Developed from the STP Display Cyrillic, the STP Stencil Cyrillic Typeface follows the same characteristic premise as its sister, in addition to composing the same number of Cyrillic and Latin characters. What distinguishes them it’s that the STP Stencil Cyrillic can be applied more easily anytime, anywhere, increasing the possibility of being used in a more craft and artistic way. Since it has characteristics of a stencil font, it brings a more urban and contemporary look, which makes ideal to use it in public spaces with large circulation of people. In addition, wayfinding, architectural, advertising, packaging, posters, among others projects, are a good request for STP Stencil Cyrillic show its vigor and all its beauty. The STP Stencil Cyrillic is a modular feature source, perfect to use it in major event signaling projects or similar. It can also be useful in any demands that requires improvisation and quick solutions. The STP Stencil has very expressive forms and counterforms, but still counts with the practicality of a stencil source and its infinite possibilities of use.

Trump Soft Pro is the softer, round-cornered version of Trump Gothic Pro, the popular condensed gothic seen on films, magazines, book covers and frashion brands all over the globe. Trump Soft offers a friendlier grade of the same economic functionality, clear modular aesthetic and extended character sets as Trump Gothic. The sharper Trump Grothic series is a reconception of ideas from Georg Trump’s seminal 1955 Signum typeface and its later reworking (Kamene) by Czech designer Stanislav Marso. Originally cobbled together for a variety of film projects in the late 1990s and early 2000s, the Trump Gothic family was made available for the general public in 2005. Shortly thereafter, it became extremely popular. It continues to be used extensively today. In 2013, the typeface was redrawn, refitted, optimized and greatly expanded into a multiscript family of six fonts, each containing over 1020 glyphs and a wealth of OpenType features, including small caps, caps-to-small-caps, stylistic alternates, unicase/monocase alternates, fractions, ordinals, class-based kerning, and support for Latin, Cyrillic and Greek locales.

The extra bold version of R. Hunter Middleton's "Karnak" (produced in 1936 for Ludlow) served as the model for Bookkeeping JNL and is a companion to Bookkeeper JNL (the light weight version of this type design). Middleton based his "Karnak" family of typefaces on the geometric slab-serif "Memphis", which was designed in 1929 by Dr. Rudolf Wolf and released originally by the Stempel Type Foundry of Germany. According to Wikipedia, "Karnak" "was named after the Karnak Temple Complex in Egypt, in reference to the fact that early slab serifs were often called 'Egyptians' as an exoticism by nineteenth-century type founders." Bookkeeping JNL is available in both regular and oblique versions.

Italian Old Style™ was designed by Frederic W. Goudy for the Lanston Monotype Company in the USA. Goudy was asked by Monotype to copy Cloister Oldstyle, a successful font that belonged to a competing foundry (it was designed by Morris Fuller Benton, see Cloister Open Face). Goudy refused on grounds of ethics, and instead talked Monotype into producing a new face. This he based freely on fifteenth century Venetian types, which were the same historical models used by Benton for Cloister and later by Bruce Rogers for Centaur. Goudy's result was Italian Old Style, released by Monotype in 1924, and considered by many to be one of Goudy's best fonts for book typography."

I was working about 10 years exclusively for a type company. Based on my experiences, I built this superfamily. Schuss™ Sans PCG is a humanistic sans-serif with a little contrast. Small Caps, greek and cyrillic are included. Also tab, prop, lining, old style and small cap figures. It's a typeface with clear and open characters. All complicated shapes are cleaned and simplified with a bit elegance. Schuss™ Slab Pro is a slab serif, based on the Schuss™ Sans. Schuss™ News Pro is the modeled style between Schuss™ Slab Pro and Schuss™ Serif Pro. Schuss™ Serif Pro is the antiqua shape. Additionally all serifs are cleaned up. There is just one-side-serif in the "n" for example. Tab figures (except small caps), mathematical signs and currency symbols have a width system accross all styles and weights.

I was working about 10 years exclusively for a type company. Based on my experiences, I built this superfamily. Schuss™ Sans PCG is a humanistic sans-serif with a little contrast. Small Caps, greek and cyrillic are included. Also tab, prop, lining, old style and small cap figures. It's a typeface with clear and open characters. All complicated shapes are cleaned and simplified with a bit elegance. Schuss™ Slab Pro is a slab serif, based on the Schuss™ Sans. Schuss™ News Pro is the modeled style between Schuss™ Slab Pro and Schuss™ Serif Pro. Schuss™ Serif Pro is the antiqua shape. Additionally all serifs are cleaned up. There is just one-side-serif in the "n" for example. Tab figures (except small caps), mathematical signs and currency symbols have a width system accross all styles and weights.

