Sometimes you get an idea stuck in your head and the only way to get rid of that demon is to put something down on paper. A year later the doodles became a skeleton, and then the skeleton had a body, then the body had a name, then the name got a personality. What was left was a clean set of ten fonts that encompass a very simple skeleton with a lot of visual appeal. During the process, I saw ways to expand the typeface’s display capabilities by producing inline styles as well as a down-and-dirty rough set. Each font has a full set of glyphs that include Central European and Small Cap characters.

Answer Songs have been around for [probably] just as long as there have been songs. 1917's "If I Catch the Guy Who Wrote Poor Butterfly" was the answer to the 1916 hit "Poor Butterfly" [by Raymond Hubbell and John Golden], which in turn was inspired by the Puccini opera "Madame Butterfly". "Poor Butterfly" was so popular that this "answer" tune had as part of its lyrics "That melody haunts me in my sleep; it seems to creep." Nonetheless, the sheet music for William Jerome and Arthur Green's comic lament had the title hand lettered with an oval nib lettering pen and is now availably as a digital type face called Dip Pen JNL.

Transat is a geometric sans serif typeface, with caps inspired by Art Deco signage — found inside the “Gare Maritime” (literally “sea station”) ocean liner terminals in both Le Havre and Cherbourg, France, in the early 1930s. The name “Transat” is the common shortening of “Compagnie Générale Transatlantique,” the company that operated majestic ocean liners like the SS Normandie out of Le Havre from 1862–1974. (Transat also has a more rational text-friendly companion font, " Transat Text ") Transat includes many OpenType features, such as ligatures (ff/ft/fft), small capitals, case sensitive forms, stylistic alternates, arbitrary fractions, and a full complement of proportional, tabular, and oldstyle figures. Transat is released in 5 weights plus including optically-corrected obliques.

A couple of years ago, I walked the Kumano Kodo pilgrimage trail in Japan. At the start of the walk, I stayed in a nice guesthouse in Tanabe city, which lies in Wakayama prefecture. I wouldn’t mention all of this, if it didn’t have something to do with the font name: Wakayama prefecture is THE mandarin orange (Mikan) growing area of Japan and the owner of the guesthouse had just picked a bagful of mikan, which he shared with me. So, I had to think of that when I made this font. Mikan is a nice, rounded family of fonts. Both styles come with alternative a’s (and accented a’s), which some people prefer for Children’s books.

I had a chat recently with a customer who is a big fan of lettering from the psychedelic poster era. The discussion got me thinking about poster lettering we hadn't yet made into fonts, and a particular sample from a Jimi Hendrix poster I had played around with but never finished making into a font. So I went back to the drawing board and the result is the new Hendrix font. Unlike many of our other Psychedelic fonts which are stripped down to their basic character forms, this font includes the outlines characteristic of a lot of poster lettering from that period. It also includes variant versions of a number of the characters

Sometimes you get an idea stuck in your head and the only way to get rid of that demon is to put something down on paper. A year later the doodles became a skeleton, and then the skeleton had a body, then the body had a name, then the name got a personality. What was left was a clean set of ten fonts that encompass a very simple skeleton with a lot of visual appeal. During the process, I saw ways to expand the typeface's display capabilities by producing inline styles as well as a down-and-dirty rough set. Each font has a full set of glyphs that include Central European and Small Cap characters.

Prior to 500 AD the 24-rune Elder Futhark was used in Sweden. From 500 AD until 800 AD there were many Futharks which were transitions from the 24-rune Futhark to one of the 16-rune Futharks. By the end of this period the 24-rune Futhark was completely out of use , and only 16-runes Futharks were in use. By 900 AD two different types of Shorttwigs-Futharks had been born. One was popularized in Norway and the other was used in the west (the British islands). By 1000 AD the adjustment of the runes to the Latin alphabet had begun, and several versions are found up until the Dalrunes, about 1700-1800 AD.

The typeface Typist originated during an extensive research on the origin and development of typewriter typestyles. The first commercially manufactured typewriter came on the market in 1878 by Remington. The typestyles on these machines were only possible in capitals, the combination of capitals and lowercase came available around the end of the nineteenth century. Apart from a few exceptions, most typestyles had a fixed letter width and a more or less unambiguous design that resembled a thread-like structure. A lot of this mechanical structure was due to the method the typestyles were produced. Looking at type-specimens for print before the first typewriters were good enough to came on the market we can see that in 1853 and in 1882 Bruce’s Type Foundry already had printing type that had a structure of the typewriter typestyles. Of course printing types were proportional designed as typewriter typestyles had a fixed width. So it is possible that except from the method of production for typewriter typestyles, the design of printing types were copied. In the design of the Typist, the purpose was – next to the monospace feature – to include some of the features of the early typewriter typestyles. Features such as the ball terminals and the remarkable design of the letter Q. This new typeface lacks the mechanical and cold look of the early typewriter typestyles. The Typist comes in six weights with matching italics in two versions. One that resembled the early typewriter typestyles (Typist Slab) and a version designed with coding programmers in mind (Typist Code).

