Stuffed Shirt JNL acquires its name from a term popularized during the years when the Art Deco period flourished. The Great Depression further widened the gap between the 'haves' and the 'have nots'. Occasionally, some of those that 'had' (and some who pretended they did) came off as standoffish, egotistical and pompously arrogant. Such individuals were referred to as a "stuffed shirt"; a blowhard who thought he was better than others. In this case, Stuffed Shirt JNL is no more than a dual-line adaptation of Playwright JNL, itself an interpretation of the classic Broadway type design in a way that emulates the hand lettering of old-time sign painters.

Gerhard is an early 1900’s Victorian style typeface that has been carefully refined for today. It was inspired from delicately hand painted lettering on a century-old vintage piano. This typeface has an bold and elegant natural aesthetic that can work for eye-catching headlines yet work gracefully enough for wedding invitations. Small caps have been designed for sub headings and allow a visual difference. Put it to use on your next branding, signage or publication project. A number of glyphs and diacritics included make this typeface usable for a wide number of languages. Alternate letters and forms have been included to create some versatility with your design.

Named after a practical seabird, Fulmar is a modern Scotch intended for extended reading. More European than American, it draws on a range of influences from around the North Sea, from Fife’s Alexander Wilson to 17th-century French experiments in modulation and 18th-century Belgian flash, and combines them with contemporary structure and proportions. The result is crisp yet warm, steadfast yet lively, sharp yet robust, rational but humane. It can be appropriate for new translations, new histories and new understanding. With five weights, ten styles, small caps, a clamjamfry of OpenType features and unicorn manicules, Fulmar dispenses with sprawl while retaining range and dexterity.

The Cannon family is the result of combining the clean aesthetics from a classic sans neo-grotesque with a touch of a geometric design. The result is a simple but dynamic typeface with retro and technological airs. Cannon is ideal for robust advertising, bold brand identities and packaging, also suitable for high impact headlines and short texts. This type family consists of 36 variants and 9 weights (thin, extra light, light, regular, book, medium, bold, extra bold, black), matching italics for all weights and widths, matching small caps for all weights and widths, alternate characters and extended language support. We are proud to introduce: Cannon.

Mode is a typographic experiment exploring how same sans serif form adapts to different circumstances and what are the possibilities in variations of Thin / Black, Contrast / Negative contrast. Two main groups are Mode 0 (with rounded shapes) and Mode 1 (with angular shapes). Each of them varies from Thin to Black in six cuts, in the same manner it varies from contrast shapes to negative contrast. Mode comes in total of 72 cuts regular and italic, it speaks majority of Latin based languages and is equipped with smcp, c2sc, Old style and all caps numerals. Mode is made by DAGGERtypo during a period of 2019/2020

Patricia Gothic is a Midwestern take on the traditional American sans serif style. It has been designed as a legible workhorse typeface family with just the right amount of character to add liveliness to your text. A hybrid of the gothic style and contemporary geometrics, its design has also been influenced by everything from vernacular signage, antique hand-lettered ads, early 20th century posters, and type used on mason jars. Its thinner weights can appear elegant, refined, and modern. Its regular weights set nicely legible text. And the heavier weights, especially the small caps, evoke vintage poster lettering. Download the Patricia Gothic PDF specimen

Ten Mincho is a Japanese typeface design from Adobe Originals, designed by Ryoko Nishizuka and useful for a broad range of settings, such as advertising copy, book titles, and headings. As a traditional Mincho-style design the strokes are slightly heavy and rounded, and exhibit smaller counter spaces. Ten Mincho also features a full set of Latin glyphs, collectively known as Ten Oldstyle and designed by Robert Slimbach. This relatively feature-rich Latin subset includes OpenType features such as small caps and old-style figures. Finally, look for a small number of color emoji in an SVG table, some of which are accessible as alternates.

Abrade is a geometric sans serif with rational design choices for contemporary functionality. The family is designed with a medium x-height to provided great legibility in both display and text sizes. The forms are refined to work well in print and on screen. The italics maintain the rational forms, with only the essential structural changes. With 12 weights, the family is ideal for publications, digital media, corporate systems, branding, as well as your band’s gig poster. Abrade is equipped with extended language support, including Extended Latin, Greek, and Cyrillic. Features include: stylistic alternates, small caps, figure sets, and lots of OpenType features to keep designers happy.

