The type design which inspired Stencil Maker JNL comes from a 1920s-era machine used in movie theaters of the day. It rendered tiny punched out letters (some characters solid and some in stencil form), enabling the user to make projection slides of important messages or general notices for the theater audience to read.

"Systema" is an innovative typeface that combines modularity and pixelated style in a surprising way. Its letters continuously transform, taking on shapes ranging from soft circles to sharp squares, with occasional flashes that add a touch of vitality. This versatility makes it the perfect choice for design projects looking for a dynamic and unique aesthetic.

Rian Hughes’ 15th collection of fonts, “112 Hours”, is entirely dedicated to numbers. Culled from a myriad of sources – clock faces, tickets, watches house numbers – it is an eclectic and wide-ranging set. Each font contains only numerals and related punctuation – no letters. A new book has been designed by Hughes to show the collection, and includes sample settings, complete character sets, source material and an introduction. This is available print-to-order on Blurb in paperback and hardback: http://www.blurb.com/b/5539073-112-hours-hardback http://www.blurb.com/b/5539045-112-hours-paperback From the introduction: The idea for this, the fifteenth Device Fonts collection, began when I came across an online auction site dedicated to antique clocks. I was mesmerized by the inventive and bizarre numerals on their faces. Shorn of the need to extend the internal logic of a typeface through the entire alphabet, the designers of these treasures were free to explore interesting forms and shapes that would otherwise be denied them. Given this horological starting point, I decided to produce 12 fonts, each featuring just the numbers from 1 to 12 and, where appropriate, a small set of supporting characters — in most cases, the international currency symbols, a colon, full stop, hyphen, slash and the number sign. 10, 11 and 12 I opted to place in the capital A, B and C slots. Each font is shown in its entirety here. I soon passed 12, so the next logical finish line was 24. Like a typographic Jack Bauer, I soon passed that too -— the more I researched, the more I came across interesting and unique examples that insisted on digitization, or that inspired me to explore some new design direction. The sources broadened to include tickets, numbering machines, ecclesiastical brass plates and more. Though not derived from clock faces, I opted to keep the 1-12 conceit for consistency, which allowed me to design what are effectively numerical ligatures. I finally concluded one hundred fonts over my original estimate at 112. Even though it’s not strictly divisible by 12, the number has a certain symmetry, I reasoned, and was as good a place as any to round off the project. An overview reveals a broad range that nonetheless fall into several loose categories. There are fairly faithful revivals, only diverging from their source material to even out inconsistencies and regularize weighting or shape to make them more functional in a modern context; designs taken directly from the source material, preserving all the inky grit and character of the original; designs that are loosely based on a couple of numbers from the source material but diverge dramatically for reasons of improved aesthetics or mere whim; and entirely new designs with no historical precedent. As projects like this evolve (and, to be frank, get out of hand), they can take you in directions and to places you didn’t envisage when you first set out. Along the way, I corresponded with experts in railway livery, and now know about the history of cab side and smokebox plates; I travelled to the Musée de l’imprimerie in Nantes, France, to examine their numbering machines; I photographed house numbers in Paris, Florence, Venice, Amsterdam and here in the UK; I delved into my collection of tickets, passes and printed ephemera; I visited the Science Museum in London, the Royal Signals Museum in Dorset, and the Museum of London to source early adding machines, war-time telegraphs and post-war ration books. I photographed watches at Worthing Museum, weighing scales large enough to stand on in a Brick Lane pub, and digital station clocks at Baker Street tube station. I went to the London Under-ground archive at Acton Depot, where you can see all manner of vintage enamel signs and woodblock type; I photographed grocer’s stalls in East End street markets; I dug out old clocks I recalled from childhood at my parents’ place, examined old manual typewriters and cash tills, and crouched down with a torch to look at my electricity meter. I found out that Jane Fonda kicked a policeman, and unusually for someone with a lifelong aversion to sport, picked up some horse-racing jargon. I share some of that research here. In many cases I have not been slavish about staying close to the source material if I didn’t think it warranted it, so a close comparison will reveal differences. These changes could be made for aesthetic reasons, functional reasons (the originals didn’t need to be set in any combination, for example), or just reasons of personal taste. Where reference for the additional characters were not available — which was always the case with fonts derived from clock faces — I have endeavored to design them in a sympathetic style. I may even extend some of these to the full alphabet in the future. If I do, these number-only fonts could be considered as experimental design exercises: forays into form to probe interesting new graphic possibilities.