I was working about 10 years exclusively for a type company. Based on my experiences, I built this superfamily. Schuss™ Sans PCG is a humanistic sans-serif with a little contrast. Small Caps, greek and cyrillic are included. Also tab, prop, lining, old style and small cap figures. It's a typeface with clear and open characters. All complicated shapes are cleaned and simplified with a bit elegance. Schuss™ Slab Pro is a slab serif, based on the Schuss™ Sans. Schuss™ News Pro is the modeled style between Schuss™ Slab Pro and Schuss™ Serif Pro. Schuss™ Serif Pro is the antiqua shape. Additionally all serifs are cleaned up. There is just one-side-serif in the "n" for example. Tab figures (except small caps), mathematical signs and currency symbols have a width system accross all styles and weights.

I was working about 10 years exclusively for a type company. Based on my experiences, I built this superfamily. Schuss™ Sans PCG is a humanistic sans-serif with a little contrast. Small Caps, greek and cyrillic are included. Also tab, prop, lining, old style and small cap figures. It's a typeface with clear and open characters. All complicated shapes are cleaned and simplified with a bit elegance. Schuss™ Slab Pro is a slab serif, based on the Schuss™ Sans. Schuss™ News Pro is the modeled style between Schuss™ Slab Pro and Schuss™ Serif Pro. Schuss™ Serif Pro is the antiqua shape. Additionally all serifs are cleaned up. There is just one-side-serif in the "n" for example. Tab figures (except small caps), mathematical signs and currency symbols have a width system accross all styles and weights.

Vernon’s inspiration came while researching and investigating a 'legible' typeface design for tangible purpose. The main characteristics of ‘Vernon’ can be seen in the slightly modulated strokes that reference the natural and friendly humanist proportions of the humanist hand, with open interior letterspace characteristics. The subtle detailing and finishing of strokes and junctions – seen in the curved tail of the lowercase ‘l’ and the head serif of the lowercase ‘i’, create a smooth rhythm along the baseline. Utilizing the ‘contextual alternative’ feature of OpenType, Vernon substitutes select characters in words with word-shapes that may cause visual confusion to some readers. Vernon uses subtle character differentiation in the detailing of the inner-shape / counter space from similar letter shapes (for example: ‘p’, ‘d’, ‘g’ and ‘q’) to assist in creating the contextual alternate designs. Vernon is recommended for use as a text typeface, as it performs well at small text sizes (12 point size and below) intended for continuous reading of printed instructional and presentational information, especially where an inclusive audience demographic is required.

Automoto is built from a limited number of curved and straight segments that have been flipped and rotated. It has an extensive set of two- and three-letter ligatures that form a triple ribbon resembling a model car racetrack. For clarity, some character combinations were excluded as they proved to be ambiguous in context. The upper- and lowercase characters can be freely intermixed according to taste.

1920s-era sheet music for "Tangos Pour Manon" from Brussels, Belgium had the title hand lettered in an unusual style. The alphabet was square, had serifs and the thick-and-thin stroke weights that were more popular in the upcoming Art Deco years of the 1930s and 1940s. This became the working model for Torrid Tango JNL, which is available in both regular and oblique versions.

With electronics taking over virtually every aspect of manufacturing, packaging and shipping, it's almost difficult to envision a time when wooden crates were marked for identification by using brass stencils. Many of these stencils were hand-cut or manufactured with special punches that perforated the brass sheets with pre-formed letters and numbers. One such stencil was the design model for Marking Stencil JNL.

Soothing is a signature font created in elegant modern handwriting, with a natural and stylish flow. This font has the perfect shape for your personal branding and business casual designs. This font is perfect for business cards, photography studios, signatures, interior designs, names of models, coffee late, traveling, weddings, cosmetics, jewelry. Start using this font to add an authentic and heartfelt vibe to any design project

The cover of the 1904 sheet music from the Tibetan comic opera “The Forbidden Land” had the title hand lettered in an unusual Art Nouveau style. Mostly squared with rounded corners, many of the characters twisted, turned and extended in ways that took on the look of the Far East. This became the design model for Nouveau Moderne JNL, which is available in regular and oblique versions.

