The thin, stylish Art Deco slab serif lettering featured on the cover of the 1934 sheet music for “Then I’ll be Tired of You” inspired the digital type face Park West JNL, which is available in both regular and oblique versions. Central Park West has always been the upscale area for affluent New Yorkers, but in the Great Depression years of the 1930s the mystique of the well-to-do held an even stronger significance.

BINTARO is a clean and powerful serif font with a bold, rounded shape. It comes with two regular styles, and outline. BINTARO is a good choice for a variety of projects such as logos & branding, invitations, stationery, social media posts, clothing, advertising, product packaging, product design, labels, photography, watermarks, special events or whatever. WHAT IS INCLUDED: Multilingual support Alternatives A, B, E, F, P, R PUA Encoded

Designed with a very limited over-shoot to accentuate a horizontal appearance to increase legibility in long or short headings as well as body-texts. Note with the capital O and lower o roundness has been limited along with other lowercase b, d, g, q and p. Trebla Square is very suitable for titling, display, captions, logos and supports all if not most latin languages.

This elegant family of fonts, suitable for both text and display, is narrow in fit and characterized by a unique feature: in the capital B, P, and R, the stroke of the bowl does not quite meet with the stem. The design is noticeably calligraphic with a dynamic and delicate character, especially in the italics. Its subtleties can best be appreciated when set in large point sizes.

Based on the 1932 typeface Newport, designed by Willard T. Sniffin for ATF, this Art Deco standard packs a lot into multi-line heads and subheads due to its very short descenders, cleverly accomplished by “fudging the baseline” on the g, p, q, and y. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

Jubilee is a glyphic font family with moderate stress, slightly inclined serifs, and storied history. Its original design was created in 1934 by famous English type designer Eric Gill for the Stephenson Blake type foundry. The development name was “Gill Text,” but this was changed to “Cunard” once the famous steamship company showed interest in using the typeface. The company, however, never utilized it. Stephenson Blake changed the name to Jubilee in 1935 to commemorate George V and Queen Mary’s Silver Jubilee Wedding Anniversary announcement. After International TypeFounders, Inc. acquired the exclusive rights to the Stephenson Blake collection, Paul Hickson (P&P Hickson) and Steve Jackaman (ITF) revived the family exclusively for the Red Rooster Collection in 1994. A new, Medium weight was created to accompany the original Light and Bold weights. Jubilee has an inscribed, Renaissance feel, and performs well at all sizes. Its letterforms are sturdy, yet there is an undeniable delicacy to the face.

Sacred letter is a font that follows the rules of calligraphy writing, but the difference is there is a natural emphasis on handwriting. The Thick and thin are not smooth to describe the flow of natural ink. The pure calligraphy tends to the classic style with nuances of the grandeur of the past. This font is more open and appears as-is. The flexibility of the style makes it can survive in the classic style and modern style. Sacred Letter is a flowing and classic handwritten font, described by an elegant touch, perfect for your dearest projects. Fall in love with its incredibly distinct and timeless style and use it to create spectacular designs! This font is PUA encoded which means you can access all of the glyphs and swashes with ease! It features a varying baseline, smooth lines, gorgeous glyphs and stunning alternates.

It's that time of year again, isn't it? And yes, we're speaking rhetorically, because our true intent is to rouse voters into action, claim a significant gain in support over our nearest rivals and lead the nation, perhaps The World, into a new era of prosperity, one in which our once proud nation can become great yet again! An era of Hope, a time of peace and an end to war! Because never, in the field of human conflict, have so many, given so much and gained so little so that the have nots can reward themselves and those that have and-and... Victory, and Hope, and Greatnessness! Related font: Victory Speech Lower

Cursivo Saxonio is a typeface inspired in the famous book The Case of Charles Dexter Ward, by H P Lovecraft. It shows better than I get with my studies the authentic "Insularis" or "Cursivo Saxonio" handlettering of the VIII and XI centuries used by some people in Britain. The text on the accompanying poster reads: “Corwinus necandus est. Cadaver aq(ua) forti dissolvendum, nec aliq(ui)d retinendum. Tace ut potes”

One of the original Clarendon types, an English design, here derived from a specimen taken from an American foundry, no identifying marks. With a tall x-height, wide version, unlike more traditional Clarendons, not a square serif but bracketed. Unique to this Clarendon are the rounded openings at the points where the horizontal and vertical stems meet in the capital B, D, P and R, not common in other Clarendons.

