Gloriz Vintage is the bold and distinctive retro serif font that adds a touch of rustic charm to any project. Designed by Mans Greback in 2023, this font features rounded edges and a heavy, printed appearance that will give your work a vintage look. Perfect for headlines and logotypes, Gloriz Vintage is the perfect choice for designers looking to add a touch of personality to their work. Don’t miss out on this one-of-a-kind family! The Gloriz Vintage family consists of six high-quality fonts: The three weights Regular, Light and Bold, are each provided as both Upright and Italic styles. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive language support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you’ll ever need, including all punctuation and numbers.

Glerosion – A Retro Cartoon Sans Serif Font Glerosion, a retro cartoon sans-serif font, exudes a playful and nostalgic charm that effortlessly transports viewers to a bygone era. With its whimsical and rounded letterforms, Glerosion captures the essence of classic cartoon aesthetics, reminiscent of beloved animated shows from the mid-20th century. The font strikes a harmonious balance between a timeless simplicity and a distinct vintage flair, making it a versatile choice for a range of creative projects that seek to evoke a sense of lightheartedness and retro appeal. Glerosion’s characters possess a delightful quirkiness, embodying the spirit of yesteryear while maintaining a modern edge that lends itself well to a variety of design applications, from branding to editorial design and beyond. Glerosion is perfect for branding projects, logo, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, invitation, stationery, game, fashion and any projects. Fonts include multilingual support for; Afrikaans, Albanian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Italian, Latvian, Lithuanian, Norwegian, Polish, Portuguese, Slovak, Slovenian, Spanish, Swedish.

MGN Kinetic is an innovative font iconography type product released by Morgana Studio in 2023. This unique font set offers a fresh and dynamic approach to incorporating icons into your designs. MGN Kinetic features a one-of-a-kind design that sets it apart from other font sets, making it an ideal choice for designers who want to create eye-catching and memorable designs. One of the standout features of MGN Kinetic is its ability to bring movement and energy to your designs through its dynamic icons. These icons are designed to convey a sense of motion and fluidity, adding a new dimension of interest to your work. With MGN Kinetic, you can create designs that are not only aesthetically pleasing but also convey a sense of action and movement, making your work more engaging and memorable. Whether you're designing for a website, app, or other digital media, MGN Kinetic is the perfect choice for designers who want to elevate their work and stand out from the crowd

My latest typeface is a formal, copperplate script named Glade. Beginning as a project for a client who wanted several widths of a formal script style, the project never saw fruition. However, it did get me excited about the idea of a width family of steel nib scripts, ranging from extra narrow to extra wide, and the result is the Glade family. To give Glade a minor modern makeover from the original intent, the lowercase has been scaled up, and the Capitals scaled down for a more friendly personality. The character set has been expanded, and OpenType support has been added for unlimited fractions, ordinals, superiors and inferiors. So if you have the need for a formal connecting script, but are short on space, try Glade Narrow or Glade Extra Narrow. If space is not an issue, then the Regular, Wide or the generously gracious Extra Wide should do nicely. And if you get the whole family, well then you are set for anything that comes your way.

Steel Grrrder is an industrial-style joining script with a stencil effect, available in six weights ranging from Light to Black. Great for all kinds of display purposes including posters, film titles, book covers, magazines, advertising, signage, packaging, logos and tanks, this is a script with a sharp personality and a steely presence. However, if you’re searching for a “nice” script - sorry, bud - you’re looking in the wrong place. Steel Grrrder Script doesn’t entice the reader with voluptuous curves, flowing swashes or frisky letterforms, instead its sharp chiselled features compel the reader to pay attention. Characters muscle their way along like robotic bulldogs in steel-toe cap boots. Steel Grrrder Script is a veritable slab fest, best categorised as a constructivist joining script. Forged from carbon steel and wrapped in a layer of Graphene, this is a robust display typeface family able to withstand even the most demanding typographical situations. The Steel Grrrrder extended family also includes a six-weight sans-serif with corresponding italics and two display fonts, Groove & Nutjob - all designed to work with each other.