A heavy weight - softened sans serif that is not only friendly, but easy on the eyes. Good Eatin was inspired by the title screen from the 1942 Warner Bros. cartoon titled, "Dog Tired". The original all capitals setting had a charming & quiet nature to it, which became even more pronounced when drawn out to include a lowercase set. Later expanded upon to include a Small Caps set, Good Eatin Pro achieves a wider, even more electric appeal. Loaded with personality, Good Eatin Pro is joyful and stands out without being an eyesore, and while being based on vintage lettering it has a contemporary feel.

The design of Zwoelf stems from a letter created by Oleg Pashchenko for the poetry book called “They Talk.” Modified in several ways, the lettering gained readability and a more neutral look. This typeface combines Modern and Gothic styles, ugliness and beauty, the horrifying and the funny. Typographers may highlight any of this. Zwoelf features elements that can be found in both Roman and Gothic styles, but has no real historical prototype. It creates coarse body copy that feels like blackletters. The type is well-suited for use with rough line graphics. Zwoelf is a good choice for short texts, headings, witchcraft potion recipes, madrigals, spells and treasure map naming.

Quant is a contrasted typeface with a fresh and well-reasoned appearance. It owes allegiance to classical structure but is a free design and does not refer to any historical model. Although it has strong qualities as a reading type, its distinct and powerful ductus makes it superb for headlines and in display sizes. Quant is well-equipped for ambitious typography. The Quant family consists of 8 styles, comes in OpenType format with extended language support for more than 40 languages. All weights contain small caps, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction and scientific numerals.

Contane Text Condensed is the text optimized version of Contane Condensed. More solid, more robust, it embodies the power addition to the more delicate members of the Contane Condensed family. Stronger hairlines and stronger serifs also make it appropriate for smaller text size applications. Contane Text Condensed supports up to 80 languages and it’s OpenType format allows a wide range of typographic applications. 20 styles offer fine graduation of the weights. All weights contain small caps, ligatures, superior characters, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals, matching arrows and alternate characters.

Alna is an All Caps Display typeface born with a daily calligraphic sketch exploration focused on recurrent diagonal stroke and reverse contrast inspired by Bastarda and 16th century French Caractères de Civilités forebears St Augustine Civilité. The customised retail typeface offers a stable but full of life feeling. Equiped with a bag full of ligatures for reading optimisation, Alna owns whimsical personality and rhythmic shines at large sizes. Technical use: For optimised readibility, Alna uses ligatures features (liga) to replace (by default) sequences of characters with a single ligature glyph. The longest ligature sequence is three letters. Some combinations can induce problems, especially with long words.

The Sommet family of typefaces has been updated with a new slab serif variant. Expanding on Sommet's successful design principals, Sommet Slab is there when you need more impact and power. Sommet Slab is available with six weights and complementary italics and plenty of OpenType features. Sommet Slab features a tall x-height, and its letterforms are compact, perfect for when layout space is at a premium. Over twenty OpenType alternate characters are available, including friendlier upright italic forms, and a unique simplified lowercase. Sommet Slab also includes oldstyle figures and small caps. Use Sommet Slab whenever you need a powerful and contemporary slab-serif.

Cayuse is a super-slab, all-caps titling face that tips its hat to the classic French and Italian “fat face” serifs of the nineteenth century. Structurally, Cayuse utilizes a reverse-stress stroke configuration—with thick, meaty slab serifs and sinuous, spiked connecting strokes. This crackling contrast gives Cayuse a very black, dense texture, and the ability to combine and contrast well with other typefaces. Arm yourself with Cayuse to create richly-textured, high-impact typography for packaging, editorial, brand identity, posters, signage, and many other applications. What's more, Cayuse also features an array of “word logos”, providing you even more options for creating dynamic typography.

Carnegie Classic differs from Carnegie 1 & 2 in that the capital letters are larger in height; several connecting strokes and letter shapes have also been refined. Classic also has many more ligatures and is only available in Open Type. Like Carnegie 1 & 2, Classic is a based on my own functional hand lettered calligraphy. Characters are disciplined yet fluid and spontaneous, creating a unique overall texture that is visually very pleasing. Carnegie Classic is ideally suited for wedding and event invitations, certificates, maps, menus, place cards, announcements, memorial documents, titles, testimonials, birth and death certificates, etc. In the gallery is a an image with all the ligatures available in Open Type.

Cenizas is another masterpiece of rough-and-tumble script from the prolific Argentine duo of Koziupa and Paul. Although the overall 'wildness' of Cenizas is reminiscent of popular mid-twentieth-century English display scripts, Koziupa's Latin brush humor and ingenuity remain evident in the underlying structure of the design. Casual, care-free and adventurous, Cenizas can be a great choice for design applications relating to active behavior, like outdoor sports and travel. It also is enough of a rough script to be quite useful in a variety of other design contexts, such as the covers of art books or historical novels, museum literature, music sleeves and posters, or even map designs.

