A set-aside work file featuring a bold sans serif typeface that may or may not have had a vintage source history was given a new treatment. Initially, the solid design was converted to a stencil format and an experiment was undertaken to see what the alphabet would look like with a dual line treatment. Surprisingly, it turned out quite well and the end result is Dual Line Stencil JNL; available in both regular and oblique versions.

The other day, a couple of kids at work (I work as a kindergarten teacher!) played this game where they were detectives. Not the usual detective, but someone who worked for cookies and biscuits! They called themselves The Biscuit Kids, and I knew instantly that I had to make a font with that name! My Biscuit Kids font is a playful comic book font, but also suitable for anything that needs a fresh extra spicy attention!

Wine Cellar JNL is a bold, yet casual display face found on some 1930s-era sheet music entitled "Everybody Wants a Key to My Cellar". Since the subject of the song had a number of good times underneath the house, it's a fitting name for the font. The hand lettering for the original song sheet showed strong influence of the 1920s and the Art Nouveau style, and has hints of the popular metal type "Hobo" in its character shapes.

This crisp and constructed Ludwig Wagner, Leipzig, blackletter font in textura style had been originally designed by Berthold Wolpe. Freshly redrawn and redesigned, it adds now to the treasure trove of historic typefaces. This font contains a bunch of useful ligatures, and it is recommended to activate Discretionary Ligatures too. By typing 'N', 'o' and period plus activating Ordinals you get an oldstyle numbersign. As usual in my blackletter fonts, the # key is occupied by the 'round' s.

Adigussto is a signature font that we created with dramatic hand strokes paying attention to the aesthetic appearance in every curve that is so elegant and fun. This font is designed with a natural touch of handwriting refined to create portions and compositions that suit your needs. So this font is perfect for crafts, kids writing, adventure posters, food banner titles, wedding invitations, product packaging logos, quotes, social media page covers, furniture banner headers, book covers, and more.

The German Standards Committee suggested the light Neuzeit-Grotesk’ font in 1970 for use in official signage, traffic directional systems, etc. The typeface had been designed by Wilhelm Pischner and appeared with the font foundry D. Stempel in 1928. The font Neuzeit Grotesk was once the standard in the print industry, as a timeless typeface with no real distinguishing features. Like other typefaces of the 1920s, DIN Neuzeit Grotesk reflects the philosophy of the times, Form is Function.’

A vintage piece of sheet music for "Waitin' at the Gate for Katy" (from the 1934 movie "Bottoms Up") provided the hand-lettered, Western-influenced lettering which is now available as Badlands JNL. Some of the characters originally had overly-thick vertical strokes which stood out from the rest of the letters, so they were "standardized" in order to provide a more aesthetically pleasing overall design. Available in both regular and oblique versions to fit your design needs.

Spotted for sale online, a partial set of antique tin stencils from France had a distinctively handmade look about them. Many of the characters were inconsistently wider than others, some characters were missing and one was damaged. Despite the obvious flaws, the image of these stencils served as the model for a digital font revival once the characters took on a more uniform appearance. French Stencil Serif JNL is available in both regular and oblique versions.

It Had to Happen! Here Comes The World's Greatest Comic Book Font! It's A Collector's Item Classic! It's One of Comicraft's Greatest! You Wanted Our Silver Age Style Font -- last seen in the Pulse Pounding Pages of DC's SUPERBOY and Marvel's FLASHBACK titles -- and Now You've Got It! Three Thrilling Feature-Length Fonts! They're the Strangest Sans Serif Fonts of All! Proof Yet Again That This is Indeed the Comicraft Age of Comics! Etcetera, etcetera, etcetera, Blah Blah Blah...

The three largest sizes of type made by the Caslon foundry are strangely unlike the famously consistent text faces cut by William Caslon. Perhaps they were the work of other hands—or of the master in a funky mood. Caslon’s text types have often been revived, but the display sizes, forceful and a touch eccentric, had no digital version until Matthew Carter’s Big Caslon. With striking Italics and rich design features , this typeface shines at BIG sizes.

Vanitha is a bold script font, inspired by vintage logos and old-school sign painting. This font is made with hand drawings and still pays attention to the calligraphic form so that it looks modern and unique. Vanitha is a display font, which you can use as logos, logotypes, merchandise, sports themes, flags, banners, stickers, labels, posters, and others. This font is also equipped with stylistic alternates to beautify your typographic design. Thank you for your support!

Blackminster is a Gothic font, inspired by a handwritten set of letters (designed by Harry Lawrence Gage) I found in a 1916 book about lettering. I only had the ABC/abc to work with, so I designed the remaining glyphs myself. Use Blackminster for your Metal album covers, skateboards and downhill mountain bikes, or just anything that requires a bit of a Gothic look! Comes with a serious amount of diacritics and an alternate, swashy, g and y.

