A generous assortment of cartoons, catch words, ornaments, embellishments and even a pointing hand tourist sign modeled from an actual vintage metal one round out Printers Stuff JNL.

Keizer is a serif display typeface freely inspired by the display metal fonts of the early XXth century, reminiscent of those used in cartographic and book design. Its five versions display an open-face, an inline-flared, outline and decorated capitals, and an essential titling high-contrasted serif face. Keizer works well both on print and screen, ideal for book covers, posters and logos. Every weight includes small caps, petite caps, stylistic alternates and a neat set of ornaments.

@andinistas presents Bleak , an experimental font designed by #carlosfabiancg. Bleak is based on the imaginative use of contrast applied in the empty space and on the dramatic distributions of the wide and compressed horizontal of more than 400 textured symmetric capitals inspired by compositions of the Lissitzky, Theo van Doesburg, among others. In the Europe of the 20s, scarce resources prevailed, which gave these great artists the firm determination and dedication to create a visual vocabulary, characteristic of the composition with movable types of wood and metal. As they did not readily dispose of the forms of the letters they required, they did not hesitate to construct them with metal rulers, ornaments and other improvised pieces and remains and obtained in the forgotten corners of the typographic composition workshop.

Bylander is a stateful serif typeface. With robust, heavy letterforms reminiscent of a foundry's hammer hitting molten metal, and an unpaired weight, Bylander's characters seem forged from the core of the Earth. Its rounded corners whisper tales of smoothened river stones, and its gentle curves combined with its industrial mass makes Bylander a paradox; both intimidating in its boldness and welcoming in its approach.

A group of unique metal plates with stencil initials cut into them was spotted while browsing through online auctions for source material. What made these items even more interesting was how some of the stencil letters had been sectionally divided - not vertically or horizontally as in most stencils, but lines cut at angles. This is the basis for Steel Stencil JNL and Steel Stencil Oblique JNL.

A tribute to Jan Tschichold. His hot-metal font Saskia was released in 1931 by Schelter & Giesecke. This elegant italic font was finally redrawn, extended and digitized for present-day use.

The simple, chamfered lettering of Bike Tag JNL was based on a 1950s-era metal bicycle tag with self-adhesive letters that kids could customize with their name or any short words.

Ten years or so after his unique treatment of Garalde design with Trump Mediaeval, Georg Trump took on the transitional genre with Mauritius, which was to be his last typeface. He started working on it in 1965. The Stuttgart-based Weber foundry published a pamphlet previewing it under the name Barock-Antiqua in 1967, then announced the availability of the metal types (a roman, a bold and an italic) a year later. The global printing industry was already in third gear with cold type technology, so there weren't that many takers, and Weber closed its doors after more than 140 years in business. Subsequently, Trump’s swan song was unfairly overlooked by typography historians and practitioners. It never made it to film technology or scalable fonts. Thus, one of the most original text faces ever made, done by one of the most influential German type designers of the 20th century, was buried under decades of multiple technology shifts and fading records. The metal cuts of Mauritius seem to have been rushed in Weber’s desperation to stay afloat. So the only impressions left of the metal type, the sole records remaining of this design, show substantial problems. Some can be attributed to technological limitations, but some issues in colour, precision and fitting are also quite apparent, particularly in Mauritius Kursiv, the italic metal cut. This digital version is the result of obsessing over a great designer’s final type design effort, and trying to understand the reasons behind its vanishing from typography’s collective mind. While that understanding remains for the most part elusive, the creative and technical work done on these fonts produced very concrete results. All the apparent issues in the metal types were resolved, the design was expanded into a larger family of three weights and two widths, and plenty of 21st century bells and whistles were added. For the full background story, design analysis, details, features, specimens and print tests, consult the PDF available in the Gallery section of this page.

MVB Peccadillo is an interpreted revival of a metal typeface popular in the 19th Century, then known as Skeleton Antique. Highly condensed with extra short descenders, the face makes a big impact in a narrow space. Holly Goldsmith worked from letterpress-printed specimens of 96-point, antique metal type, deliberately retaining subtle distortions due to type wear and letterpress impression. Alan Dague-Greene, referring to printed samples of Skeleton Antique, adapted the design to create two additional optical sizes: “Eight” for smaller text and “Twenty-four” for subheads.

