Qiproko is a typeface with semi-modular and geometric shapes. The squared curves remind the shape of the cathode ray tube monitor, giving a retro feel to the characters. It’s unusual stencil version makes a direct reference to the electronic circuit, which gives a very technological aspect. Each font includes OpenType Features such as Tabular Figures and Capital alignement. The fonts have an extended characters set to support Central, Eastern and Western European languages. Qiproko is perfectly suitable for headlines or epigraphs, but works in text too.

Godina was born from the interest in learning and deepening in the basic forms and how they are combined to compose a typographic system. The name, a tribute to the town of La Almunia de Doña Godina, the town for which the author of the typography connects. La Almunia is a crossroads in the typography designer's travels, a link between his family and friends. It combines the scent of a straight and modular typeface with sinuous and curved shapes, which make it a fun and playful typeface.

A sample of monogram lettering entitled "Style 204 - Modern Block" (probably circa 1940s) yielded the thin Art Deco alphabet model for Dress Shirt JNL, which is available in both regular and oblique versions.

An example of an antique sans serif wood type displayed in Rob Roy Kelly’s “American Wood Type” was the working model for Sandalwood JNL, which is available in both regular and oblique versions.

Subeve was first made for a young fashion designer in Montreal. We used the silhouettes of her models to create nice icons for her website. Feel free to play with these nice women !

A vintage brass stencil used for marking oil drum lids for the Standard Oil Company of Kentucky served as the model for Refinery Stencil JNL, which is available in both regular and oblique versions.

Tourist Spot JNL is the same lettering style as Old Tijuana JNL, but with the squiggly inside lines stripped away. The original design was modeled from the hand lettered title on the cover of the 1939 sheet music for "Class Will Tell" and is available in both regular and oblique versions. Casual and playful in nature, the font can be used by itself or combined with Old Tijuana JNL for any project that promotes festive occasions.

A vintage rubber stamp alphabet and star printing set had a package header with Art Deco-inspired lettering describing the product. Sold by a company called Elvin [circa late 50's-early 1960s], these Japanese-made sets were one of many distributed by independent toy importers and made in various configurations including [at times] tiny animal stamps. The type design on this particular item was the model for Retro Packaging JNL, available in both regular and oblique versions.

Old Tijuana JNL was modeled from the hand lettered title on the cover of the 1939 sheet music for "Class Will Tell" and is available in both regular and oblique versions. Casual, playful and reminiscent of the "serape" style of pseudo-Mexican lettering found on ad designs of the 1930s and 1940s, the type face isn't just for South of the Border themes. Use it for any festive occasion and the design will blend in well.

Adriane Lux is the decorative, "inline" or "openface" titling companion to Marconi Lima's acclaimed Adriane Text family. This single weight offering is modeled after the Regular weight of the primary family.

 While Adriane Text is intended for thoroughly classical book design, Adriane Lux enters the fold as an equally traditional display face. Have it foil-stamped on your next faux-leather book cover design or embossed on your personal calling card for a touch of well-behaved, regal formalism.

The present font project is inspired by a tombstone inscription on one German grave in northern Bohemia. Suitable combination: Plagwitz, Modell. Teuton is ideal typeface for graves and posters, for advertising as well as magazines.

Cooper Poster was inspired by showcard lettering samples featured in the book, Commercial Art Of Show Card Lettering, published in 1945. Although named ""Western"", the design was modeled after Ozwald Cooper's 1921 original Cooper Black.

The free form hand lettering comprising the titles and credits for the 1966 romantic comedy “The Glass Bottom Boat” were the model for Sightseeing Boat JNL, which is available in both regular and oblique versions.

The 1963 German release poster for "What Ever Happened to Baby Jane?" features a creepy, sinister, hand-lettered type design that became the model for Creepy Events JNL, available in both regular and oblique versions.

Theatrics JNL gives a rounded corner treatment to Prismatiq JNL; which in turn was modeled from lettering found in an early 1900s French lettering book displayed at an online image sharing site. Limited character set.