An ad spotted in a 1960 issue of Billboard magazine promoting a 45 rpm release by Randy Lee doing the old song "Did You Ever See A Dream Walking?" featured the song title in a casual, brush lettered style. While the ad made a perfect model for a digital font design, the record itself tanked. Quick Titling JNL is available in both regular and oblique versions.

Surakarta is a display face of western characters with numerous optional ligatures modeled after the graceful Javanese alphabet still taught in many schools on the island of Java in Indonesia, though it has been replaced by the latin alphabet for most everyday purposes. This is the second in Parquillian Design’s series of fonts inspired by some of the beautiful lesser-known native scripts of Southeast Asia.

The model for this monocase typeface was issued in the early 1900s by Barnhart Brothers & Spindler with the rather prosaic name of Steelplate. A hundred years later, it still retains its currency (ouch!), which is how it got its name. Complete Adobe character set except for superior numbers. The Opentype version of this font supports Unicode 1250 (Central European) languages, as well as Unicode 1252 (Latin) languages.

La famille Millenium est composée de modèles dont le poids varie progressivement. Elle est très étendue. Elle va de "Super Thin" à "Extra Black". Unique au monde, sa finesse permet de concevoir un style très léger même pour l'impression d'affiches et d'autres grands formats. Conçu dès l'origine comme un caractère variable, le Millenium offre une gamme de 900 variations possibles et une infinité de créations...

Eckhardt Casual JNL was modeled from an example of poster lettering found in a 1941 Speedball® Lettering Pen instruction book. The font is named in honor of Jeff Levine's good friend, the late Albert Eckhardt, Jr. (owner of Allied Signs in Miami, Florida until his passing) and is one of a number of releases with a "sign painter" theme that comprise the "Eckhardt Series".

Joane Pro is a new typeface based on Joane (2018). This project has its roots in French typography from the 16th century, Dutch models from the 17th century, and English typography from the 18th century. The result is a high-contrast typeface with sharp features which provides an organic texture. Joane Pro is a contemporary typeface with 79 styles that work in display and small sizes.

This set of initial letters was inspired from French renaissance decorated letters. Unfortunately, we don't know where they were in use, or who was the punchcutter, our models were coming from a late XIXth century copy. Note: The letters I and J, U and V are not different. It is not a mistake, but it is the exact reflection of what was customary during the period.

Malebu is a sans serif font that was created based on grotesque and humanist models with certain geometric features. It is clear, simple, gentle and friendly, and can be used in text sizes. It is easy to read in long texts, magazines, books and the like. The rounded shape makes it friendly and fluent. A short x-height is functional and adds economy without losing consistency.

Balcony Seats JNL is a different take on Jeff Levine's Aisle Seats JNL. The original font was modeled from Redikut die-cut cardboard letters - used in the 1940's and 1950's for display and show card work). Although the basic letter shapes are similar, the horizontal stroke weights have been narrowed, providing a type variation with a classic Art Deco "thick and thin" look.

Sheldrake JNL is the second in a series of display fonts modeled from actual water-applied decals that were manufactured by the Duro Decal Company of Chicago (now Duro Art Industries). The font's name derives from the actual phone exchange for Duro, back in the days when a telephone listing had a name-number assignment for recognition. In this case, their number began as "SH(eldrake)-3".

Fenton Font family comes with 6 weights. The design was inspired by (convex) camber. It has a higher lowercase structure than the normal ones. It has a modern, rounded and squared character. Each weight contains 364 glyph. It is a type family which you can use in brand and model names of technological devices, newspaper and magazine ads, jerseys, logos, posters, apps, banners and promo images.

Rustika is a rather rough Oldstyle typeface. The roughness is seen in larger points only. In smaller points it is not easy to see that I tried to imitate characters cut with a chisel. The characters themselves follow otherwise totally the classic models. The name, in this spelling taken from Esperanto, refers to the rustic nature of the characters. Rustika was released in 1995.

This font of Moon Type is modelled after Dr. Moon's original poster. He developed this embossed writing system to help those who have lost their sight later in life, and so are familiar with the shapes of English letters. Moon writing is still used, and you can find books written with it. This font only contains the letters and punctuation that are in the Moon Type system.

With only a suggestion of the serifs remaining, Intrinseca is modelled on traditional serif letterforms but with low-contrast stroke widths and a generous x-height. The family has a clean appearance and excellent readability. Six weights plus italics, small caps and extended language support make Intrinseca ideal for magazines, books and web – wherever distinctive headings and a variety of text options are required.

