and formed his own agency in Jakarta in Indonesia. The former construction engineer had already spent many hours of his leisure time in following his pastimes of designing, photography and Latin typography. Fascinated by the close interaction between text and image in comic books, one of his first projects was the development of his font Coomeec™. The condensed letters of Coomeec seem to have more in common with a calligraphic brush typeface than a more conventional cartoon font. With the characteristic line forms of a brush font, the not unextensive variations in line thickness and numerous small embellishments to the glyphs, Coomeec can be used to enhance your projects with animated effects. You can achieve this not just in the larger font sizes; the font is also very legible in small sizes thanks to its large x-height. There are certain unusual letter forms, such as that of lowercase 'g', 's' and uppercase 'Y', that provide Coomeec with a touch of the exotic. As Coomeec has numerous character alternatives, you can use it not only to create diverse designs but also to ring the changes with the character of the text itself. There are variants for most lowercase letters, some of which exhibit only minor differences, such as the lack of a curlicue on the 'b', a modified downstroke on the 'h' and an elongated base for the 'k'. In the case of other letters, such as the 'q' and the 'r', there are significant disparities between variants. The uppercase characters are also available in a lively swash style with significantly extended terminals. Among the range of characters of Coomeec are oldstyle and lining figures designed for proportional and tabular setting. All alternatives are available in the form of the corresponding OpenType versions. Coomeec comes in two weights; Regular and Bold, each with its Italic version. The form of the slightly inclined Italic characters is identical to that of their upright counterparts with the exception of the lowercase 'f', which has an ascender in its Italic version. As an OpenType Pro font, the glyphs available for Coomeec ensure that it can be used to set not only western European but also central European texts. Coomeec is not just at home when used to set headlines. The excellent legibility of this individual and vibrant typeface means that it's also ideal for setting shorter texts. The various alternative letters provide the designer with the opportunity to vary the textual appearance, and to choose between creating a more formal or more light-hearted effect. Coomeec is not only available in an OpenType version but is also obtainable as a web font, so that you can employ its exotic features to good effect when creating internet pages.

Lyra is an Italian Renaissance script that might have developed if metal type had not broken the evolution of broad pen calligraphy. It lies in the area between the humanist bookhand and the chancery cursive, combining the fullness and articulation of the Roman letters with a moderate italic slant and condensation. A steep pen-angle allows use of a broader pen relative to the x-height, giving the letters more contrast with light verticals and heavy curves. Lyra embodies the Renaissance spirit of refining technical advances of the late middle ages with reintroduction of ancient classical principles. Based on the moving penstroke with constantly changing pen-angle, it brings the vitality of handwriting to the ordered legibility of type. Lyra is a formal italic, too slow for copying books. By eliminating the element of speed, digital technology opens up a new level of calligraphy, bringing it into the sphere of typography as would naturally have happened if metalworkers had not controlled the process. If classical Western traditions are respected, digital calligraphy has the potential to recapture the work of the past and restart its stalled evolution. There is of course no substitute for the charm of actual writing, with each letter made for its space; but the tradeoff is for the formal harmony of classical calligraphy as every curve resonates in tune with every other. This three-weight font family marks Philip Bouwsma's much-requested return from a three year hiatus. It also reminds us of his solid vision in regards to how calligraphy, typography and technology can interact to produce digital beauty and vesatility. Each of the three Lyra fonts contains almost three character sets in a single file. Aside from the usual wealth of alternates normally built into Bouwsma's work, Lyra offers two unique features for the user who appreciates the availability of handy solutions to subtle design space issues: At least three (and as many as six) length variations on ascending and descending forms, and 65 snap-on swashes which can be attached to either end of the majuscules or minuscules. The series also offers 24 dividers and ornaments built into each weight, and a stand-alone font containing 90 stars/snowflakes/flowers, symmetric contstructs for building frames or separators, masking, watermarking, or just good old psychedelia.