Akira Kobayashi modified his Eurostile Next design into a fun unicase version. Ascenders and descenders have been traded in for alternates of letters that all share the same height. The effect is similar to using all caps, although this is quite a bit more quirky. For example, letters like the lowercase a and e are now the same height as their capital versions and the lowercase y has been raised to fit between the baseline and top height. Odd relationships such as these give Eurostile Unicase a fresh and funky feeling. Try using it for headlines and titles, then use Eurostile Next for the body text!

Memento is a 1993 design of the type artist Franco Luin, the creative mind behind a variety of types, for instance, Venus and Griffo Classico. Memento's high x-height allows it to be legible even in small point sizes. It is distinguished by its tiny triangular serifs, a characteristic reminiscent of the Dutch types of the 17th century. Memento is an extremely legible typeface with a classical touch. It is available in four different weights with corresponding italics and small caps. This range of weights along with its classic, neutral look makes it a versatile typeface which can be used in anything from books to corporate design to magazine typography.

AMARETTO, inspired by classic structure of italics, as an original variation of vertical style. Ludovico Arrighi has given us the legacy of classical calligraphic structures that times later lays the foundations of Cancelleresca style and then, the italics as extension of a classic roman serif used in the Renaissance, as main typographic way of expression in Italian printed books. The name Amaretto reminds one of the most representative and delicious liqueur as strong distinctive Italian taste. AMARETTO can be used mainly in titles, long and display texts. Supports East Europe languages. Includes standard and discretionary ligatures, complete small caps, old style numbers, fractions, numerators and denominators and several OpenType features included.

Ashbury derives its inspiration from 18th century transitional types such as Caslon and Baskerville. It is, however, not a revival but interprets formal aspects in a new and individual fashion. With a flowing outline, it remains warm and pleasant but assertive because of its solid stroke weights. It is very well equipped for a wide range of ambitious applications. Ashbury comes in ten styles, in OpenType format, and with extended language support for more than 40 languages. All weights contain small caps, swash capitals, standard and discretional ligatures, proportional lining figures, tabular lining figures, proportional old style figures, tabular old style figures, matching currency symbols, fractions, and scientific numerals.

Madigan Text is the text optimized version of the Madigan family. More solid, more robust, it repesents the more stabil version to the more delicate Contane family. Stronger hairlines, solid serifs, and slightly wider proportions make it appropriate for bold headlines, as well as for small text sizes. Madigan supports up to 80 languages and it’s OpenType format allows a wide range of typographic applications. 18 styles offer fine graduation of the weights. All weights contain small caps, ligatures, superior characters, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals, matching arrows and alternate characters.

The Sommet superfamily has been updated with a new serifed member. Expanding on Sommet’s successful design principles, Sommet Serif is there when you need legibility for continuous text. Its interesting forms lend it to use as headlines as well. Sommet Serif is available with six weights and complementary italics and plenty of OpenType features. Sommet Serif features a tall x-height, and its letterforms are compact, perfect for when layout space is at a premium. Sommet Serif also includes oldstyle figures and small caps. Use Sommet Serif whenever you need a powerful and contemporary serif. In addition, be sure to check out the sans, rounded, and slab members of the superfamily.

SK Shpala is a modern geometric display typeface inspired by the aesthetics of railways. The typeface is built on a system that includes a combination of wide lines and thin gaps, which creates a unique character pattern. The name of the typeface refers to the railway tie for a reason, as the text typed in this typeface really resembles the railway tracks from above. The typeface is multilingual and supports many languages of both Latin and Cyrillic. Despite the strong decorative component, the SK Shpala typeface is a powerful tool for working with typography and design. The typeface is also perfect for poster design and large headlines.

Varese is a geometric and modular typeface inspired by early 1900s Art Deco posters. Its heavy weight is excellent for headlines, display, or large body text. The lowercase is similar to the uppercase, yet many of the lowercase letters have interior spaces and several have some variations on the form (see H/h, E/e, F/f, I/i, J/j, L/l, N/n, T/t). The lowercase also has two alternate glyph sets that are half size and align with cap height. One of the alternate glyph sets has an underline and the other set does not. Varese has a sibling, Varese Soft.

Our Aclonica Pro is a strong and modern sans serif typeface with a slight deco/techno essence to it. Clean letterforms and a generous x-height lend to a friendlier feel and easily legible typestyle, while signature swoops and angular tapering stems exude a subtle sensual nature. The SmallCaps and extensive figure sets not only expand the usefulness of the typeface across a wider gamut, but also convey a more serious tone when needed. Opentype features include: - SmallCaps. - Full set of Inferiors and Superiors for limitless fractions. - Tabular, Proportional, and Oldstyle figure sets (along with SmallCaps versions of the figures). - Stylistic Alternates for Caps to SmallCaps conversion.