“For those who regret what keyboards and touch screens have done to their penmanship, typographer Harald Geisler has an answer: Sigmund Freud.” — The Wall Street Journal Sigmund Freud was a neurologist who lived from 1856 to 1939. His research and studies led to the foundation of ‘Psychoanalysis’. When I first saw Freud’s century old letters, I was fascinated by the beauty of these historic manuscripts. It made me smile to imagine a person writing his or her shrink a letter set in Freud’s handwriting. I started to plan creating a font based on his manuscripts. I contacted the Sigmund Freud Museum Vienna and Freud Museum London. To start the creation I selected eight handwritten documents from the archive in Vienna – This selection of specimen was my orientation during the design process. The Samples were created between 1883 to 1938 and are of various character such as handwritten scientific papers, personal letters, notes and a telegram. A successful Kickstarter Campaign "The Sigmund Freud Typeface - A Letter to your Shrink" with over 1400 Backers enabled me to visit the archive in Vienna and study the original manuscripts of Sigmund Freud. After a year of preparation and design work, I finished four alphabets based on Freud’s handwriting. What are the different Versions PRO, Kurrent, #1, #2, #3 and #4 about? “This project gives people the convenience afforded by the computer while maintaining the romantic nostalgia, beauty, and character of letter writing with real handwriting.” — Daniel Vahab, The Huffington Post When you write with your hand, every letter looks a little different. When you write a text on your computer every letter looks exactly the same. In order to make type look like handwriting, I chose four different variations of each letter from Freud’s manuscripts, drew and stored them in the font. The font is then programmed to exchange letters while you are typing. This makes the rendered result on your screen or print look like unique handwriting. PRO While you are typing… the PRO Version actively combines all four alphabets and exchanges them automatically. Through this mechanism never the same two o’s will stand next to each other. With every touch a unique look is generated. This works in certain applications i.e. Word 2010(or newer), Pages, TextEdit, Editor(Pre-installed on Windows 7 or newer), InDesign, Illustrator… →Here you can see an animation of what this effect looks like in action. (Please Note: some applications like LibreOffice, OpenOffice do currently not support this feature. Date: December 2013) #1 #2 #3 and #4 The Sigmund Freud Typeface #1, #2, #3 and #4 each hold one individual lowercase alphabet based on Freud’s handwriting. Kurrent Most of Freud’s correspondence was written in German. Until the 1950′s a different handwriting was taught throughout German speaking countries (Switzerland, Austria, Germany). This style is called Kurrent. The name Kurrent and Cursive derive from the Latin word currere - to run, hurry - both styles were designed to write fast. As you can see in the samples above, Freud practiced both Kurrent and when writing english Cursive (Latin script or Joined-up). Kurrent has three significantly different letters (s,h,e). Use Kurrent to render the authentic look of an historic Sigmund Freud letter in German. Bundle On the Top of this page you can get all six fonts of the Sigmund Freud Typeface Family in a bundle. International Typeface All styles of the Sigmund Freud Typeface feature a wide range of accented letters so you can write to all your friends in Sweden (Bjørn) France (Chloé & Zoë), Ireland (Dáirine), Poland (Łucja), Germany (Jörg) and almost everywhere around the globe (Find a complete list in the tech specs). Usage recommendations I hope that this design will be valuable to you and most of all that you have fun with this typeface! 1. Point Size — To reproduce the size of Sigmund Freud’s handwriting adjust the type size between 18-24 point in your word processor. If you are using an imaging software like Photoshop set the resolution to 300dpi and adjust the point size between 18-24. 2. Line Spacing — Narrow the line hight until swashes of capital letters touch the baseline above. This also happens when you write a letter and gives the document a unique handwritten look. 3. Right Aligned — Freud had the habit to write towards the right edge of the page and start loosely on the left. Set your text alignment to ‘right’ to incorporate this dramatic expression also to your documents. What do other People say about the Sigmund Freud Typeface? “Wouldn’t you love to write a letter to your shrink using the Sigmund Freud typeface?” — Dorothy Tan, Design TAXI ''“JUST DON’T WRITE A LETTER TO YOUR MOTHER WITH IT… …until the reader looks a bit closer, and they see 70+ years of modern science weighing in on turn-of-the-century pop psychology."'' — Mark Willson, Fast Company “Doctor, what does it mean if you dream of creating a font of Freud’s handwriting?” — Ayun Halliday, Open Culture “…geekily romantic, at once artistic and scientific” — Edie Jarolim, Freud’s Butcher “…sympathisch” — Jürgen Siebert, Fontblog !WOW! Thank you for reading the complete font description! You are awesome! If you still have a question please contact me through MyFonts or my website haraldgeisler.com. Credits This project was made possible by the help of 1481 Backers on Kickstarter and the kind support of the Sigmund Freud Museum Vienna and the Freud Museum London. Thank you. All of Freud’s Manuscripts shown are © Sigmund Freud Museum Vienna. Poster Image: IN17 - Sigmund Freud, Germany 1932. © Freud Museum London. Flag Image: IN19 - Sigmund Freud 1930’s. © Freud Museum London.

