This revival of the Bruce Foundry’s No. 11 is typical of the nineteenth century types derived from the work of Didot and Bodoni; the face remains popular with lawyers and government printers. In fact, Theodore Low De Vinne opposed this kind of design as hard to print and read; he had Century designed to replace it.

This charming, disarming, roly-poly typeface is based on handlettering discovered on a Sabena Airlines travel brochure of the 1930s. Include it in your next project, and a good time will be had by all. Both versions of this font contain complete Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

I sometimes think that we live in strange times: a lot of good (and bad) things seems to happen all at once. System Overload font is based on the protest posters from the seventies. You can use it for your own protest posters, your restaurant signs or whatever you fancy. Comes with several interesting discretionary ligatures as well!

Kaleidoxope is my hand-drawn headline font. However, I traced the font digitally to make it look more smooth - but still kept the handmade look. As usual it has that well known pizzadude mixture of funk, grafitti and a teaspoon of madness! Comes with alternate characters for double lettering and a swashy version of most letters! Enjoy! :)

Tequila… I have to admit that I am not a drinker. I do like Tequila, though, even though I can’t remember when I last had a shot. Tequileria is a very recognisable inline display style font. It would look great on posters and book covers, packaging and even bottles (with or without tequila). Comes with an abundance of diacritics.

A British boxing film from 1953 called “The Square Ring” had its titles and credits hand lettered in a slab serif type style commonly referred to as “Egyptian”. Other familiar type fonts which share this influence are Karnak, Stymie and Beton. Sporting Event JNL was modeled from the film’s titles and is available in both regular and oblique versions.

A precise rounded typeface with a clean and linear appearance. The simple compact nature of the design allows for great economy of space across layouts. Also deliberate consideration has been paid to inner corners to ensure no dark areas are produced within texts. Details include 6 weights, an extended European character set, manually edited kerning and Euro symbol.

A 1935 song with the unusual title of "Dinner for One Please, James" had its title hand lettered on the cover of the sheet music with simple, condensed letters made by a round point dip pen. This has been reproduced in a digital font as Pen Lettering Sans JNL, and is available in both regular and oblique versions.

Tombstones tumble as the night shift begins; as bloodsucking bats turn into pale predators and the undead reach through the dirt that covers their coffins to crush and destroy those who dare cross the cemetery path... Finally there emerges a cold cast of creepy characters, a macabre cadre of lurid letters we had to call… GRAVEYARD SMASH.

An assortment of antique, hand-punched brass stencils from Australia [used for crate marking and shipping] served at the models for Aussie Stencil JNL, which is available in both regular and oblique versions. The lettering of the original stencil punches had rounded edges to the characters; looking more machine rendered than hand punched into the brass sheets.

The other day I discovered that, regrettably, I no longer am a Spring Chicken. Time flies when you’re making fonts… So, after I recovered from that shock, I created this font and called it Spring Chicken! Spring Chicken is a handmade cartoon-ish, script-ish, dunno-how-to-label-it-ish font. Use it and be rad.

Dance Lesson JNL is a reinterpretation of the popular "Latin Bold" typeface. The font's name is a reference to the Latin dance craze of the 1950s, when the Cha-Cha, Meringue, Tango, Mambo and even the "Chalypso" - a hybrid of Cha-Cha and Calypso rhythms had everyone moving to the beat of Central and South America.

estika is a modern handwritten font and pays attention to the anatomy of some text to create a flexible yet elegant form. This font is available in regular and italic forms with open type features to enrich the choice of style when used. This font is perfect for informal uses while maintaining the beauty of writing

Introducing Pragnea, a modern sans serif font with a unique touch. It had many unique quirks such as its distinctive e, curved stroke on R, K, V, W, and many others. The type family consists of three weights plus matching italics. Packed with 300+ glyphs, it works well both for impactful headlines and for reading sizes.

Another addition to the Whiz-Bang Wood Type series is this ultra-condensed font, well suited for very large headlines. Named for the body of water which separates Padre Island from the mainland of Texas. Both versions of this font contain the Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

Imagine that you had a bunch of pencils of various sizes and you wanted to make a set of letters with them. You would probably come up with something similar to one of these three typefaces. It is caps only, but some of the characters on the lower-case keys are different from those on the upper-case keys.

I’ve never been one for zombies and all that. I did watch a couple of seasons of The Walking Dead, but after the 2.000.000th zombie got whacked, I had enough. When I made this font, it gave me a zombie feeling. One thing I learned from watching TWD was that zombies are always hungry. There you have it!

This is a funky hand lettered font that just begs to be used for coffeehouse promo. It is best when used in sizes above 16 points and is even better when used for posters where it can be printed in giant sizes. It was hand drawn in Fractal Designs Painter with lots of little Doo-Dads.

