Sometimes work done in a rush survives and gets better and better. This is the case of Talqual, a Joan Barjau handwriting font straight from the strokes made with a Wacom tablet while listening to a Barça football match on the radio.

CS are the initials of Carsten Strinkau, a young German graphic and type designer who studied in Hamburg. CS Fuzzy Logic combines coincidence and logic. The individual glyphs of Fuzzy Logic are almost dissolved but keep its sharpness and readability in texts.

Abagail Jackson is a wild-looking face that was one of my early designs. I had no particular use in mind when I designed it and I no longer remember what inspired this whimsical font.

Capitalist Pictograms is a picture fonts inspired by the classic Capitalist poster. Glyphs can be used to recreate the iconic poster or individually for fun.

Zaire SF is a distinctive, elegant, ethnic style font, inspired by the ancient masking traditions of the tribes indigenous to Zaire in Central Africa. The font captures the magic of the mask, representing the dance, the ceremony, the secret society. It evokes the very heart of Africa. Zaire is best used as a display font and is also effective for headings and posters. The tall, slim silhouette epitomizes the elegance of contemporary African design. It includes a full character set: characters for English, French, Italian, German, and Portuguese.

Linotype BioPlasm is a display face created by Italian design Mauro Carichini in 2002. It distorts and deletes parts of letters, creating the appearance of a living, typographic organism in pages of text. Lines set in Linotype BioPlasm seems bubble to the surface, and always hints at some sort of unrevealed secret. Although only parts of most letterforms are visible, the high x-heights of Linotype BioPlasm's letters make its text surprisingly legible for such a concept-font. For usage in products ranging from Sonic to Science, Linotype BioPlasm may be the font for you!

The Armanen runes (or Armanen Futharkh) are a series of 18 runes, closely based on the historical Younger Futhark, introduced by Austrian mysticist and Germanic revivalist Guido von List in his Das Geheimnis der Runen (English: "The Secret of the Runes"), published as a periodical article in 1906, and as a standalone publication in 1908. The name Armanen runes associates the runes with the postulated Armanen, whom von List saw as ancient Aryan priest-kings. The Armanen runes continue in use today in esotericism and in currents of Germanic neopaganism.

Ballet Mechanique is a custom designed font for musician Jeroen Borrenbergs, aka Ballet Mechanique. For his upcoming record releases Jeroen asked me to create a special font for him. As co-founder and graphic designer at Stoere Binken Design he creates his own artwork and therefor had very specific wishes. The font should be warm, soft and have soul. He gave me some sketches for his logo that I should use as a starting point. The result is a very narrow, kind of techno, monocased font called "Ballet Mechanique" (what else). After having served his purpose, Jeroen Borrenbergs allowed his font to be sold publicly. Jeroen Borrenberg’s debut work, in 1996, received hugely praising reviews. Muzik Magazine made Evolutionary Entities techno single of the month, Laurent Garnier and Mister C constantly played it in their sets and Morgan Geist just said “I won’t do a review here - let me just encourage all of y’all to listen to and/or pick up the new Eevolute 12″. Beautiful stuff - complex, melodic, soaked in just enough reverb to take it to another room. Check or regret.”

The design for Granjon was produced at the English branch of Linotype under the direction of George William Jones and appeared in 1928. This reproduction of a Garamond typeface was based on the typeface sample of the Frankfurt font foundry Egenolff from the year 1592 . The roman characters of the sample were made by Claude Garamond and the italic forms were designed by Robert Granjon. Jones made sure that the Granjon font remained true to the original characters of Garamond and Granjon.

Tonsure is a script with no logic.

In the early 1960s, the German Master Printers’ Association requested that a new typeface be designed and produced in identical form on both Linotype and Monotype machines so that text and technical composition would match. Walter Cunz at Stempel responded by commissioning Jan Tschichold to design a new version of Claude Garamond’s serene and classical Roman. Its bold, and particularly its italic styles are limited by the requirements of Linotype casting machines, forcing the character widths of a given letter to match between styles, giving the italic its characteristic narrow f. The family’s name is taken from Jacques Sabon, who introduced Garamond’s Romans to Frankfurt. Sabon has long been a favorite of typographers for setting book text, due to its smooth texture, and in large part because Tschichold’s book typography remains world famous.

Poster Gothic was inspired by showcard lettering samples featured in the book,""Commercial Art of Show Card Lettering"" by James Eisenberg, published by D. Van Nostrand Company in 1945.

Originally designed by Morris Fuller Benton in 1925, FontHaus's 1995 revival is based on a design named "Novelty Broadway". Characters were referenced from "Commercial Art of Show Card Lettering" by James Eisenberg, published by D. Van Nostrand Company in 1945. This Broadway is classic Broadway but with some charming differences such as a slanted lower case "f" a remarkable lower case "g" and a high-waisted upper case case "R", as only a few examples. It was named "Novelty" because the alphabet incorporated a concave design feature in the tops and bottoms of each letter. These differences allow this version to possess much more personality than that of all other Broadway designs on the market. It looks almost hand brushed, has soft edges and is no where near as sterile looking as all the other digital versions. It feels very 1925!