Take a classic Western wood type where the horizontals are thicker than the verticals and remove the slab serifs… The result is Western Sans JNL, which is available in both regular and oblique versions.

Collection of ribbon geometrical ornaments, that were popular in Europe in the 16th and 17th centuries in the age of Mannerism. The given ornaments can be attributed to the styles of strapwork of bandelwerk.

The cover of the 1943 sheet music for the song "Jeannie" offered up a hand lettered monoline Deco sans with varying width letterforms. From this design comes the aptly-named Thin Line Deco JNL.

Copperplate Classic Light Floral is the latest addition to my Copperplate Classic Group of fonts. The floral decorations go perfectly well together with the classic forms of the Copperplate. Your decorative designer Gert Wiescher.

Designed by Les Usherwood. Digitally engineered by Paul Hickson. Les based the design on a turn-of-the-century typeface of the same name. The foundry is believed to be Soldans & Payvers, circa 1904.

Sketchwriter™ is a terribly fun hand-drawn typeface designed with many uses in mind. At small point sizes, it's a little grungy. The larger the display, the more interesting the stroked glyphs become.

Anniversary Seals is composed of a seal design reminiscent of the embossed foil seals used in commemorating company anniversaries. The font contains 100 consecutive characters from the first anniversary through the one-hundredth anniversary.

Auriol font was the basis for the lettering used by Hector Guimard for the entrance signs to the Paris Metro. Bitstream’s Freeform 721 with his brush stroke look, is well-suited to display settings.

Twas brillig and the slithy toves did gyre and gimble in the wabe. All mimsy were the borogoves and the mome raths outgrabe. Nuff Said! Features: Two weights (Regular & Bold) with alternate uppercase characters.

Freie Initialen are derived from initials made for the Stempel Garamond series. The type was issued in 1928 in three sizes (36, 48, and 60 pt); the AR version follows the 60-pt design.

A revival and major expansion of a 1926 Ludwig Wagner Schriftgiesserei typeface called Titanic, Lexington is the ultimate art deco expression of the high times of signage and theater during the first half of the twentieth century. Big feminine caps and cozy direct minuscules make for a unique combination rarely found in other deco faces. Topped off with the humorous and quite suave tall and pointy ascenders and descenders of the alternates, Lexington makes for a versatile and uniquely eye-catching display face beneficial to poster art, book covers, classy menus, product packaging and music paraphernalia. The original specimen Hans van Maanen worked from showed the majuscules, minuscules, figures, and 4 alternates of some ascending minuscules. This new digital version includes all of the above, plus many more additions: - Plenty more alternates, for some caps as well as for all the ascending and descending lowercase. - Three different size variations for the comma and the period. - Oldstyle figures. - A full complement of accented characters to support more Latin-based languages than ever, including Baltic, Celtic, Turkish, and Central/Eastern European languages. - A Handtooled style variation that covers both the main character set and the alternates. Lexington was named after Manhattan's Lexington Avenue, home of the some of the most famous and polished art deco architecture of the 1920s and 1930s. Lexington and Lexington Handtooled come in all popular font formats. The OpenType versions combine their respective alternates with the main character sets, for ease of use within OpenType-savvy applications.

An authentic script from the tip of the ball point pen. This hasn’t been seen yet: A typeface which truly looks as if it were handwritten. Calligraphy is, actually, the art of fine writing. And actually, written scripts as typeface for the computer are 100% nonsense. And yet, an obvious thought: Create a typeface which truly derives from everyday handwriting. And since we, if we write at all, utilize practically only a ball point pen anymore, then a modern cursive writing form must look like just that. As a counterpart to the artistic ”handwritings“ which have long been available as typeface, the thought of digitalizing a truly ”ugly“ handwriting is appealing. After all, time and again there is the need for a text to look ”handwritten“. Biró Script is written freehand with a ball point pen. Finally a truly individual script! Biró Script includes more than 300 authentic ligatures in addition to the customary alphabet. By the way, the most convincing effect is obtained with a font size of about 18 to 22 points, at which the thickness of the stroke is now about the same as that of a real ball point pen. There's a difference between the anglo-american forms of some characters (esp. the numerals 1 and 7, but also capitals I and F) and how it's written in the rest of the world. For those of us who aren’t used to the world-wide usual forms, Biró Script includes a US version with the appropriate characters.