The sheet music for the 1914 Word War I comic novelty song "When the War Breaks Out in Mexico I'm Going to Go to Montreal" had one of those overly-worded song titles popular during this period (13!), along with interesting sans serif hand lettering. It now debuts digitally as Conscription JNL in both regular and oblique versions.

Scriptissimo-Forte is the bold version of Scriptissimo. When using the normal cut of Scriptissimo I sometimes had the feeling that I could well use a bolder cut to make a bigger impression, so I simply made that cut for myself. I think you can use it too; try it out. Yours very bold scriptissimo, Gert Wiescher

Specimen VI is a refined hand by artist Aileen Fretz of Plume Calligraphy: thoroughly modern yet absolutely timeless. We have our sights set on this one becoming an instant classic. OBSERVATIONS Specimen VI takes its inspiration from the old world, while remaining thoroughly contemporary. It is unique while maintaining legibility. DEFINING CHARACTERISTICS At 2,580 characters, we dare say it is one of the most robust script fonts on the market today. The font includes extensive Opentype programming that authentically replicates Aileen’s unique handwriting pattern. As you type, watch the letters automatically adjust between connected and disconnected forms. Specimen VI also features formal titles, prepositions, social media wordart, and web navigation wordart, serif and sans serif Roman numerals, in and out-stroked letterforms at beginning and end of words, multiple alternate lowercase t cross-strokes, realistic double-letter ligatures, seamlessly connecting calligraphic letters, multiple styles of alternate capital letters, including swashes, and basic Latin encoding. Specimen VI is a typesetters’ dream. POTENTIAL SIGHTINGS In the pages of your favorite wedding tome; the signage, robe embroidery, and dinner menus of that coveted boutique hotel on the Italian Riviera, the labels of an artisanal hand-poured candle line, your new favorite Rosé, hand-crafted Belgium chocolate truffles, the indie cosmetic line fit for royalty, in any instance that you may be in need of a refined modern script.

Some say The Silver Age Will End in Fire; others say The Silver Age Will End in Ice! Know, O Prince, that In Your Darkest Hour, the Masters of Evil Will Live Again! But from The Ashes of the Bitter Taste of Defeat, A New Power will be Unleashed! Lo, There Shall be A Frenzy in a Far Off Land, There Will be a Great Price AND a Great Prize! There Will Be a Bitter Victory in a World Gone Mad -- a World You Never Made... Face it, Tigers, You are Captives of The Coming of The Return of The Mad Mysterious Menace of He Who Would Destroy You...This Man, This Monster... This Final Font in our collection of Silver Age Display Lettering -- BATTLE DAMAGED! See the families related to Battle Damaged: Battle Cry & Battle Scarred .

Birka is the first typeface I designed from scratch. It took a whole year of my weekend and evening hours and is the typeface that teached me everything I know about type design. It is easy too see that I had Garamond in mind when drawing it. Birka is beautiful" was the comment of the well known Swedish designer Bo Berndal when he first saw it. That comment gave me the courage to design more and more typefaces. In a Danish article about Scandinavian type design, Birka was taken as example of a typical Swedishness in typography. I am not sure what the writer had in mind, but it surely sounded well. Birka has its name from the ancient Viking town Birka, whose remains are found not far away from Stockholm. Birka was released in 1992."

In his 1538 book on measurement, Albrecht Dürer gave clear descriptions and drawings about the proportions of the letters in both Roman and 'fraktur' alphabets (from Latin 'fractura', meaning that it's broken up with lots of different angles rather than smooth curves). Here is the fraktur alphabet as a font completed for use today, with a few characters modernised and some gaps filled. Of course there are countless examples of fraktur fonts already circulating, and indeed one foundry even has another version of this particular one; but we have different approaches to some of the questions raised, we have aimed at a more even tracking (horizontal spacing), and the 260 glyphs in our version include accents and other diacritics, and the modern symbols which Dürer would surely have embraced if he had had access to the internet.

Supera Gothic is a design inspired by the early geometric and humanist typefaces of the 20th century. Its characters draw inspiration from Erbar Grotesk by Jakob Erbar and Johnston by Edward Johnston; hence, in heavier weights, the “f” and “t” bars are pointed which honor Erbar’s work, and Supera’s uppercases and numbers reflect Johnston’s proportions and features. The result is a sans serif family with both, a historical and modern touch perfectly suited for all types of graphic works. Super Gothic comes in 9 weights plus its matching italics and is equipped with a large range of opentype features. Fun fact, Erbar had attended calligraphy classes carried out by Anna Simons, who was a former student of Johnston (Tracy, 1986). Maybe in modern times, they had met through social media, and some collaborative work would have risen, who knows.

