Please note: the wispy effect in the illustrations were applied to characters from the font but is not part of the font itself.

An art deco style typeface inspired by the poster from the 1971 film, Velvet Vampire. Such a playful font for a horror flick!

Most of the letter keys are from animal drawings done by a six or eight year old child who has now grown up.

How much more multi-cultural can you get, than a Japanese-style Roman font from Denmark? Looks like an LCD font gone awry!

Breesh font is a dancing handwriting, quickly trace with a pointed brush. The inspiration come from both asian calligraphy, italic and copperplate alphabets.

Brownies script will be a good thing for your design and matches well for uses ranging from wedding invitation, bakeries, and much more.

Scat Dingbats from Laurie McCanna is a set of eclectic icons originally offered with the Scat typeface but useful as general purpose symbols.

A page from an old manual for sign painters yielded the hand-lettered alphabet that served as a model for Claim Check JNL.

RiptCure is a futuristic, but usable typeface for everything from logotypes to magazine headlines. Several weights are included, including an interesting Ultra Light.

Thomas Maitland Cleland’s careful and scholarly creation of a typeface from 15th Century Florentine inscriptional capitals; designed for the Bruce division of ATF.

Kylemott was developed from an earlier font called Quadlateral. It was a look at the curve and line used in an angular fashion.

RendtPhysic. Exactly what’s needed for your next starship lettering job. RendtPhysic is designed to be used in conjunction with RiptCure also from DooleyType.

Paramilitary JNL from Jeff Levine was modeled after a set of brass interlocking stencils and offers another choice in digital stencil typeface design.

Introducing Bronc Stomper; Bronc Stomper got its start from an old logo design used by the New York and Harlem Railroad in 1904.

PL Brazilia from Albert Boton is an elegant extended sans serif face in two weights. Usable in headlines on books, journals and posters.

Social Gathering JNL is modeled from the Art Deco hand-lettered title of a vintage piece of sheet music entitled "Three of Us".

A second VGC face, this one by S. Biggenden, borrowing from the structure of MICR figures to lend computer associations to the page.

Lomidrevo is a grunge stencil family derived from Valibuk. In the free demo version, you can see numbers and lowercase letters without kerning.

More cartoon illustrations, sales builders, ornaments, embellishments and miscellany come your way with Message Helpers JNL; all re-drawn from vintage source material.

The Vtg Stencil series of fonts from astype are based on real world stencils. Have a look at the Vtg Stencil Ornaments A .

Daily Tabloid JNL was redrawn from a set of wood type that was popularly used for newspaper headlines, posters, broadsides and the like.

A revival of the Ludwig & Mayer typeface Motor and Lichte Motor from 1930. Motorcross Pro includes over 800 glyphs and supports 131 languages.

Inkpad Letters JNL joins a number of fonts that were reproduced by Jeff Levine from inked impressions of various rubber stamp printing sets.

Dangits JNL is another collection of images from Jeff Levine's early dingbat fonts, all cleaned up and improved for the professional designer's needs.

This cute font create with love and inspired from cute moment. Let's try this font for your colourful moment and cartoon style. Cheers

Satero was designed by Prof. Werner Schneider in 2007. Never before have we had so much written material to consume; this is the age of mass-communication. Unfortunately, the decision of which typeface to use is too often made lightly. The typeface is one of the most elementary means of language, and it can play a major role in a text's legibility and the amount of time the reader needs for it. The Satero Type System offers a high degree of legibility due to its dynamic and forms. The individual characters have been based on classical concepts. They are clearly made, and leave all unnecessary elements behind. The type works to create an environment of extreme legibility. Essential parts of the a, c, e, s, and r are to be found at the x-height line, which is the most important area of a line of text in determining legibility. The Satero Type System includes two members whose basic forms are the same. The Sans Serif members are more horizontally differentiated than common grotesques, which aides their legibility. The Serif design employs asymmetrical serifs, avoiding elephant feet" altogether. Their dynamic is progressive. The condensed nature of the seriffed counterparts is optimal for newspaper and magazine applications, where space is at a premium and paper must be saved. All fonts in the Satero Type System include a number of alternate glyphs, as well as ligatures and proportional lining figures; all weights except the Heavy and Heavy Italic fonts are also equipped with small caps, small cap figures, and oldstyle figures as OpenType features. "