Balboa is a display design combining elements of early sans serif and grotesque types with contemporary types. It evolved from ATF Headline Gothic, Banner (a headline typeface I drew for the San Francisco Chronicle), and Newsweek No.9, a Stephenson Blake-like grotesque I designed for Roger Black's 1980 redesign of Newsweek Magazine. There are nine styles, including the three new styles that have been added in 2014: Medium, Light and Ultra Light.

At first glance, Typewriter Sans JNL seems to look like the pantograph lettering of an engraved sign or the rounded-end lettering from an architect's templates. It might also be mistaken for plastic pin-back lettering used on some bulletin boards. In actuality, the design is based on examples of an electric typewriter ball element with a sans font named "Dual Gothic", suggested for use "in credit reports and other financial applications".

Clunic is a Blackletter font in the best traditions of Victorian Gothic revival—that is to say aesthetically marvelous but no historical basis whatsoever. The design combines the perpendicular character of medieval manuscripts with modern legibility and a healthy respect for calligraphic principles. There are alternate large and small forms of some glyphs. Clunic is ideal for use on certificates, themed invitations, posters, headings, initial capitals or sign-writing with an historic theme.

In 1994, Apple® Computer, Inc., asked David Berlow for “a future gothic” to replace Chicago®, their system font. Now called Charcoal®, the design was released with Mac® OS 8 in 1996. Through operating system bundles it found its way into every form of design. Released from constraint, Berlow designed Truth FB, a radical series with a spectrum of seven weights. Like its forbear, Truth FB opens new design avenues; FB 2005

Middle Ages is a hand-drawn medieval type, designed by Måns Grebäck during 2019. With its blackletter style it works great in many historical context typesettings, as well as for traditional Christmas projects. It has a Gothic style that also works well for rock music genres, or for tattoos and other rough graphics. The font is multilingual and supports all Latin-based European languages, contains numbers and all symbols you'll ever need.

The 52 characters assembled by this Gothic font, Prince of Darkness, were once interred in coffins onboard the Russian cargo ship Demeter, when it set sail for the sleepy shores of Whitby, Northern England ages ago. Hunted down by Vampire Hunters for century after century, this noble Transylvanian set has hidden for years in England and Eastern Europe. Now, Prince of Darkness is available as a font with more Layers than Dracula has Lairs.