Impact wide was developed from the designer's original drawings for the production of 'Impact' metal type, with many detail changes because of the density of the letters. These include the restoration of the bevelled i and j dots of the original. Character maps show some useful alternative characters in both roman and italic. Included are a crossbar numeral 1, mirror quotes and some sorts which were cast in metal but never reproduced in digitized versions of the typeface. There is also a font-specific Euro symbol. (Impact is a trademark of The Type Museum, London).

The days of hot metal may be behind us, but Anvil looks as if it has been forged in a smithy’s fire: a handsome, heavyweight display face that is both impressive and impactful.

Big Display Sans JNL is an all-caps version of Ludlow’s metal type “Samson”, originally designed by Robert Hunter Middleton in 1940. This digital version is available in both regular and oblique versions.

Carla Pro is a lively, legible, and partly joining broad-nib script font. I named it after a favourite colleague, in my hot-metal time, who set on the Linotype next to mine.

Oddly Nouveau JNL is a charming Art Nouveau design based on “Eccentric”, a metal typeface issued by American Type Founders (circa 1898). This digital version is available in both regular and oblique versions.

Modeled from a set of individual painting stencils, Mess Hall JNL is named for the armed services cafeteria where thousands of enlisted men endured bland, boring meals day in and day out for years.

Introducing the "Violent Brave Brutalism Typeface" - a cutting-edge font that seamlessly merges modern aesthetics with a fearless and commanding metal concept. This typographic masterpiece is designed for those who seek to make a bold statement with their visual communication. Design Concept: The Violent Brave Brutalism Typeface exudes an uncompromising and audacious personality. Inspired by the world of heavy metal, the font features fierce and firm spines, capturing the essence of raw power and strength. The design strikes a perfect balance between modernity and bold brutality, making it a standout choice for those who crave a unique and impactful typographic experience. Style Characteristics: The font boasts a distinctive metal-inspired aesthetic with sharp edges and robust letterforms. Each character is meticulously crafted to convey a sense of aggression and intensity, creating a visual impact that leaves a lasting impression. Glyph Diversity: With an expansive set of 1240 glyphs, this typeface goes beyond the ordinary. It includes ligatures, alternates, and a comprehensive multilingual character set. The ligatures and alternatives add fluidity and variation to the text, allowing for a dynamic and expressive display of content. The multilingual PUA Unicode support ensures compatibility across various languages, making it a versatile choice for global communication. Usage Scenarios: Ideal for graphic designers, musicians, and artists who want to inject a dose of unapologetic boldness into their projects. Whether used in album covers, posters, merchandise, or any other creative endeavor, the Violent Brave Brutalism Typeface is designed to command attention and convey a sense of fearless individuality. Key Features: Modern and bold metal-inspired design. Fierce and firm spines for a powerful visual impact. 1240 glyphs with ligatures and alternates for versatility. Multilingual PUA Unicode support for global accessibility. Incorporate the Violent Brave Brutalism Typeface into your projects and let your words roar with the intensity of a metal anthem, making a lasting impression on anyone who encounters your design.

The original source of design for Sign Sans JNL was an image online of an old New York drinking establishment called the Lenox Lounge. The metal channels encasing the neon had an unusual "feel" to some of the letters. While the original E,G and U of the sign looked "interesting", they didn't quite fit the font's layout. Those letters were scrapped for more traditional versions of them.

This redesign is made from proofs, rather than the metal, and so is heavier, with particular attention to the Harris and the Monotype revision, which was made from proofs of Baskerville’s Great Primer (16pt).

Inspired by the former hot-metal fonts of Imprimatur, Gmuender Antiqua Pro is a fresh designed versatile and multilingual serif font family. All five styles contain three different forms of numbers and small caps.

The origin of AM Floriana is already several decades ago. At a time when there was no photo set and the choice of metal type fonts was still very manageable, Alois Menacher received an order to design a custom business logo from a flower shop. He then created a hand-drawn lettering based on the form of leaves and plants. Now Alois Menacher professionally designed and developed AM Floriana on the basis of this lettering. AM Floriana is ideally suited for packaging design, as well as for display design and logo design. AM Floriana is available as a Bold version and will soon be complemented by further cuts.

To design a font Blezja, I was inspired by an old metal tin from 1907 from Potsdam, which was used to store earplugs. From a few letters I created whole typeface - lower and uppercase characters.

Sandikza started out as an idea for a metal titles and some games. Or anything that was printed distorted. In other word something harsh. It makes a death or dirt feeling anywhere it is used.

An antique, hand-cut metal stencil for the Chicago-Burlington rail route stating “CB&Q RR – Private Property” inspired the sans serif stencil design Midwest Railway JNL, which is available in both regular and oblique versions.