The typeface Typist originated during an extensive research on the origin and development of typewriter typestyles. The first commercially manufactured typewriter came on the market in 1878 by Remington. The typestyles on these machines were only possible in capitals, the combination of capitals and lowercase came available around the end of the nineteenth century. Apart from a few exceptions, most typestyles had a fixed letter width and a more or less unambiguous design that resembled a thread-like structure. A lot of this mechanical structure was due to the method the typestyles were produced. Looking at type-specimens for print before the first typewriters were good enough to came on the market we can see that in 1853 and in 1882 Bruce’s Type Foundry already had printing type that had a structure of the typewriter typestyles. Of course printing types were proportional designed as typewriter typestyles had a fixed width. So it is possible that except from the method of production for typewriter typestyles, the design of printing types were copied. In the design of the Typist, the purpose was – next to the monospace feature – to include some of the features of the early typewriter typestyles. Features such as the ball terminals and the remarkable design of the letter Q. This new typeface laks the mechanical and cold look of the early typewriter typestyles. The Typist comes in six weights with matching italics in two versions. One that resembled the early typewriter typestyles (Typist Slab) and a version designed with coding programmers in mind (Typist Code).

IMPORTANT – Please consider the superior Carrig Pro before making a purchase decision. Carrig started its life in 1998. I was working for a design agency in Cork, Ireland and was given a new brand identity project for a lakeside hotel in County Kerry. While visiting the hotel I made various sketches of the surroundings and upon returning to the studio, it was clear that my strongest ideas for the identity would be based on these freehand drawings. I wanted a classic, rough, hand-drawn typeface to complement this style but at that time, the studio didn’t have anything suitable, so I decided to draw my own. I found a Trajan-esque typeface that I really liked the look of in an old calligraphy workbook. I set about drawing my own version and then digitised it. Once the client had seen and approved my design, I began working on creating a complete all caps typeface to use for the hotel’s stationery. With ‘carrig’ being the Gaelic word for ‘rock’, my new typeface was all the more appropriate as it had the appearance of letterforms that had been carved into stone and weathered by time. With the project completed and the client happy, Carrig then sat in my unused fonts folder for several years... but there was always a nagging feeling at the back of my mind that I should do something more with it. So, in the autumn of 2014, I finally set about doing just that and created the font family you now find at MyFonts. Carrig’s form and structure was influenced by a hybrid of Classic Roman and Garalde typeface designs. The original calligraphic elements from the 1998 version of Carrig have been retained to add personality—as can be seen in the serifs, strokes, spurs, terminals and open bowls. Perhaps its most distinctive trait is a high x-height combined with relatively short ascenders. I wanted Carrig to immediately resonate with the reader and have designed it to be familiar and friendly. I imagine designers might choose Carrig as an alternative to such typefaces as Trajan, Garamond and Baskerville. I see Carrig as primarily a display typeface for titles/headlines in printed materials. I would also love to see it being used for branding, packaging and promotional material and am keen to hear from designers who use it in their own work.

Borrowed vernacular from African hair studio signs. manually drawn with drop shadow. Used first as cover and label lettering of a cd with music from Zimbabwe, and completed later as a full character set for the typographic issue 'National Typographica' of I-Juici Magazine, in South Afrika.

Droog is an unusual rounded font pierced with circular holes, some of which are used in lieu of counters. Used to best effect in shorter settings and at larger sizes. Suitable for science fiction posters, sweet wrappers, hipster bars, noodle joints, pet shops and native Nadsat speakers.

The smooth curves and big wondrous eyes of the Tango dancer in all her charm. Domingo expresses the sensual mysteries of South America like no other typeface ever could. Fragile yet firm, loving yet proud, Domingo conveys an eternal sense of care and beauty, depth and poetry.

A 1940s travel poster for the Florida East Coast Railway (which then carried passengers but is now a freight line) had the railroad’s name hand lettered in a bold Art Deco sans. This inspired Passenger Train JNL, which is available in both regular and oblique versions.

Using examples of antique street signs from New York City, Stickball JNL recreates the iconic lettering in a digital typeface and is available in both regular and oblique versions. For a nostalgic touch, a blank street sign is located on either the solid or broken bar keystrokes.

Many years ago, we bought a bunch of proofs that had apparently come from the defunct Van Loey-Nouri foundry in Belgium. Cognac was an incomplete alphabet among them, which we completed. Just a guess, but 1910 seems like a probable date for this art nouveau design.

My teacher used to say my writing looked like ‘hanenpoten’ (“rooster legs”). It is a Dutch expression for a scrawly script. When this script emerged, it had ‘scrawl’ written all over it! Scrawlerz is a messy script font with a lot of joie de vivre. Enjoy!

Letter Gothic font was designed by Roger Roberson for IBM sometime between 1956 and 1962. Inspired by Optima, the typeface originally had flared stems. A monospaced sans serif font designed for use on an IBM Selectric typewriter, Letter Gothic font is a good choice for tabular material.