Born from the intersection of the geometric and grotesque typefaces. Aribau Grotesk combines low contrast and generous width proportions with typical traits of american gothics from the early 20th century, like the counters aperture and a double story ‘g’. Driven by the process, some details that come from the geometric style arose, like the clean-shaped figures and the circular dots that convey a more affable and contemporary look. Aribau Grotesk PDF.

This is a squared sans serif font family developed out of a taller Bank Gothic model plus a true lower case with many OpenType features and over 600 characters: Caps, lower case, small caps, ligatures, discretionary ligatures, swashes, small cap figures, old style figures, numerators, denominators, accent characters (including CE), ordinal numbers (1st-infinity: lining and oldstyle), and so on. It is designed for text use in body copy. For display tighten the tracking.

A redesign of drawings of News Gothic from the Smithsonian, Cyrus Highsmith and the Font Bureau studio created Benton Sans, one the most popular and versatile families in this genre. This version of the family is part of the Reading Edge series of fonts specifically designed for small text onscreen, having been adjusted to provide more generous proportions and roomier spacing, and having been hinted in TrueType for optimal rendering in low resolution environments.

This unusual Gothic face was found in the 1882 McKellar, Smiths and Jordan specimen book under the name Borussian, a then-current variant of “Prussian”. This version is true to the original, so please note: a few of the uppercase characters—notably E and G—are rather unusual, so proceed with caution. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

Rulinover is a serif font inspired by adrenaline-pumping gothic horror movies and games. With that comes Rulinover as a supporting tool to support typography based on genres of horror adventure, challenge and dare in a particular game or film. And also supported by many alternative ligature and letter concepts that are useful in making logotypes or monogram styles. For that, Rulinover is also equipped with various languages such as Latin 1 & 2.

Barstow is an exuberant revival of Wells & Webb's 1854 woodtype sensation, Gothic Tuscan Italian, building off the original 47 characters with hundreds of new glyphs including Latin language support, symbols, and punctuation. Barstow Shadow is a modulated outline complement to the regular style. Barstow Xtra is composed of charming woodtype ornaments and twists on emoji. The Barstow family is best used in display functions at sizes above 36pts, in short headlines and accent text.

Vestigio m. Ing. & Fr. vestige: a trace, mark or visible sign left by something as an ancient city in a condition or practice vanished or lost. Vestigia is born by lost pieces of other typography, being then, Garbancera's descendant. It evolved to be seen in big point sizes and compete with other fierce competitors, while retaining some features of it ancient predecessor, navigates a gothic fraktur experimental style, existing between legible and illegible reading.

HALIVELAVIERTA is a combination font between blackletter and serif, but I included it in the blackletter category because of the boldness and spacing that is close to a blackletter font, resulting in a font with a slightly gothic feel, vintage but also suitable for modern designs. YOU WILL GET : Halivelavierta.otf To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7. Cheers!

The original Jessen typeface, named in reminiscence of the great supporter of the printing art at the end of the 19th century, Peter Jessen, was designed in the years of 1924 until 1930. Bible Gothic was created by the famous German designer Rudolf Koch. Ralph M. Unger digitized this font exclusively for profonts in 2005, keeping his digitization as close as possible to the original design of Koch in order to preserve the distinguished character and the partly unconventional, original forms. The concept of a Bible Gothic was developing for years in Koch's mind and drove the direction of his work, but only after the experience with his Neuland design could he start the creation of his Peter Jessen typeface. Produced quite like Neuland, Jessen, however, is much more refined and more accurate in detail than Neuland. At first glance, it seems to look plain and simple, but if you look closer, the richness of its distinguished upper case forms unfold to a perfectly clear flow of text