Cast in iron and burnished by the feet of a million Londoners, this font derives from the manhole covers of England’s capital city. It evokes heavy duty machinery, metal castings and worn urban decay with gritty immediacy.

Retch - what's in a name? Retch is a unique typeface, heaving with character. It is scary and grotesque and is made to look like letters scratched onto a metal surface. Retch spits out most Latin based languages.

Monotype Modern, the first typeface produced by Lanston Monotype, was released in 1896, the same year the company introduced its hot metal typeseting machine. It is a Victorian variation on the vertically stressed, high-contrast Bodoni model.

The Venus type family is a historic hot metal face with left slanted weights that is used for the german cartographic map production. There are also special typefaces required like the Roemisch and Topografische Zahlentafel type family."

Vergennes is a decorative script font featuring ornate, calligraphic decorative initials based on 19th century metal type. It has a full character set with lower case and numerals, but the upper case initials are the standout feature

The Venus type family is a historic hot metal face with left slanted weights that is used for the german cartographic map production. There are also special typefaces required like the Roemisch and Topografische Zahlentafel type family."

P22 Blox is a modular system of shapes that can build letterforms and abstract patterns. Created as a working prototype for the letterpress P22 Blox project from P22 Analog and Starshaped Press, this system of shapes presents a unique approach to designing letterforms with a limited set of variables. Based on the American Type Founders 1944 modular metal type ornament system... you can have hours of fun building letters, patterns and more.

Postman is a typeface inspired by old documents, banknotes and leading product brands. It has cursive and elegant capital letters and its lowercase letters are actually small caps of geometric shapes as if they were made of metal and nailed with bolts. It is ideal for classic products that consider nobility and tradition among their virtues. It evokes classic products that lasted over time. Includes OpenType features, like ligatures, alternates, and more.

ITC Mona Lisa was designed by Pat Hickson, a stark and elegant typeface originally drawn in the 1930s by Albert Auspurg. The original drawings were long gone and the surviving metal type was already severely worn when Hickson studied Auspurg's design for his recreation. The result is a typeface which melds the flavor of the 1930s with current design standards. ITC Mona Lisa displays all the suave sophistication of Fred Astaire and Greta Garbo.

Based on William H. Page’s Clarendon Extended wood type from the 1800s, Clarified JNL is digitally available in both regular and oblique versions. In the days of wood and metal type, foundries often made changes to an existing design to make their font more unique and different from their competitors. Clarified JNL is different from Clarenwood JNL (which is partially based on another wood type Clarendon and features many alternate letter forms).

Based on gnostic studies of indecipherable Lovecraftian mausoleum inscriptions conducted in hidden colonnaded antechambers, Saintbride has an architectural and stone-carved heritage that makes it suitable for Gothic romances, metal CD covers, biker gang tattoos and wedding invitations.

Metalform Gothic JNL is based on examples of stamped metal numbers used for house identification and similar purposes. The lettering is square in shape with rounded corners, perfect for text that needs to emit authoritarian messages or instructions.

RMU Bison is my revival of Julius Kirns hot-metal font, which first was released by Weber in 1935. The versatile timeless brush font was extended as to cover the main Western and Central European languages plus Turkish.

In the 1960s it was a popular trend to personalize one’s possessions with your initials. From wallets and handbags to eyeglasses; from luggage to even cars, initial personalization was the fad of the time. The British division of Gulf Oil offered for sale a set of gold metallic stick-on initials for 25 pence, complete with two Gulf logos so the company could get some extra advertising mileage out of the promotion. These extra-wide, bold initials served as the idea model for Personalization JNL, which is available in both regular and oblique versions.

Bronzion is a blackletter typeface rooted in medieval aesthetics. With its dark ages inspiration, Bronzion is a captivating blend of calligraphy and heavy metal undertones. The typeface captures the ornamental beauty of middle ages manuscripts while catering to modern design needs. Its heavy, intricate design makes it perfect for projects that require a touch of medieval grandeur. Use characters 🌲🌳🎠🐂🐅🐆🐈🐉🐎🐕🐦🐯🐲🐺👑👸🗡🤴🦁🦅🦇🦌🦎🦓🦖 to create heraldry-like logos and symbols. Example: Magic🐉Empire

The Roemisch type family is a historic hot metal face with left slanted weights that is used for the german cartographic map production. There are also special typefaces required like the Venus type family and Topografische Zahlentafel type family."