ITC Rastko began as a series of initial letters for a book of poetry. Serbian designer Olivera Stojadinovic had been working with a small publishing house creating a special series of books under the Masterpieces" brand. Her goal was to draw a new set of initial letters for each book. ITC Rastko, named after the Serbian poet Rastko Petrovic, was a project that required initial letters for the entire alphabet. Once Stojadinovic had drawn the majority of the capital letters, she realized that a companion lowercase would make a distinctive script typeface. Sketches of the letters were drawn quickly with a pointed pen. Stojadinovic then refined these, keeping the spontaneous, hand-drawn quality. Capitals are wide and flourished, while the lowercase letters are more condensed and subdued. It's no surprise that the capitals also make great initial letters."

Airora is a sweet and cool script font, perfect for adding a playful feel to any design idea!

A beautiful new sans serif great for magazines, ad work, text or headlines works for all your needs.

Bubble Gum is a juicy multi-dimensional gob of goodness that’s bursting at the seams with loads of alphabetic appeal. Its well-padded figure transforms the ample letterforms found in classic comic strip word balloons into a warm and casual display font with a little extra kick. Cooked up by Dave West for Photo-Lettering, Inc. between the late 1960s and early 70s, Bubble Gum was finally digitized by Jess Collins in 2011. Please note that the shaded version of the typeface is composed by layering the Regular font and a separate Drop Shadow font. Some assembly required. Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world. Featured in: Best Fonts for Logos

Pseudonym is a low-contrast, subtly-flared serif available in four weights across three styles in both roman and italic. As with all of my typeface designs, I am creating fonts that I would use myself for branding purposes—typefaces with style and purpose that are intended for use in creating logos and distinctive branding typography. I wanted to create a typeface that had incisive flared serifs combined with the strength and solidity of modern grotesque faces. The result is Pseudonym, which I feel has great presence, style and legibility. Although I must admit, I had to tone down the flared serifs during the design process in order to achieve that :) I’m sure you will have great fun playing with some of the Open Type features that I’ve added to Pseudonym. There’s a full set of true small caps with their corresponding diacritics and figures. There are also a number of discretionary ligatures, these are chosen from the glyphs palette in your layout app to replace pairs of standard characters. You’ll also enjoy making use of the catchwords – these have been created to harmonise with each style, again, giving you more flexibility and scope to create some innovative typography. Finally, there are some alternate characters for /C/D/O/. You may wish to use these when creating logos that include standard contractions for limited, number, incorporated, etc. Key features: • Pseudonym is a low-contrast, subtly-flared serif that has great presence, style and legibility • 3 styles – Narrow, Regular and Wide • 4 weights in roman and italic: • Light | Regular | Medium | Bold • Full set of small caps with diacritics and figures • 30+ discretionary ligatures, catchwords and alternate characters • Full European character set • 600 glyphs per font

Classica Pro by Bernd Möllenstädt A real alternative for letterpress printing A masterpiece It was only after many years, shortly before the end of his life, Bernd Möllenstädt brought out these early drafts of his Classica Light and Light Italic from his drawer, and asked me to produce for him on the computer a Bold and Bold Italic, from which we later wanted to interpolate further cuts like Regular and so on. The boldening of letters with an oblique axis and with hairlines which should not grow to the same extent as the general line widths, is hard to cope with perfectly, even for the smartest computer program, and even more so, when it concerns an as complicated set of data as those conceived by Bernd. The automatically generated result could therefore only be a first step that had to be improved manually later. This was about the stage that we had reached when Bernd died in March 2013, leaving me behind with comprehensive corrections on proofs of this automatically generated Bold. Although I was aware that it would mean a lot of work to complete the project, I did not want to leave it unfinished and decided to finalize and publish the Classica, also in Bernd‘s honor. In the course of the two years that I worked on this font family it somewhat naturally became also my own. New details were added and some of the existing changed. A book typeface requires the supreme and forgives rarely, it represents a true masterpiece. My intention and my ambition were to create a real alternative for letterpress printing, with a font family that contains all the typographic options for an excellent typesetting, and is better readable and has a better appearance than other existing typefaces. Whether this was achieved, the reader may decide. Volker Schnebel, Hamburg, december 2014

The August 11, 1929 issue of “The Film Daily” carried an ad for Tiffany-Stahl Productions’ presentation of a special film release featuring a wrestling match between “Strangler” Lewis and Gus Sonnenburg. The hand lettering for the ad was rendered in an Art Deco sans serif style, and is now available digitally as Film Event JNL in both regular and oblique versions.

Say hello to my munchy and funky font - better known as "Munchy Funk" Munchy Funk has its roots in basic sans fonts, but with a handmade and bouncy approach. I've added 3 different layers, that works well together - either as individual fonts, or as layered graphics. Furthermore, I have added 3 slightly different versions of each lowercase letter and multilingual support!

In the March 16, 1936 edition of “The Film Daily” (a trade publication for the film industry) the magazine ran an ad for its Year Book. The ad was set in a slab serif typeface similar to popular designs such as Karnak, Stymie, Beton and the like. Redrawn digitally as Trade Paper JNL, it is available in both regular and oblique versions.