Blackletter typefaces, also known as Gothic, Fraktur, or Old English, have been used in the headings and initial chapters of books. This style of typeface is recognizable by its dramatic thin and thick strokes, and in some fonts, the elaborate swirls on the serifs. Blackletter typefaces are based on early manuscript lettering and evolved in Western Europe from the mid twelfth century. They are best used for headings, logos, posters, and signs, as they are not easy to read in body texts. Blackletter was type that emulated the most common handwritten scripts of the era and was used for books of hours and initial chapters of books Brazilian type designer Paulo W created this font ideally suited for advertising and packaging, festive occasions, editorial and publishing, logo, branding and creative industries as well as poster and billboards. An elegant and clean typeface, with two harmonic blackletters styles, the bold lowercases with beaufitul ornamented initials. A classic decorative design around an antique theme: The headings of gothic texts, this font works great in display purposes. ENJOY

Inspired by the type elements of 17th century Dutch mapmaking, Boncaire Titling provides you with a historic yet adventurous look for your library. This addition from insigne found its muse in a map of Curacao by Dutch cartographer Gerard Van Keulen, a member of the prosperous Van Keulen family from Amsterdam, who were engaged in the manufacture of maps for seafaring. Much thanks on this project goes to The Norman B. Leventhal Map Center, housed at the Boston Public Library. Through the centers kindness, I was able to view a number of period maps in person and to meet with curators, who explained more about the Van Keulen family and the way maps of the period were created. While I studied the maps, I narrowed in on some of the original types unique idiosyncrasies. For instance, the long, exaggerated serifs, which give the forms a sense of stability, aid in the faces legibility--largely a byproduct of the engraving method that was used to create the metal plates for manufacturing these maps. In creating Boncaire Titling, I decided to capture these unique idiosyncrasies, embracing the character of the engravings rather than removing them entirely through over-refining the forms. The result is an elegant family with far more than seafaring potential. This font has a full range of six weights, from thin to black. It also includes a wide variety of OpenType alternates. All insigne fonts are fully loaded with OpenType features. Boncaire Titling is also equipped for complex professional typography, including alternates, smaller titling caps and plenty of alts, including normalized capitals and lowercase letters. There are over 30 autoreplacing ligatures, and the face includes a number of numeral sets, including fractions, old-style and lining figures with superiors and inferiors. OpenType capable applications such as Quark or the Adobe suite can take full advantage of automatically replacing ligatures and alternates. You can find these features demonstrated in the .pdf brochure. Boncaire Titling also includes the glyphs to support a wide range of languages, including Central, Eastern and Western European languages. In all, Boncaire Titling supports over 40 languages that use the extended Latin script, making the new addition a great choice for multi-lingual publications and packaging. Maps are fascinating; they come with the promise of treasure to be uncovered. Examining the map itself, too, you can find great wealth in the details so artfully condensed to that single piece of paper--details carried over into this new insigne font. For your next project, explore the imagination potential in Boncaire Titling.

Fox Christmas Doodle is a cute dingbat font specially designed for the Xmas season, Its versatility makes it great for a wide pool of craft projects, designs, planners, diaries, activity books, or anything that your heart desires. Add this beautiful doodle dingbat font to each of your creative ideas, and notice how it makes them stand out.

The Quitador™ Sans family is a fresh and distinctive design with roots that go back to the original Quitador typeface. Like its slab serif relative, the Quitador Sans suite of typefaces is large with several weights of roman and italic designs, making it an excellent choice for a wide variety of print and on-screen projects.

Black Willow - is Hand Brush with rough and textured inky. Its has urban, vintage, cool styles and modern look makes it a fantastic choice for fashion, signature, album covers logos, branding, magazines, social media posts, advertisement, and many more. Use this display font to add that special cool touch to any design idea you can think of!

When we fall asleep, we become free in our thoughts, in our judgments, in our choice, we decide on bold actions and words. This font will bring all this to life. UNCONSCIOUS-This font is for brave, free and liberated creators. For people with a good sense of humor and able to derive joy even from bad things.

