A roughened and worn version of Daily Tabloid JNL was originally created as a non-exclusive custom font for a client. The design emulates the look of old letterpress wood type and has now been released commercially as Regional News JNL; available in both regular and oblique versions. A special acknowledgement goes to Michael Hagemann of Font Mesa Fonts who partnered with Jeff Levine Fonts for the original project. His creativity and skill resulted in the textured look needed for the typeface. For some beautiful antique typefaces or fine text face collections, please visit Font Mesa Fonts.

Clearface Gothic first appeared in 1910, designed by Morris Fuller Benton, the world-famously prolific typeface artist. In addition to Clearface Gothic, Benton also designed classics like Franklin Gothic, Century Expanded, and many other types. Clearface Gothic is a sans serif face with light forms displaying the Zeitgeist of the turn of the 20th century. Distinguishing characteristics are the open forms of the a" and "c," the arched "k," and the upward-tilting horizontal stroke of the "e." The relatively narrow typeface, with its open inner white spaces, is extremely legible even in small point sizes. There is no accompanying italic."

When Ray Larabie donated some font work files to the Stella Roberts font project, he suggested that whenever possible the design get reworked to reflect some update and change. Jeff Levine overhauled the original design and made numerous changes to end up with Seminar SRF and its oblique version. A friendly, clean sanserif with a nod to the classic Optima, this text face can easily fit into word copy or hold its own in headlines. The net profits from my font sales help defer medical expenses for my siblings, who both suffer with Cystic Fibrosis and diabetes. Thank you.

The Mramor family first appeared in the Stormtype catalogue in 1994. The first sketch arose in 1988 through the narrowing of Roman capitals. It has uniform width proportions and, above all, original lower-case letters, unprecedented with Roman Capitals. The text designs are discontinued since they were replaced by the related Amor Serif family (along with its -sans version). Now, Mramor has “only” 10 designs that each include true small caps, Cyrillics and a rich variety of figures, ligatures and alternates. Mramor excels in corporate identity or bottle-label design, also whenever there is a need for a “classic” looking face.

EquipCondensed is the matching complement for Equip and EquipExtended . With its 16 fonts it extends the Equip family to 48 styles. It not only works superbly as a contrasting face for the ‘normal’ Equip but due to its moderate width, it also performs brilliantly as a space saving typeface. EquipCondensed is very well suited for ambitious typography. The EquipCondensed family comes in OpenType format with extended language support. All weights contain semi-ligatures (design optimized single characters), proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals and arrows.

Lark is a modern calligraphic sans inspired by a rich history of broad-edge and translation contrast calligraphy. By combining its sharp geometry with flared curves, Lark exhibits a nice warmth as a display face. Lark was initially conceived as a final project as part of the Type@Cooper West Extended Program's post-graduate certificate program in typeface design, so its journey has benefitted from routine feedback from experienced typeface designers. Comes in Bold, Medium, Regular, and Light weights for both roman and italic, and supports multiple languages including Danish, Dutch, English, French, German, Italian, Portuguese, Spanish, Swedish, and more.

Habano is an eleganty flowing bold script with some very surprising traits. Taking its roots in both the art deco style and the kind of lettering used for pop culture, its minuscules are classy yet obedient, and its majuscules and figures are playfully round and memorable. This contrast in character between cases makes for an appealing display face that can turn simple words into images that are hard to forget. Once again, the unique lettering talent of Angel Koziupa makes itself evident through an alphabet that leaves the memory of its soft touch for long after it is initially perceived.

Elongated Roman is a Didone-style serif typeface. It was originally designed in 1950 by typographers at Stephenson Blake. After International TypeFounders, Inc. acquired exclusive licensing rights to the Stephenson Blake Collection, Steve Jackaman (ITF) digitally revived the typeface in 1997 for the Red Rooster Collection. Much like other Didone typefaces, Elongated Roman’s strong contrast between thick and thin strokes and hairline serif design strengthen its elegance as a “modern face.” Unlike other Didone typefaces in the Red Rooster Collection, Elongated Roman was designed with display size in mind thanks to its strong variance in stroke weight.

Viable Logic font, has a neat and clean character new face sans serif fonts, in response to the need for innovative and new designs, for that this sans serif font family has different characters namely bold, thin and regular. This font is simple yet neat and elegant, the design of this typeface gives it a clean, modern look and a unique style to help give it a captivating look when you use it. This font is perfect for strong text with displays for a wide variety of branding, advertising, posters, banners, packaging, news headlines, magazines, websites, logo design, and more.

