According to Wikipedia, Tin Pan Alley is the name given to the collection of New York City music publishers and songwriters who dominated the popular music of the United States in the late 19th century and early 20th century. The name originally referred to a specific place: West 28th Street, between Fifth and Sixth Avenues in Manhattan. With this in mind, Tin Pan Alley JNL, a typeface based on the bold hand lettering from a vintage piece of sheet music is aptly named.

Illuminated Initials font family has Regular and Colored styles and inspired by medieval initials. It's all you need to precisely imitate dark-ages style text. Use this font as a decorative element at the beginning of a paragraph or section, other part of the paragraph should be in regular black letter font. You’ll get Drop Caps & Numbers set. --- *You can use color fonts in PS CC 2017+, AI CC 2018+, ID CC 2019+, macOS 10.14 Mojave+ * *Please note that the Canva & Corel doesn't support color fonts!* *Please download this test file with only A letter ( https://www.dropbox.com/s/fbt3wpu2j3t0ymv/IlluminatedInitials-Test.otf?dl=0 ) to check your app & system.* --- Please feel free to request any help you need: kaer.pro@gmail.com Best, Roman.

Sheet music for another one of those songs from the early part of the 20th Century with a wonderfully wordy hand lettered title was the model for the Art Nouveau flavored Go Home JNL, which is available in both regular and oblique versions. 1908's "I Used to be Afraid to Go Home in the Dark (Now I'm Afraid to Go at All)" is comprised of eighteen words. It may have been a mouthful to request from the local sheet music shop, but the lettering on its cover made it a great candidate for preserving as a digital typeface.

Malabar is a type family for extensive text. Its design was developed with a nod toward newspapers. Malabar's characters are seriffed and of the Old Style genre. A strong diagonal axis is apparent within the curves. Sturdy serifs help strengthen the line of text in small point sizes, as well as define the overall feeling of the face. Malabar's x-height is very high, a deliberate choice that makes the most important parts of lowercase letters visibly larger in tiny settings. The height of the capital letters is also rather diminutive, allowing for better character fit, as well as eliminating a bit of clumsiness in German, which often includes quite a few uppercase letters. Diacritical marks and additional alphabetic forms required by many Western, Central, and Eastern European languages are naturally a part of the character set, including those needed in the Baltic states, for Romanian, and for Turkish. Malabar's accents are bold and direct, sitting well with their base glyphs. The family includes three weights, each with a companion Italic. Malabar Regular is equipped with small caps, and both it and Malabar Italic include oldstyle figures. All members of the family have both proportional and tabular-width lining figures, as well as special variants of certain punctuation marks vertically adjusted for all-caps text setting. Malabar is informed both by contemporary ideas of typeface design (sheared terminals, the wider-drawn s) as well as by 16th-century masters. Malabar Heavy and Heavy Italic are very loud; their blackness almost shouts out from the page. The Regular's wedge serifs become more slab-ish in nature as the letters' weight increases. Malabar Heavy and Heavy Italic are best relegated to headline use only. Malabar Bold and Bold Italic may be used for text emphasis, a job for which the Heavy is to dark. Malabar received a Certificate of Excellence in Type Design at the Type Directors Club of New York TDC2 competition in 2009.

The opening title from the 1943 Abbott and Costello comedy ”It Ain't Hay” shows a park bench with the words “Universal Presents” stenciled on it in a chamfered sans serif style. This served as the design model for Grounds Crew Stencil JNL, which is available in both regular and oblique versions.

Inspired by the Techno sound of the 1990s, Alexander Branczyk designed a series of new, wild and controversial fonts which mark a complete departure from typographic traditions. MadZine font is part of the Face2Face package, together with 7 other fonts from young and unconventional designers.

Meet Revla Serif, an unashamedly spirited font, with a spring in its step and a lust for life. Loosely based on a few letterforms from a mid century poster, it takes the feel of Madison Avenue print ads and runs with it. OpenType acrobatics ensure letters don't repeat monotonously, using the contextual alternates feature. Also included for your viewing pleasure - automatic fractions, case sensitive forms and one solitary stylistic alternate, an alternative ampersand. And that's it! Put the fun back into your text with Revla Serif.

Nu?! Vhat else vould you font?! Introduction to the first kosher vant...er...font! Yes, our Board certified rabbis made all the proper blessings so you can use this font guilt free. Just kidding, what's Jewish without a schmear of guilt. This font borrows its style from the 2nd. Avenue Deli all the way down to Guss Pickles on Essex street. If pastrami on white bread with ketchup is for you, this font is NOT. Its strictly pastrami on rye with mustard and slaw on the side.

Okay, ya finally wangled yer widget out from between the framistat and the whatchamacallit, ya assembled yer Avengers and ya hooked up yer hoojamajigger to the doohickey. But ya still ain't gonna get yer contraption to work until ya plug the widget into the thingamajig! Sheesh! Wotta Revoltin' development!

The Roemisch type family is a historic hot metal face with left slanted weights that is used for the german cartographic map production. There are also special typefaces required like the Venus type family and Topografische Zahlentafel type family."

A super wide san serif typeface inspired by event graphics for Sheffield music venues in the 1990s. Most influential work by The Designers Republic (TDR). Details include four unique styles, extended European character set, manually edited kerning and Euro symbol.

A hand-cut antique brass stencil for marking barrel tops of dill pickles was the source of inspiration for Surface Stencil JNL, available in both regular and oblique versions.

Overton JNL is based on some of the preliminary letter designs by Rudolf Wolf which evolved into his 1929 type design Memphis and is available in both regular and oblique versions. Memphis was the design model for the later typeface family Stymie and Overton JNL was named after Overton Park; located in Memphis, Tennessee.

Kanna Aoki drew the letters for MVB Emmascript while on a picnic near the Conservatory of Flowers in San Francisco’s Golden Gate Park. Mark van Bronkhorst adapted the writing as a font that maintains a very natural scrawl. Later a bold weight was added. MVB Emmascript has been used to add a lighthearted, human touch to everything from fiction paperbacks to potato chip packaging. The typeface is named for Aoki's 1968 Volkswagen, Emma.

GrindelGrove is a spooky display face that suggests deep dark woods, long-lost treasure maps, and cautionary fables. Its bark-like texture and v-shaped letterforms lends an air of eerie mystery, a perfect complement for scary novels, haunted houses, and strange happenings. See what’s included! http://bit.ly/2bIDfOf

Naïve Line Sans is an unusual handwritten sans serif font designed by Fanny Coulez and Julien Saurin in Paris. Our goal was to draw a font with finely irregular lines that give a human and whimsical feeling. We designed five weights, finely balanced, to assure a good readability whatever the size. This font is part of our Naïve superfamily that contains lot of variations: Line, Inline, Serif, Sans Serif, and a special Art Deco one. Just click on our foundry name to see them all! We hope you will enjoy our work. Merci beaucoup!

Naïve Line is an unusual handwritten serif font designed by Fanny Coulez and Julien Saurin in Paris. Our goal was to draw a font with finely irregular lines that give a human and whimsical feeling. We designed five weights, finely balanced, to assure a good readability whatever the size. This font is part of our Naïve superfamily that contains lot of variations: Line, Inline, Serif, Sans Serif, and a special Art Deco one. Just click on our foundry name to see them all! We hope you will enjoy our work. Merci beaucoup!

So your widget’s stuck between the framistat and the whatchamacallit, there’s a spanner in the works and your avengers just won't assemble. Hey, if you want to get any more work done, you know you're gonna have to hook the hoojamajigger up to the doohickey! See the families related to Doohickey: Doohickey Lower.