Samantha is our unique font product . Continuing the unique writing style, Samantha is here as an answer for those of you who crave handwritten typefaces with a unique and attractive style. Samantha is the right choice for designers in creating stunning designs. Samantha is really appropriate to use in invitation cards and other happy moments. Get Samantha now..

Bagerich is font designed by Reza Rasenda & Riska Candra Dewi, with design choices inspired by the Art Nouveau era. Bagerich comes with stylistic, alternates, ligatures and supports multilingual languages. Create unique & beautiful logotype, use it as an elegant solution for your next magazine layout, or choose Bagerich for any graphics that require a sleek look with a elegant flair.

Govanka is a beautiful and classic handwritten font. It is the best choice for creating attractive logos, branding projects, weddings, magazines, shops, and quotes. Each letter has a unique and beautiful touch, which will bring your designs to life! This font is PUA encoded, which means you can access all of the glyphs and swashes with ease!

Creepy Forest is a hand-written font with a spooky style. It comes with a large range of characters including uppercase, lower-case, numerals, punctuation, currency and accents. It will be a great choice for any display project, Halloween card, t-shirt, pillow, crafting, and much more! Thank you for your purchase! We hope you enjoy our font!

Brisella is a simple modern handwritten font with a wonderful choice of bold and elegant to choose from. Its natural and unique style makes it incredibly fitting to a large pool of designs. The only limit is your imagination! This font is PUA encoded which means you can access the available glyphs and ligature with ease!

Blank Moment is a quotable handwritten sans. You can use this font for any project. This font will make your project more natural and humanist. Blank Moment is a nice and never goes wrong choice for your instagram post! This font also contains unique lowercase that will make your project less ordinary. This font also support multilingual.

Chancellor is a robust hand-drawn sans serif display typeface. Its sturdy letterforms takes inspiration from Plakatstil era posters, while bringing up also cool adornments to flourish your lettering designs. This all caps typeface has two versions for each letter, amplifying your composition choices. It's positively a great tool for a wide range of creative display uses.

This heavyweight poster sans is based on the typeface Samson, designed by Robert Hunter Middleton for the Ludlow Type Foundry in 1940. The slanted uprights suggesting brushwork make this face a perfect choice for casually commanding headlines. Both versions include the complete Latin 1252, Central European 1250 and Turkish 1254 character sets, with localization for Lithuanian, Moldovan and Romanian.

Hello, friend! 'Quessera' font is coming; an elegant typeface with huge playful stylistic & ligatures. Quessera has a complete stylistic of uppercase and has many unique ligatures, so you have many choices to determine the most perfect one for your work and make it look stunning. Quessera is perfect for branding, logo, invitation, wedding vibes, fashion, headlines, and more.

Fox Valentine Doodle is a cute dingbat font specially designed for the Valentine’s season and party., Its versatility makes it great for a wide pool of craft projects, designs, planners, diaries, activity books, or anything that your heart desires. Add this beautiful doodle dingbat font to each of your creative ideas, and notice how it makes them stand out.

Fox Xmas Doodle is a cute dingbat font specially designed for the Xmas season, Its versatility makes it great for a wide pool of craft projects, designs, planners, diaries, activity books, or anything that your heart desires. Add this beautiful doodle dingbat font to each of your creative ideas, and notice how it makes them stand out.

Melodicstar is a Modern Calligraphy Font. Melodicstar is a lovely script font featuring charming, playful characters that seem to dance along the baseline. Add this font to your most creative ideas, and notice how it makes them stand out! Melodicstar also multilingual support. Enjoy the font, feel free to comment or feedback, send me PM or email. Thank you!

Love Lea is a lovely calligraphy font. It has beautiful and well balanced characters and as a result, it matches a wide pool of designs. Add it to your most creative ideas and notice how it makes them come alive! This font is PUA encoded which means you can access all of the glyphs and swashes with ease