Typography enters the Space Age! Dynascript brings the ease of “Pushbutton Automatic” to your typesetting experience. Dynascript is actually Two fonts in One–without switching fonts you can instantly change from Dynascript’s connecting font to the non-connecting italic with the simple push of a button. For more details download “The Dynascript Manual” from the Gallery Section. What is Dynascript? Dynascript is the slanted script cousin of Dynatype. It shares many of the characteristics of it’s sibling, but is drawn entirely from scratch and has it’s own unique character. To some it may be reminiscent of various mid-century neon signage, and of sign writing, Speedball alphabets and even baseball scripts. The design of Dynascript also takes some cues from a historical typographic curiosity that began in Germany in the ‘20s and which lasted into the ‘60s—when Photo-Lettering gave it the name "Zip-Top". Basically it was believed to be the wave of the future—that by weighting an alphabet heavier in its top half, one could increase legibility and reading speed. The jury’s still out on whether or not there’s any validity to this claim, but I think you’ll agree that in the context of this design, the heavier weighting at the top of the letters helps to create some uniquely pleasing forms, and a script unlike any other. Typesetters across the planet will also be able to set copy in their language of choice. Dynascript’s 694 glyphs can be used to set copy in: Albanian, Basque, Catalan, Cornish, Croatian, Czech, Danish, Dutch, Esperanto, Estonian, Faroese, Finnish, French, Galician, German, Hungarian, Icelandic, Indonesian, Irish, Italian, Kalaallisut, Latvian, Lithuanian, Malay, Maltese, Manx, Norwegian Bokmål, Norwegian Nynorsk, Oromo, Polish, Portuguese, Slovak, Slovenian, Somali, Spanish, Swahili, Swedish, Turkish, and Welsh—and of course English. Sorry! Off-world languages not yet supported. PLEASE NOTE: When setting Dynascript one should ALWAYS select the “Standard Ligatures" and “Contextual Alternates” buttons in your OpenType palette. See the “Read Me First!” file in the Gallery section.

Wouldn’t it be nice to have a pack of Instant Harmony in your cupboard? Just add water and *poof* - all strive and struggle have gone, having been replaced by peace and quiet. The grass seems greener, the sky bluer and the air smells like a fresh mowed lawn. Ahhhh! Zap! Back to reality. There is no instant harmony, don’t go looking for it in your local supermarket! If you want a taste of something resembling instant harmony, then add this super-duper font family to your collection and use it for your designs. You may find that your creativity levels are up, your morning coffee tastes better and your designs look exactly like you had in mind. Pinky promise!

Giambattista Bodoni was an Italian engraver, printer, and publisher who was one of the best typographers of the 18th century and became known worldwide for his iconic serif typeface. In the posthumous edition of Bodoni’s “Manual of Typography” published in 1818 by his widow Margherita “Ghitta” Dall’Aglio may also be found, among the other treasures, the Cancellaresca (Chancery). Ghitta is a redesign of this typeface in its finest form. With strong stroke contrast in 4 optical grades, 850 glyphs with wide range of language support, accented ligatures, oldstyle figures, 8 stylistic sets, and unique way of letter connection, Ghitta Bodoni Cancellaresca follows and builds on the best of Bodoni’s historical prototype and shifts further to a contemporary script typeface full of grace, neatness, and beauty. *** This font is powered by OpenType feature “Ligatures”, so it is necessary to have this function turned on. If you need support or more information, please kindly contact me: spurnej@email.cz

The Cross has a rich history and various meanings in many different cultures around the Globe. This font contains 178 cross symbols. Most of the designs have both a rectangular and square version.)

The typeface is inspired by our love of old hand-painted signs in butchers, and based on some very quick sketches using a brush pen to find what shapes worked. There is quite a quirky element to the type, as we tried to create the original sketches by rotating the brush pen to reflect the strokes of a paint brush. This lead to a horizontal stressing, which is most noticeable in letters like C, G, S and J. Sidestroke comes in 2 styles, both a standard solid version, and a pre-shadowed outline version. This can be outlined and divided in Illustrator to quickly create an alternate coloured fill for your letters. The lowercase letters have been designed to automatically horizontally align with any uppercase letters, which is a great shortcut when creating logos or other unique type layouts.