Introducing Serene Orchid a revolutionary new sans serif font! This modern and evolutionary font combines sleek, minimalistic design with the latest technological advancements to create a font that is truly one-of-a-kind. Serene Orchid font offers a wide range of stylistic sets, giving designers and creatives ample options to choose from. From elegant to edgy styles, this font can be used to bring any project to life. The design of this font is inspired by the natural evolution of design and typography. It embraces the latest trends while staying true to the fundamental principles of typography, resulting in a font that is both timeless and contemporary. The unique spacing and letter formation of Serene Orchid font ensures perfect readability and legibility for any project, and its compatibility with all major design software ensures ease of use. Whether you are using this font for brand identity, packaging, editorial design or anything else, this modern and evolutionary sans serif font is sure to make your projects stand out. Try it out today and see the difference for yourself!

Steel Grrrder is a robust, industrial-style stencil typeface family consisting of six weights, from light to black, with corresponding italics. Suitable for all kinds of display purposes including posters, film titles, book covers, magazines, advertising, logos, packaging, signage and games design, Steel Grrrder is especially useful where the message needs some serious geometric bite behind it. Steel Grrrder is best categorised as a constructivist sans family. The character shapes are sharp, angular and slightly condensed - it’s a rigid, no-frills, no-curves, mega-metallic design. Legible? Not really. Readable? I think not. In your faceable? Absolutely! This is a tough display typeface, designed to work in the most demanding typographic situations. It won’t buckle under pressure or wilt when the heat’s turned up. Forged from carbon steel and wrapped in a layer of Graphene, Steel Grrrder is unashamedly rugged, a rock-hard pound-for-pound boxer specialising in thumping knockouts. The Steel Grrrrder extended family also includes a six-weight joining script and two display fonts, Groove & Nutjob - all designed to work with each other.

This extensive 60-font type family was inspired by the best (and worst) of 1970s science fiction TV shows and movies. Verbatim aims to extract the essence of futuristic type from that era, add a dash of modern style and conjure a cinematic typeface for the 21st century. From the extremes of the thin condensed, all the way through to the black extended, Verbatim has the scope to add drama to your titles and headings, and finesse to your logo and branding projects. Distinguishing features include a large x-height and open counters that aid legibility. This typeface crosses a few boundaries of type specification in that it is both rounded and square, it is part geometric in construction with a touch of humanistic flair and stroke contrast – giving Verbatim a distinctive and confident air. Key features: • 6 weights in Roman and Oblique • 5 Styles – Condensed, Narrow, Regular, Wide, Extended • Small Caps and 7 Alternates • European Language Support (Latin) • 600 glyphs per font. See more detailed examples at the Verbatim microsite.

Proudly present Chunky Beard - Retro Type, created by ikiiko. Chunky Beard is a vintage font with bold, rounded letterforms with vintage vibes from the 60's era. These fonts often have heavy, wide strokes and lack clear borders, giving them a warm and inviting appeal. Rounded edges, exaggerated curves, and exaggerated serifs are some of the characteristics of 60s vintage-type typography. Additionally, they often have very constant stroke weight across letters, further accentuating their distinctive appearance. From posters and flyers to logos and branding materials, bold typography with a vintage '60s feel is a great way to add a dash of retro charm to any design project. The font it self is grab people's attention with their vibrant, fun, vintage appeal and undeniable aesthetic. This kind is ideal for projects that seek to convey a sense of nostalgia and the retro vibes as well as retro-themed designs. As a movie title, corporate logo, quote, poster design, magazine layout, or just as a chic text overlay to any background image. What's Included? Uppercase & Lowercase Numbers & Punctuation Multilingual Support Works on PC & Mac

Since I have my new logotype people are asking me about the typeface it is based on. But it did not exist and I did not believe that it would actually work. I still love my logotype and so I went on to try to make it work as a font. After many different versions and some doubts I am glad to present Jocham. It is the first typeface with my name. For an obvious reason. There is only one weight with an italic. I tried different weight, but they were all not as strong as the final.

Lombriz attempts to bridge the gap between different kinds of typography - including packaging, signage, and sporting. The result is a heavy, yet casual, 1950s-inspired semi-connected script. The freestyle Lombriz feels friendlier, more readable, and a touch more ‘real’ than most scripts of its kind. In certain settings, the thickness of the stroke in the capital letters accentuates, while the lowercase flows like casual, brush-drawn letters should. Lombriz comes equipped with more than 50 alternates and custom ligatures. These extras are conveniently tucked into the OpenType version for those programs that support such functionality.