HU Blueocean is a headline typeface created by imagining waves in a square glass tube. It iis designed to be used in various environments by adding decorative elements, the swaying form of waves, to the Gothic style of a full square module. There is 1 weight of HU Blueocean : Black Features : Uppercase & lowercase Numbers and punctuation Multilanguage (Basic Latin, Western European, Euro, Catalan, Baltic, Turkish, Central European, Romanian, Pan African Latin, Dutch, Afrikaans, Basic Greek, Basic Cyrillic, Mathematical Operators) 882 Glyphs

Midan, designed in 2005 by Kameel Hawa, director of Almohtaraf Assaudi, is a modern Arabic typeface based on simplified Naskh with a slightly modulated stroke treatment. It is suited for text settings, especially in brochures and magazines. It is characterized by a large body height and open counters and as such can be used in small sizes. The font includes a matching Latin design and support for Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages.

Rasteroids Monospace is a typographic flashback to computing of the mid 1980s, when 9-pin dot-matrix printers were the state of the art, and most home computer displays were TVs hooked up to RF modulators. Rasteroids not only captures the dot-matrix printer look, but recreates the rasterized appearance of text on those lower-resolution monitors. Because of its fixed character width, Rasteroids Monospace is intended for use in accents or small areas of copy rather than long documents.

Girl Anything is the latest Modern Calligraphy love theme that you can get now! The replacement model for Swirly Love is updated with special glyphs that have been given a combination of fantasy and handwritten ink. This font will look beautiful on all designs, New Year designs, Weddings, branding materials, blog titles, quotes and invitations, and business cards. Open Type includes: Alternative Style Set style Thank you very much for viewing and Enjoying it.

A piece of hand lettered sheet music from the era of the "Roaring Twenties" served as a model for Raccoon Coat JNL. It was a time of Prohibition, bathtub gin, flappers and college boys decked out in beanies and raccoon coats. College pennants, ukuleles and "23 Skidoo" were all part of the youth culture during this period; which gave us such dances at the Charleston, the Black Bottom and the Lindy Hop.

Grand Central JNL is named for the most luxurious train depot in the nation—Grand Central Station in New York City. This multi-line Art Deco font is reminiscent of all of the glitz and glamour associated with Manhattan in the 1930s and 1940s. Modeled from Jeff Levine's Parkitecture JNL, its roots go back to the popular typeface best known as Eagle—a lettering design most associated with the NRA posters of the Depression era.

To meet the burgeoning demands of commerce, type founders in 1830s London introduced a plethora of new fonts which abandoned the traditional nib-informed model. Most radical were bold, capital-only designs with almost no stroke contrast, stripped bare of serifs. To all intents and purposes these minimal expressions of utility were identical to 20th century functionalism. Recontextualizing one of the original sans fonts, Shinn offers an alternative proposition to the myth of modernism.

Getho is a Semi Sans family of geometric construction with 6 weights plus the italic versions all include small letters, the symbol of Bitcoin and other monetary symbols. It is an exclusive typography with neo-grotesque modulations and maximum readability in any size. The typeface has alternative letters and numbers, small caps and advanced OpenType functions. The complete Pack includes versions of the Variable Fonts type. The drawn of the vectors is meticulous to obtain smooth curves of elegant aspect to which also contributes the subtle rounding of the corners, the thicker versions have of traps of ink in the knots of the unions to be able to use them in small sizes. The Metric and the Kerning of all the versions I have reviewed individually to obtain a fluent reading in any type of text and size.

The term “Surf Bum” was a slang phrase used to casually describe anyone who spent as much of their time as possible at the beach catching waves in the 1960s. The Revell Company was a well-established maker of plastic model kits such as military airplanes, monsters from Universal horror films and other such items when it hooked up with custom car designer Ed “Big Daddy” Roth to develop a model kit line capitalizing on the surfing fad that was sweeping the West Coast at the time. A number of crazy-looking hot rods, dune buggies and what-have-you were turned out, and one such kit (“Surfite”, with Figure) featured a futuristic one-person dune buggy. It was on the box for the model that the words “with Figure” appear in a casual, brush design type face. Those few letters were the inspiration for creating a new retro type face entitled Surf Bum JNL, which is available in both regular and oblique versions.

The initial characters in China Market were created in 1996 for a logo featuring the Temple of Heaven in Beijing where emperors from the Ming and Qing dynasties worshiped heaven and prayed for abundant harvests. The font was completed in 2010. It is composed of a regularly positioned curved and straight components as if part of a decorative grillwork or other architectural detail. While its influences and origins are clear, its appearance is relies more upon the geometry of its basic elements and the modular structure than a specific stylistic idiom.