Capita, a serif-dominated face in a new style. Strong in appearance, with controlled motion of the contour, vivid and warm, with gentle flow – it avoids any harshness of many slab serifs. Well-balanced proportions make it qualified as reading type, yet with its puissant qualities ideal for headlines and subheads. Capita is well equipped for ambitious typography. The Capita family consists of 12 styles, comes in OpenType format with extended language support for more than 40 languages. All weights contain small caps, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fractions and scientific numerals.

Lumen Script is a contemporary monoline script display face. Combining the loops and swashes from the fanciest of hand painted scripts, with the consistencies of shape and form from the most regimented of sans, Lumen Script is a fresh and unique take on the ever popular script typeface. To get the most out of Lumen Script, make sure you have Contextual Alternates and Standard Ligatures turned on in your Opentype menu. Lumen Script also has a set of small caps, designed to sit comfortably alongside the standard letters, allowing you to change your tone without changing typeface. Lumen Script is also versed in multiple languages, with many accented characters included.

This is the elaborate digital version of Edel Grotesque Bold Condensed (also known as Lessing, Reichgrotesk, and Wotan Bold Condensed) a 1914 typeface by Johannes Wagner, which was later adopted by pretty much every European type foundry, exported into the Americas, and used on war propaganda posters on either side of the Atlantic. Bold, condensed, yet clear and legible, Wagner Grotesk is good for cramming information into tight spaces. Extended language support includes Western, Central and Eastern European character sets, as well as Greek, Cyrillic, Baltic, Esperanto, Maltese, Turkish, and Celtic/Welsh languages. Biform letters and small caps make Wagner Grotesk a most versatile and functional headline face.

Macha shares the same DNA as its sibling Anago, but is a completely different species than the former or any of my other sans serifs (Aaux Next, Air, Akagi Pro or Wasabi). It's no-nonsense construction bears many influences from Gill Sans and Frutiger while stubbornly blending my own humanist touch. The focus on developing Macha was just to get to the point with each letterform and discard the rest. Macha takes a little but gives a lot. A fully-loaded character set includes: Small Caps, Proportional Lining and Oldstyle Numerals, Tabular Lining and Oldstyle Numerals, Fractions, Ordinals, Inferiors, Superiors, Stylistic Alternates, Ligatures, Case-sensitive, and more.

Saugatuck is a cap-height only display typeface inspired by nature. With it’s roots based on a few hand-drawn characters from nearly a century ago by the pen artist W.E. Dennis, Saugatuck now exists as a two-variant typeface. It contains all of the usual characters and accents, most of the math, plus some of the more esoteric characters. Each letter A-Z has a alternate in it’s associated lowercase character to allow you to have even more varied, natural-looking text. Works great for display purposes, seasonal designs, and times when you need to invoke a little bit of a less-structured, environmental feeling.

Jim Spiece has a taste and a talent for reviving type styles from earlier in this century. ITC Deli Supreme is a “futuristic retro” face that would be at home as a logo on a car or a roadside diner from the 1940s or '50s; the lowercase nearly joins, in script style, thanks to the long extenders stretching out from the bottom-right corner of most letters, while the caps have beginning strokes leading in from the top left. ITC Deli Supreme, like ITC Deli Deluxe, features slightly rounded corners on all the letters, for a soft, streamlined look despite the squareness of the letterforms.

The original plan for Atlantic was to design a typeface in the Venetian syle of the Renaissance, with handwriting character and large ascenders. There is a wave-rolling unevenness in both the x- and cap-height caused by the strong ductus pointing to the upper right, together with heavily curved serifs, resulting in a very lively image of text on a page. Atlantic ? its name reflects the ocean, ships, carriers and loads, tourism and so on. These are the themes Atlantic is best suited for. The extended family includes a serif, a sans, and a special variant ? a SeaWashed. Atlantic was designed for the URW++ SelecType collection.

Einhorn is a peculiar typeface. Difficult to classify, this upright, bold, script-like semi serif typeface was designed in 1980 by Alan Meeks. Meeks was inspired by the art nouveau period, and may have been trying to liven up the design scene. In 1980, typefaces like Helvetica and Univers were ubiquitous, and the digital revolution was still years away. Experimental faces like Einhorn helped fill the gap for creative designers looking for untraditional choices in which to set headlines and advertising work. The merit of pioneer display faces like Einhorn have never lessened; Einhorn still sets a mean display text, and works great in logos and other corporate ID solutions.