Haarlemmer is a recreation of a never-produced Jan Van Krimpen typeface that goes one step beyond authentic: it shows how he wanted it to be designed in the first place. The original, drawn in the late 1930s, was created for the Dutch Society for the Art of Printing and Books and was to be used to set a new edition of the Bible, using Monotype typesetting. Hence the problem: fonts for metal typesetting machines like the Linotype and Monotype had to be created within a crude system of predetermined character width values. Every letter had to fit within and have its spacing determined by a grid of only 18 units. Often, the italic characters had to share the same widths as those in the roman design. Van Krimpen believed this severely impaired the design process. The invasion of Holland in World War II halted all work on the Bible project, and the original Haarlemmer never went into production. Flash forward about sixty years. Frank E. Blokland, of The Dutch Type Library, wanted to revive the original Haarlemmer, but this time as Van Krimpen would have intended. Blokland reinterpreted the original drawings and created a typeface that matched, as much as possible, Van Krimpen's initial concept. While Van Krimpen's hand could no longer be on the tiller, a thorough study of his work made up for his absence. The result is an exceptional text family of three weights, with complementary italic designs and a full suite of small caps and old style figures. Van Krimpen would be proud.

Inspired by an old house font of an anthroposophical hospital in Germany, this font was created: coarse, irregular, with corners and edges. In nature there are no right angles, no symmetries, no evenness: and so is this font. Tis is not a fine font, Like a woodcut this font roars: Look at me, I am here! Ideal for posters, leaflets, posters, billboards. Designed by Joachim Frank (Germany) in 2021

CS are the initials of Carsten Strinkau, a young German graphic and type designer who studied in Hamburg. CS Courthand is based on 16 hundred century English monks handwriting. Text in CS Courthand looks like a pattern, like a text-carpet, but still readable.

Hyperon is a text typeface, which is especially useful for math and physics literature. Its nature is defined by austere and humanist features that show the most in italic. The typeface includes weights from Regular to Black and widths from Condensed to Semi Expanded. What stands out for Hyperon is the extended character set, with added Greek and lots of mathematical signs. Some styles have small caps. The typeface was designed by Natalia Vasilyeva and released by Paratype in 2020.

Sister Frisky jumps up and down and drinks a lot of coffee. There are no two parallel lines in this font, and no right angles. Here's a flashy, dancing, retro script with an sharp edge and clear wit!

Before the mid-to-late 1970s, when retailers started to embrace UPC (universal price code) technology on a grand scale, pricing merchandise took on many forms. One method especially popular with variety stores (such as Woolworth's, McCrory's, Kress, etc.) were pre-printed price tags that came in small pads and were inserted into metal holders. Shelf Tags JNL recreates a vintage price tag based on examples seen online, and allows the user different ways to create their own vintage-style price tags. You can either utilize the round pen nib style numbers and price marks to place on any size or type tag, or type out prices using the reversed characters (white on black) along with the two end caps provided to form a complete tag unit. For the more adventurous, a complete blank tag is also provided in case the desire is to print a solid color tag background and [using the regular numbers] crate prices in custom colors. Two sets of smaller number (for "floating" cents prices) are also provided in regular numbers and reverse panels. As an extra bonus, there is a set of 1 through zero, dollar sign, cents sign and decimal point individual black-on-white outlined panels for making individual pricing numbers. The keyboard layout for the various characters is as follows: asterisk key - regular cents sign (no panel) dollar sign key - regular dollar sign (no panel) period key - regular decimal point (no panel) left and right parenthesis keys - panel end caps (to form price tags) colon key - reverse decimal point on black panel 1 thru 0 keys - regular numbers (no panels) A through J keys - small regular numbers (no panels) K and L keys - truncated [shorter width] end caps M through Y keys - individual price numbers (black on white with black border a through j keys - reverse numbers on black panels k key - reverse dollar sign on black panel l key - reverse cents sign on black panel m through v keys - reverse small numbers on black panels w through z keys - blank rectangular panels of varying widths equal sign key - full black panel price tag hyphen key - blank rectangular black panel based on the width of most number panels

The inspiration for this font was a two-sided piece of paper. The glyphs were created by bending strips of this paper, then scanned and recreated digitally.

Funfont is a sans serif fantasy font with funny spirit designed to recreate an style of good humor. FunFont comes in three styles: Normal, Outline and Shade.

When was the last time you listened to elevator music and found yourself humming along? And perhaps the tune you were listening to, got stuck in your ears for the rest of the day...the rest of the week? That's often what happens with elevator music: maybe you don't notice it - but it is there, and it could most likely be one of your all time favourites! :) My Elevator Music font does somewhat the same: it's nice and pretty harmless - but it works, perhaps even without you noticing! :) I've added 4 slightly different versions of each lowercase letter - and that goes for both Regular and Scratch versions. And they both have multilingual support, because elevator music is universal!