Michael Hoffmann manufactures digital fonts for 30 years. At URW++ he contributed to the technological progress. Over the years, he also specialized in the ideal representation of fonts on screen and the complex assembly of international fonts with scripts of all countries. In his latest project he put the emphasis on developing a highly readable typeface. Less interested in the design as in the functionality of this typeface, he designed Arsapia which he has now installed as a system font on all his computers. Michael Hoffmann studied Japanology at the University of Hamburg and traveled in the early years of his professional activity frequently to Japan, there to train the IKARUS font production tools to Japanese customers. In his spare time he plays guitar or golf depending on the weather. The typeface Arsapia has been designed in such a way that all three font styles Light, Regular and Bold have the same width. When a user therefore opts for the use of Arsapia Light, even though he has already written his text in Regular, nothing changes with respect to the letter tracking. When choosing the Bold for emphasis: Nothing changes except the blackness of the letters. A font change does not engender unwanted line and page breaks of itself. All letters can be clearly distinguished from each other. 1 l I O 0 are all different. For programmers and lovers of monospaced fonts Michael Hoffmann has developed a fourth typeface: Arsapia Mono. This is the perfect terminal font.

IngrimayneType has put letters inside a variety of objects, including bowling pins, book covers, coffee mugs, teapots, pumpkins, Christmas ornaments, train cars, tombstones, old bottles, circles, and rectangles. In each case the letters were placed on a single shape. The use of the Opentype feature of contextual alternatives makes it easy to use two different but alternating shapes. ButterflyWingz puts its letters on the right and left wings of a butterfly. The wings provide a large surface for drawing letters, but they have a odd shape so letters must be distorted to fit. The wings are symmetrical but some letters are not, so the right and left wing versions of the same letter are sometimes quite different. Without the contextual alternative feature one could design a typeface like ButterflyWingz but the user would have to alternate upper and lower case keys. With contextual alternatives turned on, the computer automatically alternates the letters creating a line of complete butterflies. Turning on the Opentype feature stylistic styles one (ss01) replaces the empty spaces with empty wings. However, sometimes an empty wing at the end of a line is unwanted and it can be removed by changing the typeface or by turning off the stylistic style for that character. The family contains two styles, a filled style and an outline style. They can be used separately or together in layers to add color. (Empty wings are on the logicalnot and registered characters.) ButterflyWingz is hard to read and should be used in small doses for decorative effects.

The same procedure as every year? Again Christmas cards and greetings need to be designed... Sick of the usual Christmas imagery? Finally here is the ultimate typographical solution: 4 Christmas Pattern Fonts for display use. Playfull yet straight, Christmassy yet aesthetically pleasing. Pattern is the new sexy! Practical details: - Use in great display sizes only. The bigger – the better! - Fonts gain kind of "transparency" through the patterns – handy for use on top of images. - Characterset is caps only and supports Central, Eastern and Western European languages. - Entertaining 2 min movie explaining the basic concept and making of the Pattern Fonts. - Combine with "non-Christmassy" Pattern Fonts from the Pattern family. - Also available: a blank version in light, regular and bold.

Swiss Interlock represents the extraordinary meeting of two disparate cultural phenomena of the mid-twentieth century. Its compact frame combines the International Style of the late 50s, which championed the clarity of sans serif, with the interlocking lettering characteristic of 60s counterculture aesthetics. The remarkable result is a tightly woven face with unexpected letter pairs that warm an otherwise cold industrial appearance. Swiss Interlock’s unusual origins make it comfortable on everything from album cover artwork and snack food packaging, to home improvement applications and automotive-themed advertsing. Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.