Our Audiowide Pro has vague inspirations from other styles like that of Handel Gothic and the Converse logo, yet it veers off in a direction of its own for a slightly more techno-futuristic and yet cleanly readable format. Great for both headlines and shorter body copy, its cleanly legible forms lend itself to a plethora of uses. The SmallCaps and extensive figure sets offer Audiowide an even wider breadth of design options. Opentype features include: - SmallCaps. - Full set of Inferiors and Superiors for limitless fractions. - Tabular, Proportional, and Oldstyle figure sets (along with SmallCaps versions of the figures). - Stylistic Alternates for Caps to SmallCaps conversion.

Lagu Sans is a contemporary typeface that blends a geometric inspiration with a charming contrast between thick and thin strokes. Alessio Laiso has designed Lagu Sans in 18 styles: 9 weights ranging from Thin to Black, with matching, beautiful italics. The companion Lagu Serif makes the Lagu family a real workhorse for any use, including web, digital, print, branding and signage. Lagu Sans has a large x-height and open counterforms, making it easily readable. It comes with powerful OpenType features, including ligatures, alternative glyphs, small caps, fractions, tabular figures, old-style figures, and more. The Lagu family supports 219 languages, covering 100% of the Latin Plus character set.

Kansas Casual offers a more upright, gothic, and modern alternative to the conventional sign painter's one stroke. Kansas provides a completely unique take on a overdone classic with proportions and crossbar heights inspired by the more friendly Chicago style. This all-caps set provides six weights so that you can adjust size with weight to maintain that authentic single brush weighted look. The proofing process included projecting, tracing, and then painting the letters out to see how true the small details were to the medium. The set also includes wide language support, opentype fractions, and arrows. You can learn more about its development here.

The original plan for Atlantic was to design a typeface in the Venetian syle of the Renaissance, with handwriting character and large ascenders. There is a wave-rolling unevenness in both the x- and cap-height caused by the strong ductus pointing to the upper right, together with heavily curved serifs, resulting in a very lively image of text on a page. Atlantic ? its name reflects the ocean, ships, carriers and loads, tourism and so on. These are the themes Atlantic is best suited for. The extended family includes a serif, a sans, and a special variant ? a SeaWashed. More? Atlantic was designed for the URW++ SelecType collection.

Pressroom is a modern "legibility face," designed to be easy-to-read under even the harshest conditions. As you might expect of such a typeface, it's got an ample x-height, robust serifs, and minimalist descenders -- but Pressroom displays more grace and allure than most families of this kind. (Its designer nonetheless describes Pressroom as having "the sophistication of a crocodile.") Pressroom has regular, italic, and bold italic styles, along with a special black weight intended for headlines, callouts, and other display uses. Numerals are semi-cap in all but the black, where they are fully lining. Would work well in newsletters, flyers, office forms, or even periodicals.

Introducing "Trace," a captivating display font that seamlessly marries the ancient mystique of Nordic symbols with a bold, futuristic modernity. This unique typeface transcends traditional boundaries, emerging as a striking fusion of historical symbolism and cutting-edge design. "Trace" is not merely a font; it's a visual journey that bridges the past and the future, offering a distinctive and versatile aesthetic. Inspired by Nordic symbols, "Trace" breathes new life into these ancient motifs, infusing them with a sleek and contemporary vibe. Each character carries the rich storytelling heritage of Nordic culture, interpreted through a lens of modern sophistication. The result is a font that is both timeless and forward-thinking, making it an ideal choice for those seeking a balance between tradition and innovation. As a display font, "Trace" commands attention with its bold and commanding presence. Its carefully crafted letterforms embody a sense of strength and purpose, while the subtle Nordic influences add an air of mystery and intrigue. Beyond its role as a traditional typeface, "Trace" transcends expectations by doubling as a symbol font. Unlock a treasure trove of symbolic possibilities, allowing you to weave intricate narratives or create visually stunning patterns that go beyond the constraints of traditional alphabets. Whether you're designing for futuristic branding, creating a visual language for a tech-forward project, or simply seeking a font that tells a story of cultural richness, "Trace" is your creative companion. Versatile and impactful, this font opens doors to a realm where ancient symbols and modern design converge, allowing you to explore uncharted territories in your creative endeavors. Embark on a design journey that spans centuries with "Trace. What you get, you will get: 1. Trace - Clean San serif font including Uppercase & Lowercase (ALL CAPS) characters, 2. Numbers and Punctuation 3. Support Multi language (Western Europe Latin)