Isabelle is the closest thing to a metal type revival Jim Rimmer ever did. The original metal face was designed and cut in late 1930s Germany, but its propspects were cut short by the arrival of the war. This was one of Jim's favourite faces, most likely because of the refined art deco elements that reminded him of his youthful enthusiasm about everything press-related, and the face's intricately thought balance between calligraphy and typography. Not to mention one of the most beautiful italics ever made. Jim's early 2000s digitization included mathematical corrections to the original metal cut, as well as some functional improvements for digital use. In 2013, during the remastering of the entire Rimmer collection, Isabelle underwent a considerable rethinking/expansion and was rechristened Isabelle Pro. The new revisions include small caps, ligatures, seven types of figures, automatic fractions, extended Latin language support, stylistic alternates that include lowercase serif angle options in the roman and looped ascenders/descenders in the italic, and plenty of extra OpenType features like caps-to-small-caps substitution, case-sensitive positioning, ordinals, and extended class-based kerning. Now each of the Isabelle Pro fonts includes over 680 glyphs. 20% of this font's revenues will be donated to the Canada Type Scholarship Fund, supporting higher typography education in Canada.

Quell is a novel attempt to bridge the gap between geometrically constructed shapes on the one hand, and modulated strokes and subtle calligraphic influence on the other hand. The visual tension in Quell stems from conflict between two tendencies: The perfectly round shapes are geometrically constructed, yet the contrast of stroke widths and oblique line terminations suggest calligraphic roots. How this dualism affects typographic impression is up to designers and typographers using Quell — as variable font the seamless transition between modulated contrast and linear appearance offers unique typographic possibilities. Linear appearance gives the text a solid and compelling voice, whereas the modulated styles convey elegance, vibrance and a delicate tone. Quell is suited to display setting, headlines, way finding and identity. The combination of linear and contrast variants provides typographic range to convey different stance while rooted in the same visual heritage. In short paragraph typesetting the fonts have a modern look and characterful tone, but should not be overused for longer texts. Quell has been in development for over a year, and is the proud third release under the Underscore label. Released in 2018 this design by Johannes Neumeier is available from the Underscore webshop as well as selected retailers.

This font set is the second in a series from P22 Type Foundry based on the lettering styles of Frank Lloyd Wright. Created in 1931, the Exhibition lettering was intended primarily to accompany Frank Lloyd Wright's exhibition drawings and models. Many of the 72 Extras were designed to form continuous linking borders. Combinations of these geometric forms can provide endless variations of decorative elements in the style of Frank Lloyd Wright. Many of these images were based on Mr Wright's "Saguaro Forms and Cactus Flowers" illustration for an unused Liberty magazine cover of 1926. Other imagery in this set was derived from assorted geometric designs by Wright. Exhibition Regular, Light, and Bold have been remastered and now contain almost 400 characters including support for Western and Central European languages.

Hello! Inspiration for this beautiful script font I found in “A Source of Solace in Illness” (Trost Bronn der Kranchhen) book, published in the middle of 17th century. There was an entire on the back of the top cover: Joannes Auanger Parochus Sinchingae 1808”. That's why I named my font family Parochus. In the Catholic Church, a parish is a community of the faithful within a particular church, whose pastoral care has been entrusted to a parish priest (Latin: parochus). There are original and regular style fonts. Also, I’ve added some modern symbols. With this set, you can precisely imitate medieval style text. I designed a full uppercase and lowercase set with Multilingual support and ligatures. You'll found ß, &, Š, ę and many other beautiful glyphs. Best, Roman.

This family was inspired by the Fournier's font named "Financière". It is a looking like manual font, carved in 1741 by Pierre Simon Fournier (le jeune) and published in his Manuel Typographique... in Paris (1764-1766). We offer 1741 Financière" as a rich complement to our 1786 GLC Fournier. The font is enriched by numerous ligatures and OTF specifications to make it attractive and offer a lot of various typographic possibilities in a text.

Kostic Serif is a classic transitional typeface (like Baskerville, Bookman, Caslon, Times) with tall, clean characters and a large glyph set to support all European languages - Greek and Cyrillic script included. Excellent for setting multiple pages of text and packed with OpenType features (proportional lining and oldstyle numbers, tabular figures, superscript and subscript, numerator and denominator figures, fractions and 31 ligature in 659 characters), it should meet the demands of even the most demanding typographic works. Kostic Serif is made with fairly large x-height, so the text is legible in very small sizes. Zoran began the work on Kostic Serif around 2002 and after completing Regular, Bold and matching italics, he wasn’t too pleased with the design, so he dropped further work on it to make other fonts. In 2010 Nikola came upon unfinished files for Kostic Serif, and decided to redesign the letters, while retaining basic proportions and widths that Zoran established earlier. When they were both pleased with the new look of the font, they made Medium and decided to add CE and Greek script to the glyph set, to make it pan-european.