Futuramano was the kind of typeface we scribbled in those old days, when I was an art-director in advertising agencies. We used it to simulate the headlines and the subheads, so the client could read what the copywriters had in mind. As Futura was the font of choice in those days (as it still is), our scribbled typeface looked much like Futura. The second half of the name “mano” means hand, so that is what it is, kind of a handwritten Futura. Futuramano is very practical if you want to have that unfinished touch! Yours very nostalgic Gert Wiescher

Throughout time, history’s architects have incorporated some of the finest illustrations of type into their great works--cuneiform on Mesopotamian ziggurats; Greek etched into the temples of the gods; inscriptions marking the monuments of mighty Rome. From these Roman inscriptions specifically, we take our capital letters of today; and while we've lost the need for serifs over time, our current characters maintain the classical foundations, even after being distilled to their simplistic forms. Here’s where we have the basis for Le Havre Titling. This updated face is a carefully optimized version of Le Havre that uses purely capital lettering. Originally inspired by the golden period of the passenger ship and the French port that bid a rich bon voyage to so many famed, luxurious ocean liners of the Roaring Twenties and Thirties, the typeface includes an exciting array of ligatures that brings it into the present day and gives designers a tremendous amount of versatility in their work. With its seven weights, Titling looks equally at home on the side of a building as it does in a finely crafted invitation. With over five hundred glyphs, Le Havre Titling offers a multiplicity of options for your projects. Combine ligatures, play around with two sets of art deco forms, use original caps, and more; every one of these is obtainable with the OpenType functionality. The new design also shares five weights with the original Le Havre, allowing you to maximize your potential through its interchangeability. Titling’s Thin weights are delicate but not too fragile, and its geometric forms give each individual composition you create an exquisite and beautiful sense of emotion. Without a doubt, this fresh, fashionable take on the classical forms offers your reader refined, yet unanticipated approach as he or she travels through your text.

Span is a modern chiseled style family that flaunts its engraved heritage with sweeping serifs and sculptural forms. Bridging the contemporary and traditional, Span appears exuberant yet dignified. Designed primarily for luxurious headlines and titles, Span’s strong vertical stress is softened by elegant organic curves while its compact height accentuates the deep serifs. The family offers five weights, each with three widths and italics. The condensed styles provide an invaluable advantage when designing within narrow spaces. Span’s italics strike a balance between true italics and oblique letterforms to create a change in rhythm while preserving its chiselled style. A variety of additional features enhance Span's typographic capabilities including restrained swashes and flourishes are available in both roman and italic styles. Span also introduces an additional set of capitals for exceptional typographic control over uppercase settings. ‘Mid Caps’ sit midway between full-height capitals and lowercase letters and extend Span's title setting options to All Capitals, Capitals with Mid Caps and Capitals with Small Caps. Choose Span and take full control over your title settings and produce classic typography with statuesque poise. Overview: 30 styles comprised of 5 weights, 3 widths and accompanying italics Additional features include alternate characters, swashes, Small Caps and Mid Caps 987 glyphs per style See the Specimen Supported Languages: Albanian, Asturian, Basque, Breton, Bosnian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Faroese, Finnish, Filipino, French, Galician, German, Hungarian, Icelandic, Indonesian, Irish, Italian, Kurdish, Latin, Latvian, Lithuanian, Malay, Maltese, Moldavian, Norwegian, Occitan, Polish, Portuguese, Romanian, Samoan, Serbian (Latin), Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, Welsh, Wolof, Zulu

Fermata is an original calligraphic textface inspired by humanist serif typefaces from the 16th century, characterized by the translation contrast of a handwritten pen stroke, monumental Roman capitals, and true italics. Fermata has been modernized for 21st century textual requirements, with clean lines, moderated contrast, and a seamless blending of italics and lining characters into the text form, while still retaining the warmth and subtle idiosyncracies of the handwritten origins of old style serifs. The font was developed with invaluable advice and mentorship from Hannes Famira.

Inspired by calligraphic styles from 15th century Italy, master Swedish typographer Bo Berndal designed the Byngve font family. With four styles-Regular, Italic, Bold, and Bold Italic-Byngve proudly shows its process: Berndal wrote out the entire family by hand before digitizing it and converting its beauty into a typeface. Byngve is most suited for advertising uses, and for greeting cards. The name Byngve comes from Bo Berndal's two Christian names: Bo Yngve. He just put the two names together and it formed Byngve"."

Asta, named after the adorable pup in the “Thin Man” movies from the 1930‘s and early ‘40‘s, is an Art Deco / Streamline Moderne all-caps display font. Inspired by forms from the iconic machinery of the day like trains and autos, Asta has a heavy and masculine proportion, a cut-in “grille” effect and a slight slant which emphasizes its moderne roots. Fantastic for illustration or retro applications like antique product “logos,” signs and vintage packaging, or for a fun & funky ‘70‘s Disco look.

