Heller Sans JNL is based on the main letterforms of an experimental alphabet designed by Steven Heller; noted author of over 170 books on design and visual culture. Some modifications were made in turning his design into a digital font. In his own words, here is the background to this typeface: “I recently recovered this from the junk heap. It is a yellowing photostat of my first and only typeface design (1969-70). Total folly! At the time I was smitten by Art Moderne lettering. I called it “Klaus Boobala Bold” because I liked the K and B. I’ve lost the letters S through Z, which were made. The letters were drawn with compass, Techno pen (that frequently clogged). as well as a triangle and T-square. The inline and outline made no real logical sense. I based the design, in part, on Kabel, Avant Garde and it was a product of whatever I could accomplish with those tools. The caps-only alphabet was photographed and produced as a film negative that was cut in foot-long strips and spliced to fit on a Typositor reel. Sadly, the negatives made for the font were too brittle and the splice snapped apart in the Typositor. I worked on it for well over a month and used the face only once. I realized with this attempt, like so many other times I attempted different challenges, that type design — indeed mechanical drawing — was not my strong suit.” Heller Sans JNL is available in both regular and oblique versions.

Conrad X. 'Cobb' Shinn (Sept. 4, 1887- Jan. 28, 1951) was a Fillmore, Indiana-born post card illustrator who sold a series of successful novelty postcard lines which included (among others) Charlie Chaplin, automobiles and the Dutch culture in the beginning years of the 20th Century. After serving in World War I, Shinn found the market for novelty postcards dwindling, and he also lent his artistic skills to cartoon features and illustrating many children's books [including his own, under the nickname 'Uncle Cobb'] which taught easy step-by-step drawing methods. Some time in the 1920s, he eventually migrated into the field of supplying electrotypes and stereotypes of 'stock cuts' of photos and line art to the printing trade. In the days of letterpress printing, this was the forerunner of paper clip art and its successor, electronic clip art. Purchasing many of his designs from 'journeyman' artists of the time, the diversity of Cobb Shinn's stock cuts library grew with the passing years, reflecting changing times, styles and topics. Some of the illustrators whose signed works were presented in Shinn's 'CUTalogs' [as he called his stock cuts catalogs] include Mary Clemmitt, Louis H. Hippe, E.C. Klinge, Nelson White, Harvey Fuller, Bess Livings, Lois Head, Harvey Peake and Van Tuyl. Upon his passing in 1951, it's not known how long the Indianapolis-based company existed before finally closing its doors. One of the more popular series of cartoons were the line illustrations of men and women affectionately called 'little big head guys' by many modern fans of these cuts because the heads of the characters were drawn somewhat larger than the rest of their bodies. Shinn Kickers JNL is a collection twenty-six of these illustrations, and just like a kick in the shin (as the pun in the name implies), these charming cartoons get your attention.

LTC Bixler Ornaments One includes all designs found in the metal Bixler Type Handypacks #1–6 from P22 that were created using actual Lanston mats to cast these metal type sets. The 14 designs found in the metal type are presented in this digital version—each rotated and optimized to align easily and tightly for digital layouts.? LTC Bixler Ornaments Two incudes all designs found in the metal Bixler Type Handypacks #7–14 from P22 that were created using actual Lanston mats to cast these metal type sets. The 17 designs found in the metal type are presented in this digital version—each rotated and optimized to align easily and tightly for digital layouts.

An original design by Malcolm Wooden inspired by the works of Morris Fuller Benton.

A snappy single-stroke alphabet from The New Lone Pine ABC of Showcard and Ticketwriting, which Aussie author C. Milnes suggested should be executed with a well-loaded brush, provided the inspiration for this loose, lilting retro script. Its condensed letterforms and tight spacing allow for larger headlines than most brush scripts, and its bouncing baseline adds an extra dollop of visual fun. The PC Postscript, Truetype and Opentype versions contain the complete Latin language character set (Unicode 1252) plus Central European (Unicode 1250) languages as well.

This script font was inspired by the 1900s Art Nouveau style, in tribute to the well known American dancer Loïe Fuller. This font is specially developed for the OpenType possibilities. The TTF and OTF versions contain, besides all accented Western European Latin characters and ligatures, small caps, contextual alternates, more than seventy titling alternates, and others... It is used as variously as web-site titles, posters and fliers design or greeting cards, all various sorts of presentations, menus, certificates, letters. This font supports very strong enlargements as well as small sizes. When printed, it remain perfectly legible and elegant from 7 pts even if using an ordinary inkjet printer .

SECONDS OUT! ROUND ONE!  The champ comes out swinging, there’s a left hook, a right hook, another left, another left to the chin, a box to the ears, a punch to the stomach, the challenger is reeling, he’s on the ropes, there’s another left to the chin and here’s the knockout, RIGHT IN THE KISSER! The Kisser. The Mouth. You know, what you kiss with? SMAK! It’s a font with a fat lip or one that makes you look like you’re talking’ with a fat lip. Or if you’re more of a lover than a fighter, it’s a big wet kiss from your loved one when the clock strikes midnight on New Year’s Eve. Either way, you win!

Century Oldstyle is Linn Boyd Benton’s and Morris Fuller Benton’s renovation of Phemister’s Miller & Richard Old Style for ATF forty-five years later, using the Century name for marketing purposes.