ZT Nezto is a new work that focuses on curved areas, bringing out an elegant and refined style. The emergence of this idea was due to the constraints when designing with W&V letters which were very difficult to combine with other letters, and also the desire to present new elements in the world of typography, thus making each design more unified between letters. ZT Nezto design with this charming curved shape and still maintains the identity of each weight so it is very beautiful to apply to web design, packaging, or branding. ZT Nezto is a very useful typeface for you and it also comes in eight weights with matching italics and comes with a variety of open type features. I hope you have fun using ZT Nezto Thanks for using this font ~ Khaiuns X zelowtype

ZT Nezto is a new work that focuses on curved areas, bringing out an elegant and refined style. The emergence of this idea was due to the constraints when designing with W&V letters which were very difficult to combine with other letters, and also the desire to present new elements in the world of typography, thus making each design more unified between letters. ZT Nezto design with this charming curved shape and still maintains the identity of each weight so it is very beautiful to apply to web design, packaging, or branding. ZT Nezto is a very useful typeface for you and it also comes in eight weights with matching italics and comes with a variety of open type features. I hope you have fun using ZT Nezto Thanks for using this font ~ Khaiuns X zelowtype

Anface is a bold, square font with a playful, creative letters. This font is unique because of its bold and strong letterforms that evoke a feeling of confidence and strength. The square shapes add a modern, geometric element that gives it a cool and contemporary look. In terms of functionality, Anface offers a range of styles, including regular and bold, as well as a full character set that supports multiple languages. Its special features include a full range of punctuation and symbols, making it a versatile choice for a variety of design projects. The design concept behind Anface was to create a font that was both bold and playful, making it perfect for a variety of creative projects: headlines, logos, and other design elements that required a strong and confident visual impact. Its unique square shape and bold letterforms make it a fresh and exciting addition to any designer's toolkit. Here are a few ideas for where Anface could be used: Tech companies: The geometric design of Anface could be a good fit for technology or software companies, as it has a modern and futuristic feel. Sports teams: The bold, strong letterforms of Anface could be used for sports team logos, jerseys, and other branding materials. Its square shape gives it a sporty and athletic look. Architecture firms: The clean, modern lines of Anface make it a great choice for architecture firms or any businesses related to construction or design. Art and design studios: Anface's playful, creative design would be well-suited for art and design studios, or any business related to the creative industries. Music industry: Anface's bold, attention-grabbing design could be used for music album covers, posters, or other promotional materials. Cafes and restaurants: Anface's square shape and bold design could be a good fit for cafes or restaurants that want to create a modern and unique brand identity. Its playful and creative look could help businesses stand out and create a unique visual identity.

Ernie is a new animated typeface by Jim Ford, intended as a complimentary serif design to Freeman Craw’s fun retro hit, Ad Lib. The serif drawings mimic the behaviors of Ad Lib, on a Clarendon-esque structure. The application of Ad Lib’s behaviors to a serif design highlights it's quirky characteristics; notably in the added contrast, the bending of serifs and the translation to Ernie’s ball terminals. The lowercase g is probably the most extreme example of this "translation." Ernie has a savvy system of text animation built in; with dualing lowercase alphabets, 34 ligatures, and an extensive glossary of custom words, all programmed to automatically make intelligent pseudorandom wordshapes. It's called RMS, aka the Randomagic System. The glossary of “buzz” words is based on the most common and powerful words in marketing and advertising, as well as words that are specific to Ernie’s intended uses.. Additionally, Ernie Alt provides the opposite randomization effects in lowercase text, thus reversing the rhythm of the bounce. Ernie Sorts is a bonus font which includes fun printers fists, expandable banners and other graphic elements. The Ernie character and cartoons were created by Johnny Sampson, as a visualization of the typeface, it's character and it's unique features.