Fido Pro is the official font of dog owners everywhere. Woof! When the original Fido font was published in 2009, it became an instant hit with cartoon channels, comic book artists, toy makers, cereal packagers and game developers. Now, more than a decade later, we decided to pick it up and give it the Pro treatment. This new version boasts more than 800 glyphs, including 117 interlocking ligatures, plenty of alternate glyphs, and and Pan-European language support.

Cern is a family of20 weights of neutral, yet formally nuanced grotesk typefaces that takes inspiration from the original metal types from Switzerland, yet had a slightly larger x-height for more pronounced legibility. Cern is designed to be highly readable in print and on-screen. The italic variations are true italics and have been designed for smooth, fluid reading and text-setting. The Cern family works equally well for text typesetting and for display design work.

Safety is influenced by works from the Machine Age which had its greatest period between the two world wars and celebrated the triumphs of the late Industrial Age including mass production, skyscrapers, radio & phonographs, hydroelectric power and streamlined styling in industrial design. It is based on an Art Deco display style lettering known most popularly as Broadway or Manhattan but, having existed in a multitude of incarnations from showcard lettering to neon signs for a century.

I really enjoy making brush fonts. I usually just get my Chinese ink and a bunch of brushes and start drawing glyphs. It took some time to get Studio Brush right, but I think spending that extra time paid off. Studio Brush is quite a neat brush font: the glyphs of this all caps font are of equal height (more or less) and complement each other perfectly. Studio Brush comes with double letter ligatures and some alternate glyphs.

Early 1900s songwriters had a penchant for devising lengthy titles for their compositions. A perfect example from 1909, "It Is Hard to Kiss Your Sweetheart When the Last Kiss Means 'Good Bye'" is a whopping fourteen words long. The sheet music for this piece has a hand lettered, Art Nouveau sans serif design which became the working model for La Vie Nouveau JNL [which translates to "the new life"], and is available in both regular and oblique versions.

Crowd Funded fonts wasn’t really crowd funded… In fact, all of the funding came from me, as I had to buy paper and a new pen to get this font going! Crowd Funded is an all caps display font, which I based on a recent font of mine called Longreach. Crowd Funded is narrower and rounder than Longreach and, in a way, more delicate. It comes with a generous amount of diacritics and basic Cyrillic as well!

Cary Grant was one of Hollywood’s most versatile actors, playing romantic leads, dramatic parts and showing off his impeccable timing in screwball comedies. A perfect example of this is Frank Capra’s “Arsenic and Old Lace” from 1942. The movie trailer for the film had the title hand lettered in a playful and casual slab serif style, with varying character shapes and weights. This is now available as Screwball Comedy JNL in both regular and oblique versions.

Here’s another gem by Ross F. George from the Speedball Text Book. It was originally entitled simply Bold Display (Modern Alphabets on Parade) and had a graduated spatter pattern. This version omits the pattern, but keeps the bold, brassy lines. Use it whenever you need an unusual and dynamic headline with a strong retro vibe. Both versions include the complete Unicode Latin 1252, Central European 1250 and Turkish 1254 character sets, with localization for Moldovan and Romanian.

Franz Fiebiger (1880 - 1932) was an Austrian painter and designer who was associated with the Vienna Secession. In 1908 he created a beautiful poster for the Kaiserjubiläums Möbel Ausstellung - a furniture exhibition during the Kaiser's Jubilee. Fiebiger Eins (meaning Fiebiger One) is based on one of the hand made typefaces gracing this poster. As I had to work with only a few glyphs, I designed the missing ones myself. Fiebiger Eins comes with language support befitting a Kaiser...

Zeitung is a sans serif family which works equally well on print and web. First of all: Zeitung is a sans serif made according to contemporary standards: 8 weights, romans and italics, all equipped with small caps. Lots of OpenType features, like uppercase punctuation or 5 figure styles to make sure any of your mathematical or financial charts, tables and diagrams look cool. Zeitung’s typographic palette focuses on utility and legibility, but in the farthest corners you’ll discover a rich array of flavours: punchy black weights, fashionable thin styles, carefully hand crafted true italics, distinct small caps. But Zeitung has more to offer. Its optical sizes offer the best style for each size of your text. Zeitung fonts are devided to two optical families: Zeitung Standard and Zeitung Micro. Zeitung Standard works great in most sizes, while Zeitung Micro fonts are specially made for very small sizes in print and web. Zeitung Micro fonts are perfectly legible in web, where the same technical font styles have to survive in many environments, from older browsers to most up to date mobile screens. Next to that: the lightest weights also function as grades, because they share the same metrics. This can be very handy for selecting the optimal weight for your specific situation, especially on screens or when type is printed by a newspaper press. Letters are rendered in many various ways on different screens. Maybe the interface of your next app requires a different grade than your latest website? Zeitung allows you to change the weight of your text without any further consequence for the design. That is a welcome relief during the design process. Zeitung will help to bring your message across in many different circumstances, from large text in print to small type on screens.