TipTop Pro’s origin goes back to around 1900 when the font was released by the German foundry Julius Klinkhardt in Leipzig. Ralph M. Unger redesigned this beautiful art nouveau typeface, extended its character set and digitally remastered it. TipTop Pro fits perfectly into the series of recently released URW++ art nouveau designs (Edda, Gradl, Impression, Joga, Ornella).

Fine and Dandy JNL comes from the hand lettered title of the 1929 movie "Isle of Escape"; found on the sheet music for its theme song "My Kalua Rose". An engraved and fancy Roman, the style combines elements of Western, Art Nouveau and Art Deco into one attractive type design; available in both regular and oblique versions.

A couple of pieces of sheet music from France [circa 1925] offered the inspiration for Chanson De Paris JNL (Song of Paris), which is available in both regular and oblique versions. This hand lettered Art Nouveau style features a unique take on thick-and-thin lettering which foreshadows the Art Deco typefaces to come during the 1930s.

Hello friends! The 'Tobias' font is coming, a dynamic and art nouveau feel. Tobias is very inspired by the art nouveau style with a slightly modern touch. It's perfect for branding, logo, packaging, header, title, t-shirt design, etc. Tobias is great if you pair it with an illustration, it will make the design even more dope. Happy creating :)

We tried to implement graffiti that is common in our city. Everyone wants to express themselves. Whether in writing, painting on canvas or on the street, everything must be respected as art. It can be useful when you want to express graffiti art, but also consider readability. You can also work easily with three color fonts.

HOLBORN Aptly named after ‘High Holborn’, a high-street in London where the Central School of Art & Design was based. A font, just in capitals, based on the original design and the earlier sketches (1976) by André Toet. The strong optical illusion in this alphabet makes it an outstanding typeface. Concept/Art Direction/Design: André Toet © 2017

Introducing Beijin Layered Font Beijin is a serif font and comes with 7 layer style, that allows you to stack however you want. There are more than 407 glyphs in this font including Stylistic sets, Contextual Alternates etc. OpenType features with Stylistic Alternates, Contextual Alternate in some characters that allows you to mix and match pairs of letters to fit your design. Beijin Layered Font is suitable for Logo, greeting cards, quotes, posters, branding, stationary, design title, blog header, art quote, typography art, modern envelope lettering or any purpose to make our art/design project look pretty and trendy.

Frank H. Atkinson was a popular Art Nouveau sign painter in Chicago, Illinois. He designed signs for the Cadillac Motor Car Co., Chicago Academy of Fine Arts and the department store Marshall Field. Oddly enough, he even designed signs for other sign painters. In 1908 he published a book, Sign Painting, which sold well. French Plug, a bold, rounded, all-cap design in an American Art Nouveau style from that book. It has a relaxed, easy-going informality that is useful for ads and flyers. It also would have fit very nicely with many French posters of the period.

Cooper Black's second coming to American design in the mid-sixties, after almost four decades of slumber, can arguably be credited with (or, depending on design ideology, blamed for) the domino effect that triggered the whole art nouveau pop poster jam of the 1960s and 1970s. By the early 1970s, though Cooper Black still held its popular status (and, for better or for worse, still does), countless so-called hippie and funk faces were competing for packaging and paper space. The American evolution of the genre would trip deeper into psychedelia, drawing on a rich history of flared, flourished and rounded design until it all dwindled and came to a halt a few years into the 1980s. But the European (particularly German) response to that whole display type trend remained for the most part cool and reserved, drawing more on traditional art nouveau and art deco sources rather than the bottomless jug of new ideas being poured on the other side of the pond. One of the humorous responses to the "hamburgering" of typography was Friedrich Poppl's Poppl Heavy, done in 1972, when Cooper Black was celebrating its 50th anniversary. It is presented here in a fresh digitization under the name Gator (a tongue-in-cheek reference to Ray Kroc, the father of the fast food chain). To borrow the title of a classic rock album, Gator is meaty, beaty, big and bouncy. It is one of the finest examples of how expressively animated a thick brush can be, and one of the better substitutes to the much overused Cooper Black. Gator comes in all popular font formats, and sports an extended character set covering the majority of Latin-based languages. Many alternates and ligatures are included in the font.