1st Ave is the most experimental of my typefaces. I took a picture of a metal and neon sign in the East Village of New York City. These signs are slowly being replaced by LED and LCD displays, but if you look hard, you can still find quite a few in the city. The signs give a mid 20th century feel to the city. To design 1st Ave, I took a picture of the sign, scanned it and increased the contrast in Photoshop so that the photographic forms became line art. There weren't enough letterforms in the sign to create the whole alphabet, so I cut up the strokes and collaged them back together to finish the entire alphabet. Important Note: 1st Ave is an experimental typeface and is not compatible with certain software such as Microsoft Word.

Cal Roman Black is one more font from the PKG “Cal” (Calligraphic) group. This time for calligraphic sketches we used a wide brush instead of the iron pen. Instead of minuscule letters, there are Small Caps (which are almost the same weight as capitals). There was an intention to keep the spacing as small as possible, because of that, there is no obvious difference in the stroke thickness of the capitals and the lowercase capital letters. The difference in height is only one-third of the brush-width. Cal Roman Black font is rhythmic, informal, dark and hefty... romantic and strong at the same time (just like Ferdinand). As such, this font is widely used in the typographic creation of shorter and closely packed text forms such as magazine headlines, brochures and book covers, t-shirt designs, logos, posters, movie spots, banners...

A vintage lettering stencil manufactured by the E-Z Letter Stencil Company of Baltimore, Maryland was the model for Schoolyard Stencil JNL, available in both regular and oblique versions. Re-drawn digitally and following the actual bend of the steel rule dies used to cut the stencils, this typeface has not been cleaned up from its original design. Upon close examination, you will find straight angles and slight curves in the most unusual places. This was representative of the difficult work involved in bending steel cutting rule material and fitting it into small areas. For many years, E-Z Letter was the main competitor to the Stenso Lettering Company; the originator of the oil board stencil lettering guide complete with automatic spacing holes. Anyone over 40 will well-remember lettering their science fair posters, report covers and ring binders with these stencils.

The Alien Argonaut typeface is an emaciated typeface made from the lettering of beings that have lived amongst us for centuries, evolving with humankind. Study your environment, all is not what it seems. Use this typeface to try and blend into their world within ours. Purchase Alien Argonaut today, for knowing the roots of others may help you learn to live in harmony with them.

Gimbo is bold. This heavy sans-serif design features thin counters. The interior spaces inside letterforms have been reduced as much as possible. Often, they seem abstract. There are three fonts in the Gimbo family: Black, Ultra, and Ultra Shadow. What do those terms mean? Well, Ultra is wider than Black. It takes up more pixels on-screen or brings more ink to the page.

Thematic fonts aren't always big sellers, but they do serve a purpose for specialty projects and applications. Bonehead JNL is a novelty typeface that is constructed out of bones. Whether the need is for a pirate theme, Halloween, horror movies or for things that go bump in the night, this font will fill the bill – no bones about it. Oh, wait! Yes there are!

Designed by Cosimo Lorenzo Pancini with Francesco Canovaro as a development and reinvention of Tarif by Andrea Tartarelli, Ambra Sans is a humanist sans typeface family, drawn around a lively, expressive skeleton but developed with a contemporary, post-digital sensibility that implies low contrast and tall x-height. In designing Ambra Sans, the authors wanted to research the elusive natural signature of handmade humanist letter shapes, in the effort of preserving it while still developing all the capabilities of type as a technical tool in the digital age. Like a frail insect preserved in amber, humanist design is the "ghost in the machine" of this font, that aims at seducing the viewers with its soft, welcoming text flow, firmly opposing the rigid, formal tone of most sans serif fonts. Born to provide a useful tool to graphic designers with branding and editorial needs, Ambra Sans develops around two subfamilies with slight but fundamental differences. The display family offers a taller x-height, optimizing readability and spacing in headings and display use, while offering a single story lowercase g to provide more consistent branding usage. The text family, on the other side, goes for a smaller x-height to give more traditional proportion to the text and removes the slight tapering in the stems to provide better rendering on screen in small formats. Both subfamilies of Ambra Sans develop around a wide range of seven weights with corresponding true italics, with Ambra Display sporting an extra heavy weight for maximum versatility. In total the family counts 30 fonts, each with over 600 glyphs for a wide language coverage. Open type features and glyph alternates further enrich the usage possibility of this typeface that wants to offer contemporary designer an alternative, unexpectedly human approach to contemporary sans type, softly preserving the spirit of handmade calligraphy while encasing its frail nature in a transparent, strong and powerful design language.