A very distinctive style of font, in a kind of art deco style form the '30s. This font is unique in that there are no open, negative spaces in glyphs such as upper and lower case o, or p, or others which would usually have them. Instead the glyphs are solid. The only letters or glyphs which have triangular sides are A and V, X, and Y. This is unusual.

Two Cents Plain JNL is a simple sans design for titling, sign work, display ads and so forth. The name is derived from the way folks in the Northeast used to ask for a glass of seltzer water at restaurants and soda fountains decades ago: "Give me a two cents plain." It was always cheaper to order plain seltzer than to have flavored syrup added, and this was especially true in the years during the Great Depression when every penny made a difference.

“My Dearest Friend” is how she began nearly all her letters to her husband, John. I refer, of course, to Abigail Smith Adams, first Second Lady and second First Lady of the United States. Her famous correspondence with John Adams produced nearly 1,200 letters over a span of some 40 years, leaving us with a priceless record of early American life — from household routines to war and politics to expressions of personal worry and devotion. Although Abigail’s was not the loveliest hand, I found it sure and expressive, as befitting her extraordinary sway and intelligence; it also carries a genuine flavor of the period. In making the font I focused chiefly on her handwriting from the 1780s and ’90s, when she’d taken to using a disconnected cursive, which struck me as distinctive and alluring. The OpenType release of Abigail Adams has scores of ligatures, standard and contextual alternates, lining and old-style figures, cross-outs, ink blots, and full Latin language support.

If you like a bold and powerful all-caps sans-serif font to make your message stand out, Toner can be the choice to maximize your goals.иThis type family furthers the angular design by styling characters like O, R, P, etc. to be rectangular. To make it more attractive, Toner also provides opentypes features such as stylistic alternates and a stylistic set. Best for expressive headlines, posters, billboards and of course brand identities.

Graffix is best described as a modern classic. A crisp geometric sans serif with just a hint of Art Deco in the roll of the capital A, D & R, and the curvaceous lines of the capital M, V & W. The distinctive tear shaped counters of the lower case a, b, d, p & q give it its essential character, together with such quirky features as the angular descenders of the lower case g and j.

Linotype Banjoman was designed by Paul Veres. Most of its basic forms are constructed although some characters, like the a, g, or p, are more freely designed. This font is available in a variety of weights and styles. The bold weights are best for headlines or emphasis in text and the balanced Text styles were designed specifically for running text. Linotype Banjoman is an independent yet well-mannered font suitable for a variety of purposes.

P—49 is a geometric, unicase sans-serif typeface inspired by the angular patterns found in modern suspension bridges. Each letter is constructed on a grid made up of 90° and 45° angles, drawn from the steel trusses supporting the imposing vertical towers of suspension bridges. Every letter, number and punctuation mark strictly follows the grid creating a uniform, contemporary industrial feel to the typeface making it ideal for display use in large point sizes.

The Kensington Runestone is a rune-covered slab of brownstone that was claimed to have been discovered in central Minnesota in the United States in 1898. Olof Öhman, a Swedish immigrant, reported that he dug it out of a field in the largely rural town of Solem in Douglas County. It was then named after the nearest settlement, Kensington. The inscription claims to be a record left behind by Scandinavian explorers in the 14th century (internally dated to 1362). There has been a long-standing debate as to the stone's authenticity, but since the first scientific review in 1910, scientific consensus has classified it as a 19th-century hoax, and some critics have directly accused Öhman of fabricating it. there is community.

This rugged rascal is based on at old ATF “original” design called “Hearst” (although Frederic Goudy claimed it was a pirated version of one of his designs). Its commanding, rough-hewn character makes it suitable for headlines, but its large x-height makes it practical for subheads as well. Available in roman and italic versions. Both versions of this font include the complete Unicode 1252 Latin and Unicode 1250 Central European character sets.