Satero was designed by Prof. Werner Schneider in 2007. Never before have we had so much written material to consume; this is the age of mass-communication. Unfortunately, the decision of which typeface to use is too often made lightly. The typeface is one of the most elementary means of language, and it can play a major role in a text's legibility and the amount of time the reader needs for it. The Satero Type System offers a high degree of legibility due to its dynamic and forms. The individual characters have been based on classical concepts. They are clearly made, and leave all unnecessary elements behind. The type works to create an environment of extreme legibility. Essential parts of the a, c, e, s, and r are to be found at the x-height line, which is the most important area of a line of text in determining legibility. The Satero Type System includes two members whose basic forms are the same. The Sans Serif members are more horizontally differentiated than common grotesques, which aides their legibility. The Serif design employs asymmetrical serifs, avoiding elephant feet" altogether. Their dynamic is progressive. The condensed nature of the seriffed counterparts is optimal for newspaper and magazine applications, where space is at a premium and paper must be saved. All fonts in the Satero Type System include a number of alternate glyphs, as well as ligatures and proportional lining figures; all weights except the Heavy and Heavy Italic fonts are also equipped with small caps, small cap figures, and oldstyle figures as OpenType features. "

Divina Proportione is based from the original studies from Luca Pacioli. Luca Pacioli was born in 1446 or 1447 in Sansepolcro (Tuscany) where he received an abbaco education. Luca Pacioli was born in 1446 or 1447 in Sansepolcro (Tuscany) where he received an abbaco education. [This was education in the vernacular (i.e. the local tongue) rather than Latin and focused on the knowledge required of merchants.] He moved to Venice around 1464 where he continued his own education while working as a tutor to the three sons of a merchant. It was during this period that he wrote his first book -- a treatise on arithmetic for the three boys he was tutoring. Between 1472 and 1475, he became a Franciscan friar. In 1475, he started teaching in Perugia and wrote a comprehensive abbaco textbook in the vernacular for his students during 1477 and 1478. It is thought that he then started teaching university mathematics (rather than abbaco) and he did so in a number of Italian universities, including Perugia, holding the first chair in mathematics in two of them. He also continued to work as a private abbaco tutor of mathematics and was, in fact, instructed to stop teaching at this level in Sansepolcro in 1491. In 1494, his first book to be printed, Summa de arithmetica, geometria, proportioni et proportionalita, was published in Venice. In 1497, he accepted an invitation from Lodovico Sforza ("Il Moro") to work in Milan. There he met, collaborated with, lived with, and taught mathematics to Leonardo da Vinci. In 1499, Pacioli and Leonardo were forced to flee Milan when Louis XII of France seized the city and drove their patron out. Their paths appear to have finally separated around 1506. Pacioli died aged 70 in 1517, most likely in Sansepolcro where it is thought he had spent much of his final years. De divina proportione (written in Milan in 1496–98, published in Venice in 1509). Two versions of the original manuscript are extant, one in the Biblioteca Ambrosiana in Milan, the other in the Bibliothèque Publique et Universitaire in Geneva. The subject was mathematical and artistic proportion, especially the mathematics of the golden ratio and its application in architecture. Leonardo da Vinci drew the illustrations of the regular solids in De divina proportione while he lived with and took mathematics lessons from Pacioli. Leonardo's drawings are probably the first illustrations of skeletonic solids, an easy distinction between front and back. The work also discusses the use of perspective by painters such as Piero della Francesca, Melozzo da Forlì, and Marco Palmezzano. As a side note, the "M" logo used by the Metropolitan Museum of Art in New York City is taken from De divina proportione. “ The Ancients, having taken into consideration the rigorous construction of the human body, elaborated all their works, as especially their holy temples, according to these proportions; for they found here the two principal figures without which no project is possible: the perfection of the circle, the principle of all regular bodies, and the equilateral square. ” —De divina proportione