Art Deco inspired font in 4 different versions with multi language support as well as contextual alternates!

Serenade JNL is an original design from Jeff Levine with a bit of an Art Nouveau feel.

Clarista is a stunning script that will turn any design project into an authentic piece of art.

Jilly Bean is what happens when art deco meets pizzadude... Or is it the other way around?

Typetonic is great display face for anything related to design, art or technology. Available in Crossplatform Opentype.

Inline lettering from a vintage piece of sheet music inspired Delancey JNL, an Art Deco-flavored design.

Mango Flavor is my super cool comic-ish font with a taste of ... you may have guessed it...Mango! :) It's playful and jumpy and wants to be a part of the action!

Wood type for display. Serifs like brush strokes are associated with Japanese calligraphy ‘Shodo’. East meets West. There are two styles, Regular for ordinary use and 3D for more eye-catchy part.

Western Adventure JNL is based on a classic lettering stencil of the 1950s. Part of a growing series of such stencil fonts by Jeff Levine, it's a perfect complement to Buckdance JNL.

RenéLemon is a design where the basic design idea is part of its name – Lemon. Every glyph is derived from the form of a lemon, splashing and dashing – a typographic vitamin pill!

P22 Klauss Kursiv is the first ever digital revival and expansion of the last face Karl Klauß designed for the Genzsch & Heyse foundry in Stuttgart before he died in 1956. Karl Klauß’s classical training in the graphic arts gave him solid chops to use as a springboard for design ideas that remained relevant among the countless trends fleeting around the turmoil of two world wars. By the mid-1950s, a kind of ornamental deco aesthetic was well on its way into mainstream design in post-war Europe, and demand was high for unique, lively and non-minimal ad faces. Klauß, a reliable designer with a proven track record of calligraphic faces, pushed the envelope on his own calligraphy and designed something that packages elegance in a boldness seldom seen before in luxury scripts. Quite a bit of talent is on display in Klauss Kursiv. In spite of the restraint this kind of design imposes on itself almost by default, the interplay between thick and thin never seems forced or challenging. Clear, natural strokes build a compact alphabet that demonstrates the wrist control of a veteran calligrapher. Creative nib angling segues into very clever start-and-stop constructs to make attractive forms that work quite well together, yet stand well to individual scrutiny. P22 Klauss Kursiv comes with a load of built-in alternates and ligatures in a font of over 470 glyphs, providing extended support for Latin languages.

MollyO font family is based on the original, reliably cool handwriting of illustrator (and dear friend), MollyO of mollyOcards. Like MollyO herself, this font is unique, unpretentious, and beautiful. Part printed and part script, it has the authentic connections and stops of a contemporary, casual font. For the truest handwritten feel, keep discretionary ligatures on, or turn them off where you want more evenness. MollyO is expressive in all-caps, available in two weights, and with effortless warmth and inky flow, will bring a wide range of creative projects to life.

Linotype BioPlasm is a display face created by Italian design Mauro Carichini in 2002. It distorts and deletes parts of letters, creating the appearance of a living, typographic organism in pages of text. Lines set in Linotype BioPlasm seems bubble to the surface, and always hints at some sort of unrevealed secret. Although only parts of most letterforms are visible, the high x-heights of Linotype BioPlasm's letters make its text surprisingly legible for such a concept-font. For usage in products ranging from Sonic to Science, Linotype BioPlasm may be the font for you!

Modern digital typography pushes many designers to try and achieve visual perfection with their lettering. In the days of wooden type, the premise was more in creating a font that "sold" the message (possibly, in part due to the lack of advanced tooling to achieve uniformity). In many styles of wood type (such as the one used as a model for Broadletter JNL), there are vast differences within the character design, weight and symmetry from letter to letter. This is now looked upon as "old fashioned" and "charming" - part of the appeal of this typeface.