Brice refers to cultural products of the 80s such as music, art, literature, fashion, dance, film, that are consumed by the majority of society population. The Characteristic of Brice are in the small bouncy serif with a dynamic contrast, like R, B, S, K, P, etc. Perfect for Logotype, Caption, & Header. Brice are available in 5 Widths (Condensed - SemiCondensed - Normal - SemiExpanded - Expanded) with matches 6 weights (ExtraLight - Light - Normal - SemiBold - Bold - Black) and support for 75+ language.

Neue Jugend is an art nouveau typeface orientated on letter shapes of original Jugendstil fonts. The shapes are reduced to a straight modern look, so one could say it is the 21st century art nouveau. Neue Jugend supports all latin languages and their is a little ligature to bring P and Y closer together, if wanted. It is an uppercase typeface, so it is suggested to be used in headlines. For example on a poster or a book.

Overbold is an unapologetic display typeface inspired by an illustration in Eric Gill's Essay on Typography (p.51), in which he demonstrates �how not to make letters�. In particular, he shows that increasing the weight of the downstroke in a serif �A� without structural adjustments yields an absurd, �overbold� result. I found the letter so charming that I decided to blatantly disregard Gill's wisdom and draw an entire overbold typeface. Here is the result. I'm not sorry.

The Hobo font is a dynamically tapering face in which all strokes are accentuated curves, achieving a superb decorative effect. Hobo almost suggests a freely drawn alphabet with its unusual robust roundness. The Hobo font was designed to be used at large sizes. It has no descenders: the lower case g, p, q and y are incorporated into the x-height. The Hobo font imparts a friendly personality to display work such as invitations, menus, signage and packaging.

I am inspired by imagery that technology has rendered obsolete. I treasure anachronistic packaging and design which has somehow evaded obliteration by focus groups.I especially admire the packaging for A&P coffee brands Eight O'Clock, Red Circle and Bokar whose eccentric yet elegant typography harkens back to an earlier, less complicated era. The font Bokar is my nod of appreciation to those robust and full-bodied blends spared from the bland, tasteless scourge of corporate branding.

A comprehensive and faithful rendition of one of the finest metal typefaces of the 20th century. Rudolf Koch designed Wilhelm Klingspor Schrift (initially conceived as “Missal Schrift”, and later referred to also as “Wilhelm Klingspor Gotisch”) between 1919 and 1925 for the Gebr. Klingspor Type Foundry in Offenbach am Main. It is an impressive textura typeface, being sharp, elegant, spiky, sensitive and noble at the same time. Some of its most notable features have to do with the delicate decorations, the thin but subtly swelling lines that parallel or bridge strokes in the capitals, the hairline endings that terminate each stroke in both the capitals and the lowercase letters, the subtle joining of hairlines to thicker strokes, and the tension of some of the transitional curves. Koch’s original design included two sets of capitals (normal and condensed); alternates for a, d, e, r, s and z, plus long s; short and long flourished finial forms for f and t; thirty-five ligatures; and eighteen decorative pieces (Zierstücke). All of these features, plus several additional ones for modern use (including the usual standard characters for typesetting in modern Western languages, additional alternates and ligatures, plus carefully coded Opentype features), have been thoroughly implemented to the highest and most lively level of detail in the present font, in the hope that the past greatness of Wilhelm Klingspor Schrift will finally step into the modern OpenType realm. The main sources used during the font design process were several pages from a specimen book issued by the Gebr. Klingspor Type Foundry in 1927. Other sources were as follows: Bain, P., and Shaw, P. (Eds.) (1998), Blackletter: Type and National Identity, New York: Princeton Architectural Press (p. 43); Hendlmeier, W. (1994), Kunstwerke der Schrift, Hannover: Bund für Deutsche Schrift und Sprache (pp. 56-7); Kapr, A. (1983), Schriftkunst, Dresden: VEB Verlag der Kunst (p. 453); Kapr, A. (1993), Fraktur - Form und Geschichte der gebrochenen Schriften, Mainz: Verlag Hermann Schmidt (pp. 124-5); and Klingspor, K. (1949), Über Schönheit von Schrift und Druck, Frankfurt am Main: Georg Kurt Schauer (pp. 136-7). Some public and private comments by renowned designer and design historian Paul Shaw have also influenced both the design and the description of the present font. Specimen, detailed character map, OpenType features, and font samples available at Alter Littera’s The Oldtype “Wilhelm Klingspor Schrift” Font Page.