Malebu is a new sans serif font that was created based on grotesque and humanist models with certain geometric features. It’s clear, simple, gentle and friendly, can be used in text sizes. Its easy to read in long texts, magazines, books and the like. The rounded shape makes it friendly and fluent. A short x-height is functional and adds economy without losing consistency.

Spur Wide JNL was modeled from an example of hand lettering from the antique French alphabet book L'Art du Tracé Rationnel de la Lettre. Heavy Roman style letters with spurs (often referred to as Latin) were most popular with sign painters and show card writers in the early part of the 20th century. Spur Wide JNL is available in both regular and oblique versions.

Waterman is a display font, its form is based on the figure of a fluid, creating a texture of undulating forms, rhythmic and free to make reading a stream wave experience. Waterman comes in Regular and Bold. The letter shape was developed from the design of the letter "a" and “l” lower case. The curve model is related on a stylized form of a fluid wave.

Karaoke JNL is one of the many alphabets created by the late Alf R. Becker that was showcased in Signs of the Times magazine from the 1930s through the 1950s. Thanks to Tod Swormstedt of ST Media (and who is the curator of the American Sign Museum in Cincinnati, Ohio) for providing Jeff Levine the research material from which this font design was modeled.

Browsing online auctions and other webs sites often unearths wonderful examples of lettering from the past. A perfect example is Ritz Stencil JNL, modeled after a page from a 1930s-era lettering book. Although this font has similar characteristics to other better-known designs, there are enough unique differences to let it stand on its own as a great example of the Art Deco era.

Halavah Twist JNL is a casual serif font designed by Jeffrey N. Levine and modeled after an early-1960s display font that was quite popular in its day. This new interpretation takes on an entirely different look from the original, creating a modern-yet-retro design. Light, playful and fun-loving, Halavah Twist JNL is perfect for any project that exudes a bubbly warmth and enthusiasm.

“Miau” is a display typeface designed by “Cuchi, ¡qué Tipo”! (Hey, what a type!”). Its name comes from the onomatopoeia of "Meow" in Spanish, and it is only to be used for letters or single words. It is built from the basic skeleton of cursive script letters, and its origin and main concept is based on experimenting with shapes that play the limit of readability. Being a variable format typeface, we have from the thinnest and lightest version ("Hiss"), to the thickest, dense and compact ("Purr"), passing through the average ("meow"). The final result of this experimentation is defined into a very contemporary typeface with a geometric, modular and “no-terrestrial” flavour. It aims to be a representation of the times we live about typographic design, a whole explosion of implausible experiments and formals researches.

Chunkfeeder was inspired by the many vernacular forms of lettering created for high speed printing and electronic displays found in our modern techie world such as postal packing slips, airline tickets and informational video displays. Many of these type of fonts are designed by engineers and interface designers who presumably do not have a background in letterform design and consequently these glyphs have many quirky idiosyncrasies. In keeping with it's mechanical inspiration, Chunkfeeder is a monospaced font, much like an OCR type font. Chunkfeeder has a rather ridged modularity but it incorporates more typographic nuance into the letterforms than most other fonts of this style, while exploiting some of the visual artefacts of high speed printing. Chunkfeeder is a versatile family of 6 fonts -- 3 weights, each with an accompanying oblique.

Clip is a display typeface inspired by the shape of a paperclip, but it’s not designed with the usual minimalistic modular approach. Instead, Clip mimics the construction, proportions and contrast of classic bold text typefaces and has one unique characteristic: each of its characters is drawn with only one single line. Clip family consists of 3 fonts, Hair, Light and Regular, each with 745 glyphs (supporting more than 70 latin based languages), 4 stylistic sets and advanced OpenType features. When Stylistic set 1 is activated, the overlapping loops contract, giving the text a whole new character. Moreover, every uppercase character is also available in an ornamental swash variant, which means most of the capitals have four different versions. Learn more about the OpenType features in Clip fonts at http://www.urtd.net/clip.

Cascadeur is a variable modular sans with 3 axes, a modernistic hommage to space-age typography. It was designed by Peter Bushuev and released in April of 2020. Cascadeur was born from a type design study and went a long way to its final form. The main feature is a structure of the font: it based on 4 lines grid, has very tight spacing to achieve maximum space coverage and set of inventive letterforms. It is also a variable font and has 3 axes: weight, slant, and roundness. Cascadeur has alternates for almost every letter (2-4) so you can find a rhythm and a unique pattern for your design piece. It is a perfect choice for posters, album covers, big headlines, oversize typography, identity and packaging, editorial design.