Boxed typography is a new and extensive 18 weight typeface, brightly conceived and designed to look good on small screen devices, but offering also enlightened looks on paper. The semi-modular geometric font shapes seek to be fully responsive to the grid of screen«s pixels to deliver a crisp, fluid reading rate. Due to its extensive range of weights and subtle difference in thickness, compensating for the stain of characters between different CSS styles is really easy. It offers an extensive set of Latin characters, even the Cyrillic.

This typeface is a tribute to well-known Italian designer Marcello Nizzoli. Nizzoli is a modern sans serif font that offers a wide range of alternatives—a workhorse type well suited for headlines, posters, corporate identity and advertising campaigns. This modular design is based on geometric shapes and combines straight lines with rounded corners. The whole family is composed of four 7-weight subfamilies: one normal and one alternative plus rounded versions. Each subfamily includes matching italics. This typeface is my own interpretation of those curves and shapes found in Marcello Nizzoli’s designs.

HS Ishraq introduces a modern OpenType Arabic Typeface that combines the features of Kufi and Naskh Style with noticeable both curvy and sharp segments beside the refinements of its letters that made it more readable. HS Ishraq can be used in both titles and text in modern graphic and publication projects. It supports Arabic, Persian, Urdu and Kurdish languages and contains five weights: Thin, light, regular, Medium and bold which can add to the library of Arabic fonts contemporary models that meet with the purposes of various designs for all tastes and all projects.

The classic modernist FS Alvar grew out of a library of pure modular shapes gathered by Fontsmith’s master of the abstract starting point, Mr Phil Garnham. “It was a collection that just had to be explored and brought to life in a typographic voice. “We debated long and hard about this. It was big decision to make a shift away from the typefaces that people knew us for. And we didn’t want to compromise our reputation of well crafted typographic quality”. Modular forms A headline font that’s both graphic and functional, in the modernist tradition, FS Alvar focused Fontsmith’s eyes on the bigger issue of what makes a font show its age. “Looking at those fonts from the 1980s that were supposed to represent the ‘future’,” says Phil, “they looked so dated now. With Alvar, we weren’t concerned with creating future-thinking typography but with exploring form for form’s sake, and how that can evolve to create letterforms. Modular forms with a typographic eye.” Stencilled The concept for Alvar first materialised back in 2001 with some sketches Phil made while still at Middlesex University. Eight years later, something made him dig them out again. “There was something really nice about the proportions of that first design. Working on it again, I thought about it properly, but it still needed something to give it that edge. “Jason stood up in the studio and supplied the missing link: ‘Why don’t we make it stencilled?’ He didn’t mean in an obvious way, but by building a kind of architectural stencil into the form. It worked and the idea of using an architect’s name (Alvar Aalto) to describe the font felt perfect.” Featured in... The three weights of FS Alvar are made for standout headlines in advertising campaigns and magazines. Alvar has had a starring role in campaigns for brands from Nike to Amnesty International, as well as on CD covers, record labels and packaging.

The hand lettered titles and credits from the 1945 British film “The Way to the Stars” were the working model for the aptly-titled British Cinema JNL, which is available in both regular and oblique versions.

A vintage poster from the British Columbia Forest Service on the subject of forest fire prevention provided the hand lettering that was the design model for Quick Poster JNL; available in both regular and oblique versions.

The unusual type design that comprises Cold Case JNL was modeled from a 1950s set of letter and number stencils manufactured by the Huntington Oil Cured Stencil Company of Huntington, NY (later relocating to South Florida).

A monoline spurred sans serif typeface named “Elandkay” from the 1895 Cleveland Type Foundry specimen book was the design model for Northbrook JNL. This Art Nouveau-influenced design is available in both regular and oblique versions.

Introducing Overwave - Display Sans the wave model with a unique arch. very suitable for the title, logo, typography, clothes, magazines, brochures, packaging and much more for your design needs, making your designs more modern and professional.

The dust jacket for the 1929 Western novel "The Raider" by Charles Alden Seltzer featured the title and author's credits in a hand-lettered extra bold stencil design. This became the model for Raider Stencil JNL.

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.