Lachrymose is a word that stems from ‘lacrima’, the Latin word for tear. It means ‘tearful’, or ‘given to weeping’. Now, before y’all think I am depressed or so - I am not. I just like the sound of this word and the way it is written. All I needed to do was to build a font for it! Lachrymose is a handmade brush font. I used my fantastic Chinese ink and a cheap brush to create the glyphs. Lachrymose is a display font, so use it for anything display-ish.

The Federal Art Project division of the WPA (Works Progress Administration) employed numerous artists, musicians, actors and other creative sorts in a effort to help many survive the Great Depression of the 1930s. One of the posters created by this project was for a "Card Party and Barter Benefit" with proceeds going toward the Nassau Art Teachers Benefit Fund - taking place at the Coca-Cola plant in Rockville Centre, New York. East Village JNL was derived from this poster, and is available in both regular and oblique versions.

While Bellas Artes, Koziupa and Paul's "other" look at intertwined classicism in calligraphy, can be compared to the repeated patterns of standardized dance steps, Tanguera is more like dancers engaged in a free form of the classic Argentine dance. Whether the embrace is open or closed, the walk parallel or crossed, it is still classical tango, with leader and follower blending together, sometimes in relaxed softness, sometimes in alert sharpness, yet never losing the clearest of communication. Tanguera provides essential rhythm to any packaging design that calls for clean and classical personalization.

Mr Palker Dad — has appeared in a natural evolution of the Palker-Palkerson family. Its closest relative - grotesque Mr Palker Dadson. This generation is more stout than the previous one. One may even be brave enough to use them for composing small texts. Notably Mr Parker Dad has become one of the frequently sold typefaces on the «Peterburg. The city speaks» map as it is highly readable while remaining extremely tight. Mr Parker Dad has all the features of P&P’s family.

Windsor is an unusual design cut by Stephenson Blake in 1905. Windsor is a bold face with heavy rounded serifs and strong diagonal stress. Capitals M and W are widely splayed, P and R have very large upper bowls. The Lowercase a h m and n of the Windsor font have angled right hand stems, e has an angled cross-stroke. The overall effect is one of friendliness and warmth. Use the Windsor font in advertising, on posters and for general display work.

Windsor is an unusual design cut by Stephenson Blake in 1905. Windsor is a bold face with heavy rounded serifs and strong diagonal stress. Capitals “M” and “W” are widely splayed, “P” and “R” have very large upper bowls. The Lowercase “a”, “h” “m” and “n” of the Windsor font have angled right hand stems, “e” has an angled cross-stroke. The overall effect is one of friendliness and warmth. Use the Windsor font in advertising, on posters and for general display work.

-OC Revolt is a variable display font made for the protest graphics of the NYC based T*#@p Brexit era Non-Complicit project who initially made guerrilla type with masking tape applied directly in situ or to silk screens. An uppercase only font there are alternate versions of each character on the lowercase keyboard. Double letter ligatures are used to prevent direct mechanical repetition of letters in the static styles and the Shift axis can be used to make each letter variably unique.

Introduce Bohate - is a font from handwriting on paper then made it come alive and I removed some of the smudges to make it look neat with an alternative for each letter that goes up and down differently like the letters b,d,f,g, h, j, k, l, p, t, y etc has a total of 713 glips featuring uppercase, lowercase, numbers, punctuation, language support, swash, alternatives and binders. very natural you can try it and enjoy your work with this handwriting

Binner Gothic is a very narrow sans serif thought to have been cut by the Bruce Typefoundry, in New York, around the turn of the century. The capitals are rather heavy with an elongated appearance, accentuated by the high-waisted treatment of characters such as B E F H M N P and R. The lowercase ascenders and descenders of the Binner Gothic font are cut at an angle. Binner Gothic is a display face particularly useful where space is at a premium.

Toroka is a geometric sans serif type family with an extensive selection of styles. Functional and highly legible, it has a friendly vibe due to the lack of extending stems on "b", "d", "p", "q", "u", and "r". Its distinctive personality comes across through the rounded apexes of "V", "W", "v", and "w". Stylised "g" and "y" add sugar and spice. The additional stylistic set offers an eccentric display alternative to the uppercase. Opentype features include ligatures, tabular figures and fractions.