In a vintage photograph, promotional signage outside an old theater for the 1929 early sound film “The Doctor’s Secret” had lettering in a wide, bold Art Nouveau slab serif design. This was the model for Talking Picture JNL, which is available in both regular and oblique versions.

Monotype Lightline Gothic is a thin sans serif face cut by American Type Founders to work with Franklin Gothic, which had been designed as a bold face. The rather condensed nature of the Monotype Lightline Gothic font has made it popular for advertising display and newspaper work.

The 1957 French publication “La Letra Dans La Peinture et la Publicite” (“The Letter tn the Painting and Advertising”) had an illustration of split-serif letters and numbers with a decidedly Western feel. This is now available as Horse Thief JNL in both regular and oblique versions.

Bold and simple, but shaky, Count Floyd was named for the horror host spoof from SCTV. It has the look of a spooky grunge font, but is far easier to read, even at relatively small sizes. Please note that this font has a limited character set.

Paviljoen (meaning Pavilion or Gazebo in Dutch) is an Art Deco typeface which was modeled on cast-iron lettering on some monumental buildings in Amsterdam. I only had a few glyphs to work with, so I designed the remaining ones myself. Paviljoen comes with extensive language support.

shibby adj (etc.). Used to indicate that something is “cool.” Apparently Shibby was first used in the 1999 movie Dude, Where’s My Car? I don’t think Shibby is THE cool word of the moment, but I think it is cool enough for this rather shibby font!

Konscript is a distressed typewriter face developed from analog samples from papers Mary Browers typed in the 1950s for her high school coursework. The model and age of the typewriter are not known. Additional characters were developed based on the analog samples to complete the character set.

The capsule shape has long been a favorite of mine. So, why not use it as the basis for a font design. And if you hit the cap bar key, you'll find a hidden capzule. Take two and catch some Zs before you resume surfing for fonts.

Fleurons are embellishments and this is my sixth and so far most beautiful round. I again found some nice old ones and made them completely new. These go well with many Copperplate scripts and especially with my scripts Nadine and Ellida. Your very elaborate, Gert Wiescher

Scribner's Magazine was an illustrated periodical published from 1887 to 1939. The 1895 holiday issue “Scribner's for Xmas” had the cover text hand lettered in an Art Nouveau style with spurred serifs. This is now available digitally as Nouveau Style JNL, in both regular and oblique versions.

Letter Gothic font was designed by Roger Roberson for IBM sometime between 1956 and 1962. Inspired by Optima, the typeface originally had flared stems. A monospaced sans serif font designed for use on an IBM Selectric typewriter, Letter Gothic font is a good choice for tabular material.

Sheet music for 1907's "Just A Little Fond Affection" had the song title hand lettered in a simple sans serif design with influences from the then-current Art Nouveau movement. This is now available as Nouveau Titling JNL; available in both regular and oblique versions.

Sunnyside is groovy retro concept typographic come with duo combined, regular and extrude, bring if the old west and the 70s had a lovechild with not a unformal usage, it's the perfect typeface for adding sophisticated playfulness to any design project. fit to logo, brand, apparel, etc

Hebrew Latino was started out of frustration. I could not find a font that looked like Hebrew - actually I found one, but it had only capitals. So I decided to make my own. Strangely enough it looks a little bit Jugendstylish! Here it is. Shalom! Gert Wiescher

The sheet music for "Good Night Angel" from the 1937 motion picture "Radio City Revels", had the movie's title hand lettered in a free form Art Deco sans serif design. This has been recreated digitally as Reveler JNL, which is available in both regular and oblique versions.

Ela is the typeface I originally designed for the business of my second wife and mother of my two sons, her name is ­ of course ­ Michaela. Ela the typeface is suitable for magazines, newspapers, posters, advertiments, books, text, documentation/business reports, business correspondence, multimedia, and corporate design.

The 1913 sheet music for "You’ll Be Welcome When You Get Back Home" had its title hand lettered in a simple, yet attractive Art Nouveau sans serif design which has been preserved as digital type. Basic Nouveau JNL is available in both regular and oblique versions.

Houschka Rounded is the companion family to Houschka Pro, featuring CE, Baltic, Turkish & Cyrillic language support plus small caps, stylistic sets, contextual alternates, ligatures and 4 sets of numerals. Houschka Rounded may be a softer & cuter sans serif than her big sister but she's equally versatile.

Sheet music published in the 1860s for "The Soldier’s Chorus" [from the Gounod opera "Faust"] had the title and the arranger’s name hand lettered in a bold, condensed chamfer font. This was the basis for Condensed Chamfer JNL, which is available in both regular and oblique versions.

This is our name for Antique Tuscan, of which there were many variations. This font came from a large lot purchased around 1970 from an east coast newspaper shop. Subsequently, we acquired several more versions of the face, but this one had lowercase so we used it.