These four typefaces, Berlinette NB, Lyonette NB, Marseillette NB and Parisette NB, were designed from the same basic shape, a fanciful geometric form that avoids strict horizontals and uses more offbeat triangular shapes. Berlinette is the medieval Gutenbergian version of the four. It’s like a weird black letter font from the 1930s. It would work well advertising an obscure brand of German beer on the side of a Zeppelin as it circles the soccer stadium during the last match. In a William Burroughs novel.

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

These six faces are interpreted from examples shown in Rob Roy Kelly's "American Wood Types" They are not merely scanned copies, but have been redrawn from scratch with various optical adjustments. Kelly points out that the true glory of the American Wood Types are the negative spaces, which are, in their dynamic active forms, the antithesis of the anemic flimsy letters produced by type foundries in the 19th century. The Alphabets Wood Types are designed with digital manipulation in mind. Stretch, curve and distort at will! These designs were released prior to similar revivals from Adobe. Each font has two full alphabets (one full height, one smaller) and numerals. However, certain points and accents will not be found.

This is based on a mid-Victorian Connor's foundry font originally known as Manhattan. One of several old faces known in America as "French Clarendons", in Europe as "Italians", and, wait for it, in France as "American".

Petit Oiseau (Little Bird in French) is a very nice and very legible 'back-to-school' kind of typeface. It is thin, elegant and stylish, yet retains a certain youthfulness. Petit Oiseau comes with Babylonian language support!

I wanted to create a custom LED font, so I did, making sure to check for errors... It is useful for many things. (Electronically and in Real Life) (e.g. Documents, coding, signage, games, LED signs, calculators, etc.)

With this nice, rounded-corner handwriting font that is like comic, slab style; sweet and radiant logos, texts and every kind of graphics, editions and printings like magazines, brochures can be created. Text printouts look pretty smart.

The Ehrhardt name indicates that this typeface is derived from the roman and italic typefaces of stout Dutch character that the Ehrhardt foundry in Leipzig showed in a late-seventeenth-century specimen book. The designer is unknown, although some historians believe it was the Hungarian Nicholas Kis. Monotype recut the typeface for modern publishers in 1937 to 1938. Ehrhardt has a clean regularity and smooth finish that promote readability, as well as a slight degree of condensation, especially in the italic, that conserves space. Ehrhardt is a fine text face, especially for books.

Digital Sans Now combines and completes the many diverse requests and requirements by users of the past years. By now, 36 versions for over 70 Latin and Cyrillic languages have become available, including Small Caps. Digital Sans Now is also available as a webfont and reflects, with its simplified and geometric construction and its consciously maintained poster-like forms as well as with its ornamental character, the spirit of the decorative serif-less headline typefaces of the 1970s. The basic severity of other grotesque typefaces is here repressed by means of targeted rounds. Exactly these formal breaks allow the impression that it could be used in a variety of visual applications. Short texts, headlines and logos of all descriptions are its domain. It is because of this versatility that the typeface has become a desirable stylistic element, especially in such design provinces as technology, games and sports, and that, for many years now, it appears to be timeless. Additional weights designed on the basis of the original, from Thin to Ultra, the Italics, Small Caps and alternative characters allow for differentiated “looks and feels”, and, with deliberate usage, give the “Digital Sans Now” expanded possibilities for expression. The basis for the design of Digital Sans Now is a headline typeface created in 1973 by Marty Goldstein and the Digital Sans family which has been available from Elsner+Flake since the mid-1990s under a license agreement. The four weights designed by Marty Goldstein, Thin, Plain, Heavy and Fat, were originally sold by the American company Visual Graphics Corporation (VGC) under the name of “Sol”. Similarly, the company Fotostar International offered film fonts for 2” phototypesetting machines, these however under the name “Sun”. The first digital adaptation had already been ordered in the mid 1970s in Germany by Walter Brendel for the phototypesetting system Unitype used by the TypeShop Group, in three widths and under the name “Digital Part of the Serial Collection.” Based on the versions by VGC, Thin, Plain, Heavy and Fat, new versions were then created with appropriate stroke and width adaptations for data sets for the fonts Light, Medium and Bold as well as for the corresponding italics

Warren Chappell named his font after the Roman emperor Trajanus, who ruled in the first century AD. The Roman capitals on Trajanus’ memorial combined with the lower case style from the time of Charlemagne formed the models for the font characters. Trajanus will give a text a classic, almost calligraphic, feel.