The concept of this font are Inspired by stories of space travel, interstellar war. social life in the galaxy. So we chose the name Chronosfer, which was said to be similar to Chromosphere. The chromosphere is the second most outer layer of the Sun. Several thousand kilometres thick, it resides above the photosphere and beneath the corona. Due to its low density, it is relatively transparent, resulting in the photosphere being regarded as the visual surface of the Sun. What Featured on this font? Glyphs count is 281 glyphs each style. Have some alternate characters International Language Support Best to use on Hi-Tech Style design Space or cosmos theme design

Aquatix which has a simple and minimalist design. In this font, there are no serifs or extra lines that stand out at the ends of the letters, making them appear more defined and easier to read. Aquatix can be used in both modern and contemporary designs, and is suitable for use on a variety of media such as computer screens, display posters, magazines, typography and other digital media. so it is suitable for use in designs that require clarity and firmness in each letter. FEATURES; -Uppercase, -Support Foreign, Numbers and Punctuation -Regular, Italic. -Input Otf, ttf & Woff Files. -Works on PC. -Simple installation. -Accessible in Adobe Illustrator, Adobe Photoshop. Adobe InDesign, it even works in Microsoft Word. -Fully accessible without additional design software. Aquatix is ​​coded with Unicode PUA, which allows full access to all additional characters without having to design any special software. Mac users can use the Font book, and Windows users can use the Character map to view and copy any extra characters to paste into your favorite text editor/app. Thank you for visiting ;)

A long time ago, I lived and worked in the English Lake District. When I first arrived there, I camped out not far from a neolithic monument called Castlerigg Stone Circle. Castlerigg Stone Circle is one of the most beautiful stone circles in the whole of Britain; the views are great and it makes for a nice walk from Keswick. This rather grungy font was made with a Sharpie pen I initially wanted to throw away, because it was dry, but then decided I could at least get one more font out of it. The result is Castlerigg - a rather neolithic looking all caps font. Castlerigg comes with double letter ligatures for the lower case.

Giambattista Bodoni (1740–1813) was called the King of Printers and the Bodoni font owes its creation in 1767 to his masterful cutting techniques. Predecessors in a similar style were the typefaces of Pierre Simon Fournier (1712–1768) and the Didot family (1689-1836). The Bodoni font distinguishes itself through the strength of its characters and embodies the rational thinking of the Enlightenment. The new typefaces displaced the Old Face and Transitional styles and was the most popular typeface until the mid-19th century. Bodoni’s influence on typography was dominant until the end of the 19th century and, even today, inspires new creations. Working with this font requires care, as the strong emphasis of the vertical strokes and the marked contrast between the fine and thick lines lessens Bodoni’s legibility, and the font is therefore better in larger print with generous spacing. The Bodoni of Morris F. Benton appeared in 1911 with American Type Founders.

Bieta is a sans-serif font family designed by Naghi Naghashian in four weights. Bieta Light, Bieta Regular, Bieta Bold and Bieta Heavy. Width of this font family is almost condensed therefore specially space saving. Bold and heavy versions are suitable particularly for big titles. This font family is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Bieta supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. Bieta design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Bieta’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Bieta was developed for multiple languages and writing conventions. Bieta supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

Lukara Script Font is a script decorative font with which you can achieve handwritten-type lettering feeling on the spot. Of course, Lukara supports a full set of Greek characters and an extended Latin character set with diacritics. Therefore, this multilingual font supports all European languages. In addition, the font has a really nice flow so you use it in a large text if you want to give them a handmade aesthetic. Also, it can be used on social media content, for branding, wedding invitations, or packaging. The bouncy romantic flow of this font is perfect for “save the date” cards and any other wedding print material. Again, this modern script font is perfect for a variety of graphic design needs like social media quotes, blog headers, posters, stationery, and branding.

This font is dedicated to the glory of the human spirit and honor. Osovec is a fortress of World War I. On the 6 August 1915, the defenders of the fortress, the Russian soldiers, against whom the enemy had used poison gas; though half-dead, were able to rise to the counter. Thus it was that 60 Russian soldiers routed the 2 thousand strong enemy army. This heroic episode has gone down in history as"Attack of the dead". The font contains more than 700 glyphs, support for all 104 European languages, all Slavic languages, a variety of OT features, including ligatures, old numerals, alternatives, ordinals, and many others.