It’s Krusty! It’s a Krypt Kicker! It’s a Killer Kween! Its serifs are like dynamite with a Laser Beam! KomiKraft’s new font Krazy Klown isn’t just white greasepaint and clown shoes, it’s hiding in the drain system ready to surprise you with alternate Kharakters, Killer ligatures… and did we mention Krazy Klown shoes? Kooky John K Roshell has kooked up a kinky font that is the perfect Kompliment to Monster Mash and Carry On Screaming. It’s a little bit Tiki and a whole lotta Kicky! Features two weights with alternate uppercase alphabets • Languages: Western & Central Europe • Features: Automatic Alternates & Connecting Ligatures

A killer font.

Sheet music for the song “The Little Thing You Used to Do” (from the 1935 motion picture “Go into your Dance” starring Al Jolson and Ruby Keeler) had its title set in what closely resembled Bank Gothic Condensed. [Bank Gothic was originally designed by Morris Fuller Benton for American Type Founders circa 1930.] This reinterpreted version is now known as Stenographer JNL, and is available in both regular and oblique versions.

Inspired by the old fashioned Miller Beer logo.

During the 1940s and 1950s, the Miller Music Corporation issued a number of its songs with a stock cover design for their “Miller Series of Piano Solos” but the song titles were hand lettered in an Art Deco dual line design. Recreated digitally as Music Lesson JNL, this type design is available in both regular and oblique versions.

Boring titles? Boring chunk of text? Unbore’em all! This nifty stackable family features two fonts, both with two options for each letter. Pile them up and play with opacities for a killer superposed effect. Or use each alone if you prefer. Unboringness guaranteed either way. Cheers!

La Mesa is a bold font suitable for logos, letterheads & headlines. It also resembles the lettering used by the Miller Brewing Co.

Draft Beer is a bold script suitable for logos, letterheads & headlines and was inspired by the lettering used by Miller Brewing Co.

Ornamental font based on examples from the book Miller & Richard "Specimens of Printing type". Collected ornaments belong to the Art Nouveau style.

True bold font, only available in uppercase but with different styles. This font of 106 characters is really easy to use in your design and takes his inspiration from the old school post graffiti. The name comes from the movie "Natural Born Killers" by Oliver Stone. UPPERCASE 
lowercase 
Numerals 
Punctuation 106 characters

Brochure Sans JNL is based on Sans Serif No.7 from the 1921 Miller & Richard type specimen book, and is available in both regular and oblique versions.

Xylo Sans letterforms are based on a typeface from Miller & Richard type foundry, from circa 1911. They are presented here with a rough wood texture, in two xylographic flavors.

The Yearbook font family contains Yearbook Filler, Yearbook Outline, and Yearbook Solid. Yearbook evokes traditional Slab-Serif lettering used by high school and college teams; the first two of these faces are designed to be superimposed.

A 1930s print ad for Miller Tires featured lettering in a condensed slab serif design. This provided a design model for the digital typeface Automotive Service JNL, which is available in both regular and oblique versions.

Fat, wide and friendly—that describes this offering from the Miller and Richards foundy of Glasgow to a tee. Use it in good health. Both versions support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Morris Fuller Benton’s 1931 design, reworking the model of Memphis for ATF.

This font is a collection of simple calligraphic ornaments suitable for invitations, gift tags, and anything that can benifit from a "spoonful of sugar" visually. This font includes fewer line fillers, and more "ferns and fans" than our previous swirlies.

Some time ago, I read an article about the Kennedy assassination. In that article, a person dubbed ‘the umbrella man’ played a rather bizarre role: apparently an innocent bystander with an opened umbrella was thought to be in cahoots with Kennedy’s killer. I immediately thought that the name ‘Umbrella Man’ was a good title for a horror movie, so when I created this rough brush font, I named it Umbrella Man.

Vintage Varsity was inspired by that classic iron-on letterman jacket your "cool" uncle wore in high school (and lets be real, probably still wears today)... Pair with some fuzzy felt textures and you got yourself a killer duo! Strike the fill, throw a stroke on it, and design a retro-slogan t-shirt. Is this starting to sound like a cheesy infomercial? Good, I'm rolling with it. Have fun!

The origins of Bookman Old Style lie in the typeface called Oldstyle Antique, designed by A C Phemister circa 1858 for the Miller and Richard foundry in Edinburgh, Scotland. Many American foundries made versions of this type which eventually became known as Bookman. Monotype Bookman Old Style roman is based on earlier Lanston Monotype and ATF models. The italic has been re drawn following the style of the Oldstyle Antique italics of Miller and Richard. Although called “Old Style,” the near vertical stress of the face puts it into the transitional category. The Bookman Old Style font family is a legible and robust text face.

The origins of Bookman Old Style lie in the typeface called Oldstyle Antique, designed by A C Phemister circa 1858 for the Miller and Richard foundry in Edinburgh, Scotland. Many American foundries made versions of this type which eventually became known as Bookman. Monotype Bookman Old Style roman is based on earlier Lanston Monotype and ATF models. The italic has been re drawn following the style of the Oldstyle Antique italics of Miller and Richard. Although called “Old Style,” the near vertical stress of the face puts it into the transitional category. The Bookman Old Style font family is a legible and robust text face.

The 1918 specimen book of the Miller and Richard Type Foundry of London and Edinburgh featured this endearing typeface. Both versions of this font include the complete Latin 1252 and Central European 1250 character sets, as well as a very tasty f_f_i ligature.

This is the Bruce Foundry’s Old Style No.20, which was loosely based on the Miller & Richard Old Style. It was recut at Lanston under Sol Hess’ direction in 1909, and survives as the second text face in the Sears Roebuck Catalogue.