1920s sheet music for the song "You Can't Get Away From It" provided the hand lettered title which acted as the basis for Nouveau Roundcorner JNL. A square letter form with rounded terminals, this condensed face is perfect for titling, yet has a bit of an informal, casual charm to it.

Manofa is a calligraphic sans-serif typeface. It is inspired by Warren Chappell's Lydian and originated from the experiments with the shape and form of the letter "O". The result is a contemporary, sharp and sculptural display. Details include four weights, matching italics, two widths, alternative characters and the OpenType features.

A font designed by Christian Acker (2002), based upon neon signage in downtown New York. 24Hrs was an exercise in creating flat artwork from the inspiration of neon's three dimensional forms. All of the tubing's overlapping and twisting is documented and taken into account in the design of the letterforms.

Educator JNL joins the large library of Jeff Levine's stencil fonts and was re-drawn from a set of individual letter stencils with the distinctive look of Franklin Gothic. All of the irregularities of the original die-cut letter forms were left intact, giving a "real world" look to the font.

A slab serif Mr Palker and grotesque Mr Palkerson build one superfamily together.  These are blank types. In a way even the display ones. Typefaces for newspapers, announcements, cheap advertising and police posters.  Mr Palker and Mr Palkerson will turn every language into a fence. And due to six types of faces one can choose what material should the fence be made from — from Thin steel rods to   the Black stone blocks. In their simplest appearance Mrs P&P are  intended for the solid blank composition in victorian or industrial style. They are quite decent, a bit old-fashioned slab serif and grotesque with closed aperture. All my types have layers. Walker and Palkerson also do. Besides the standard set of symbols, they have 4 add-ons. 1. Alternate glyphs, including unicase ones. 2. Ligatures with A letter. 3. Extra tall small caps. 4. Two-storey ligatures. All this options are intended for the complex composition. The additional letters are rather eccentric as their main function here is to imitate the victorian oddities. Imitate, parody, just not repeat. There are lower-case As and Es in the set in height of small caps and uppercases. They can turn every writing into the unicase.    The lower-case A (as well as uppercase and small caps version of it) has deliberately by my taste grown a ludicrous tail. To compensate it I’ve built all the possible ligatures - ад, ал, ая. There are 35 of this ligatures all together. Take a closer look at the Russian letters D, L, K, Ya from the main set as well as their alternates. The additional glyphs are one more comic than the other — on purpose to imitate (not to repeat!) the victorian set. This sets have lowercase numbers. And small caps numbers as well. What a modern typeface without them. They also have an У-letter with a generously curvy tail. As if before the WWI. The Latin of course has alternates as well. It has letters to make the perfect French sound more like the russian provincial version of it. The tails of Js and Ts can be made a little bit more open — or a little bit closed. My favorite feature here, an invention of a kind - extra tall small caps. It allows to compose logos with the small caped uppercases directly from the keyboard. The small caps of this typefaces are usually much taller than the customary ones. This is the kind of small caps that Palker and Palkerson have. More to that, the strokes’ weight and the letters width are corresponded to the uppercases. Just a ready set for making a logo a la 1913 style. With a unicase, one has to mind! One more trick with the tall small caps is a possibility to make them work like lower uppercases. Their height is just in between of lower- and uppercases. Isn’t it great to have an additional set of uppercase working ponies in stock for the case of emergency. And finally — the trademark of Palkers family, two-storey ligatures. They are made in the height of uppercases and turn every writing into an ornament or a puzzle of a kind, while at the same time making them much shorter. Each face has 90 of them. Mainly those are twins: CC, BB, DD and so on. ll this things are for the unhasty compositing, even for lettering. Which means that for the things which are not there you always should have Command+Option+O and some patience. Also — among the two storey ligatures one also can find some belvedere villas. All my types are glasses from the one kaleidoscope. The P&Ps family was preliminary part of the victorian set, which already has 1 Cents and Clarendorf - optionally one can add Costro, Gordoni, Handy, Guardy, Surplus, Red Ring, Red Square, Babaev to the list. And also Sklad, Odessa, Dreamland, Romb, Platinum - here, at Letterhead’s, every second one is victorian. All together our typefaces can allow one to set advertisement of any kind, even the trickiest one, and compose everything, from the coffee place’s menu to the antiquarian magazine.