The 1992 edition of The Solotype Catalog called this singularly strange typeface "Wilcox Initials". In case you're interested, this version features ducking accented lowercase characters. Both versions of this font contain the Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

Protrakt is inspired by city life and sport. It has been designed as a variable font and is best to use as a variable font to get the full enjoyment of using this typeface. However, if you do not have access to variable technology through your software, there are nine widths in the font family so this will give you just as much access to the creativity this font can provide. By using the variable sliders in your design software you have a range of weight and width options. Play around with individual letters to give your type a unique look. Included in this family are alternate characters to add even more styling options. *Unfortunately there is no option to test out the variable capabilities on MyFonts as yet. Please have a look at the poster images to get a great idea of how I have used this font. By using the variable version you only need to install one font file instead of the entire family, this saves space and time to manually select individual styles.

In 1995, FontHaus came upon a rare opportunity to create a revival of Aries, a little known and previously unavailable typeface by the legendary Eric Gill. Discovering a lost typeface by one of the major designers of the 20th Century, was the discovery of a buried treasure, and being the first type company to release it was an honor. Thirteen years later, FontHaus came across another little known typeface treasure: Diane. Designed by the legendary French designer Roger Excoffon in 1956, this remarkable script has never been faithfully recreated until now. In close collaboration with Mark Simonson, FontHaus and Mr. Simonson painstakingly researched rare type books, publications, European metal type services, and period showings from the United States, England, Germany and from the University of Groningen in the Netherlands. Finding full specimens of the font turned out to be quite a challenge. In most cases, only the caps and lowercase were shown. Furthermore, the more we researched Diane, many curious facts came to light. The caps in earlier specimens of Diane are completely different from specimens published later, suggesting that the face was redesigned at some point, perhaps in the mid-1960s. So we are left with two different sets of caps. The original had very elaborate, swirly strokes, very characteristic of Excoffon¹s gestural designs for posters and logos. Later on, these appear to have been replaced by a set of simpler, more traditional script caps. The original caps are criticized in one source Mark found (Practical Handbook on Display Typefaces, 1959) as being "exquisite" but "not highly legible". Perhaps this is what led to the simpler caps being introduced. Nevertheless, FontHaus's release includes not only both sets of caps, but a range of alternates and a number of new characters not originally available such as the Euro, and a magnificent alternate Ampersand to name a few.

Some scribbles on a bar napkin, a note from a cute girl passed in history class, what is there to say but why not a typeface? Actually it's that late night, �let's get this typeface done� madness that causes these flights of fancy. Anything to relieve the boredom of doing all those kerning pairs. Or maybe it's sunspots? Ms Kitty is all uppercase letterforms so there are two versions of each letter, one in the cap position, another in the lowercase position. Besides the regular weight and bold, there�s a bolder and much bolder in the works. And perhaps there will be a "too bold to be believed" version. Depends on the sunspots.

Meet Kidsnote, where each letter is like a letter in the margins of the page, written with a ballpoint pen. This dissimilar family of different fonts is framed by the atmosphere of handwritten notes. From block and cursive letters to underlining and mini-doodles, every typeface captures the feeling of writing with a real pen. Like the pages of a notebook, written in small handwriting. Features: - Extras - Kerning

One of the original Clarendon types, an English design, here derived from a specimen taken from an American foundry, no identifying marks. With a tall x-height, wide version, unlike more traditional Clarendons, not a square serif but bracketed. Unique to this Clarendon are the rounded openings at the points where the horizontal and vertical stems meet in the capital B, D, P and R, not common in other Clarendons.

Handlettering on a 1934 WPA poster promoting skating in Central Park provided the pattern for the uppercase letters of this typeface, while the lowercase letters take their inspiration from Paul Renner’s Steile Futura. The result is a warm, friendly face that is both quaint and modern. Available in Roman and Italic versions. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

We've all seen the informational markings on commercial driveways or roadways instructing us which way to turn, where to park, etc. They are usually in stencil lettering 16 inches or taller, with compressed letters that make the horizontal strokes look slightly thicker than the vertical ones. By condensing the lettering in Narrow Stencil JNL by 20 percent, the result is Driveway Stencil JNL - a digital emulation of those painted road markings.