A grotesque Mr Palkerson and slab serif Mr Palker build one superfamily together. These are blank types. In a way even the display ones. Typefaces for newspapers, announcements, cheap advertising and police posters.  Mr Palker and Mr Palkerson will turn every language into a fence. And due to six types of faces one can choose what material should the fence be made from — from Thin steel rods to   the Black stone blocks. In their simplest appearance Mrs P&P are intended for the solid blank composition in victorian or industrial style. They are quite decent, a bit old-fashioned slab serif and grotesque with closed aperture. All my types have layers. Walker and Palkerson also do. Besides the standard set of symbols, they have 4 add-ons. 1. Alternate glyphs, including unicase ones. 2. Ligatures with A letter. 3. Extra tall small caps. 4. Two-storey ligatures. All this options are intended for the complex composition. The additional letters are rather eccentric as their main function here is to imitate the victorian oddities. Imitate, parody, just not repeat. There are lower-case As and Es in the set in height of small caps and uppercases. They can turn every writing into the unicase.    The lower-case A (as well as uppercase and small caps version of it) has deliberately by my taste grown a ludicrous tail. To compensate it I’ve built all the possible ligatures - ад, ал, ая. There are 35 of this ligatures all together. Take a closer look at the Russian letters D, L, K, Ya from the main set as well as their alternates. The additional glyphs are one more comic than the other — on purpose to imitate (not to repeat!) the victorian set. This sets have lowercase numbers. And small caps numbers as well. What a modern typeface without them. They also have an У-letter with a generously curvy tail. As if before the WWI. The Latin of course has alternates as well. It has letters to make the perfect French sound more like the russian provincial version of it. The tails of Js and Ts can be made a little bit more open — or a little bit closed. My favorite feature here, an invention of a kind - extra tall small caps. It allows to compose logos with the small caped uppercases directly from the keyboard. The small caps of this typefaces are usually much taller than the customary ones. This is the kind of small caps that Palker and Palkerson have. More to that, the strokes’ weight and the letters width are corresponded to the uppercases. Just a ready set for making a logo a la 1913 style. With a unicase, one has to mind! One more trick with the tall small caps is a possibility to make them work like lower uppercases. Their height is just in between of lower- and uppercases. Isn’t it great to have an additional set of uppercase working ponies in stock for the case of emergency. And finally — the trademark of Palkerson family, two-storey ligatures. They are made in the height of uppercases and turn every writing into an ornament or a puzzle of a kind, while at the same time making them much shorter. Each face has 90 of them. Mainly those are twins: CC, BB, DD and so on. ll this things are for the unhasty compositing, even for lettering. Which means that for the things which are not there you always should have Command+Option+O and some patience. Also — among the two storey ligatures one also can find some belvedere villas. All my types are glasses from the one kaleidoscope. The P&Ps family was preliminary part of the victorian set, which already has 21 Cents and Clarendorf - optionally one can add Costro, Gordoni, Handy, Guardy, Surplus, Red Ring, Red Square, Babaev to the list. And also Sklad, Odessa, Dreamland, Romb, Platinum - here, at Letterhead’s, every second one is victorian. All together our typefaces can allow one to set advertisement of any kind, even the trickiest one, and compose everything, from the coffee place’s menu to the antiquarian magazine.

Qiltray is a good example of how handwritten fonts can be made for use in long texts. With clear and readable letters, Qiltray may be used in any kind of publications. Includes Cyrilic and CE character set support.

Highman is a modern condensed bold font. Its contain all caps letter yet its have a different height between the uppercase and lowercase. Its fit for brand, titling, stacking or grid layout and all kind of display usage.

Expanse is a retro futuristic typeface. The font has a bold and big vibe and mixes sharp and round corners, kind of like the very old sci-fi movie titles. Expanse includes uppercase multilingual letters, numbers and punctuation.

A World War II training film had its opening title card “First Aid” hand lettered in a casual, Art Deco sans serif design. This is now available digitally as Film Title JNL, in both regular and oblique versions.

This is a fake and a fraud and not a bad-looking type. We did this to imitate the look of an old wood poster font, but it is completely new. Don't tell anyone. Please note: no lowercase.

An antique barrel lid stencil spotted in an online auction for a company once located in Guttenberg, NJ provided the hand-cut sans serif lettering which inspired Old Brass Stencil JNL; available in both regular and oblique versions.