Minor is contemporary simple equable text grotesk in 6 weights with italics. It combines the best features of neo- and humanist sans types for legibility and easy reading. Clean design and balanced white spaces enables using Minor for long texts. Or in any other work as secondary invisible type in pair with display face. Using as primary type in large sizes it, static and non-emotional, will focus attention to text content. Minor family supports Latin Extended-A (Western, Central Europe, Baltic, Turkish) and Cyrillic Extended encoding languages. All styles contain basic OT-features and numeric forms for text typography.

Neue Augenblick is a modern contemporary Germany-esque grotesk. This Font face carries a powerful mechanical and industrial feel, it is inspired by aesthetic personality of beautiful Panzerkampfwagen and Post-war Brutalist Architectural. There are ten weights, ranging from Thin to Black, each with oblique italics and plenty of alternates. Neue Augenblick comes with attention-grabbing ink traps make it feels more contemporary. Various opentype features from stylistic alternates, multilingual extended latin support, ligatures, discretionary ligatures, fractions, arrows, scientific numerals, catchwords set, icons and more. Neue Augenblick is suited for embrace both maximalism or minimalism design works for designers to play with.

The Bitstream version of Letter Gothic designed by Roger Robertson in 1956-62 for IBM electric typewriter. It is a condensed, monospaced font resembling a typewriter face, suitable for tabular material. Primarily used for slide presentations and for word processing applications, Letter Gothic is very helpful for printing out software source listing, for informal office communications and for tabular charts where alignment of columns is important. Besides, being a clear and easy-to-read font, Letter Gothic is popular now for display and advertising matters. Cyrillic version was developed for ParaType in 2000 by Gayaneh Bagdasaryan.

Montix is a narrow, constructed type family that developed by the German designer Diana Fischer in 2003. With five weights (light, light italic, regular, regular italic, and bold), Montix is a particularly effective small family, especially when used for headline or display purposes. Montix's letterforms have relatively long ascenders and descenders, which compared with its horizontally compact body gives it its unique style. Words or lines of text set in Montix would look best when some amount of white space is left around them. Because of this, the faces are well suited for logos and corporate identity uses.

Set it large... I dare you! 100pt+ is definitely encouraged with this face. White Wolf was created to fill the void for condensed sharp wedge serif fonts. Taking inspiration from other hybrid fonts such as FF Dog, FF Vortex and HI Halfway House, I wanted to create a font that would offer something different for artists looking for a condensed font that has a lot of character. Use it for titles, subtitles, logos, posters, signs and pair it with some heavy wood types or slab serifs and you will be pleased with the attitude White Wolf will bring to your project!

"And she, Pasiphae, gave birth to Asterion, who was also known by the name of Minotaur, since he had the face of a bull and the rest of a man. Minos wanted to beware against certain oracles by locking him in a maze. It was the labyrinth, the work of Daedalus, a construction of tangled revolts that strayed from the exit.” - Apollodorus from Atenas. LABERINTIA is a font inspired by Daedalus' masterpiece, The Cretan Labyrinth, an experimental, display typeface that creates textures, plays with the mind and loses anyone who dares to take a walk inside it.

Jobst Gutknecht was a highly successful printer in the city of Nuremburg from 1514 to 1542. He published the "Achtliederbuch" (the first Lutheran hymnal, with a whole 4 tunes) and many works by Martin Luther. This font is an accurate "recutting" of the font face Gutknecht used for the body text in his printed works. It has been extended to over 900 glyphs adding hundreds for modern use. It also presents many ancient things like old ligatures such as "tz", a hedera, and alternate style pilcrow for visual interest. And for those conservative types the modern lower case "k" is also available.

StoneWash is a funky, grunge font, with a monumental marble finish. The font combines an “old as the hills grunge” look with IN YOUR FACE, modern lines. It has a look of very old, washed out denim, about to disintegrate. StoneWash has all of the grunge characteristics: -- it’s dirty and corroded -- it’s coarse & broken -- it’s rough & pitted It also has the characteristics of an African style font: -- it’s ethnic -- it’s irregular -- it’s primitive -- it’s rustic -- it’s vibrant Use StoneWash for a great variety of applications: -- think advertisements - think flyers - think graffiti art - think posters - think magazine pages. You have to have StoneWash.

The earliest form of Ionic was brought out by Vincent Figgins in 1821 and was intended for display work. In 1863 a more refined version appeared which had more contrast between thick and thin strokes and the serifs were bracketed. Further developments were made, however the robustness of the Egyptian style was retained making the face suitable for newspaper text setting. With a large x-height and strong hairlines and serifs, the Ionic font family became widely used by the newspaper industry as a body type and provided a model for many twentieth century newspaper typefaces.

Monotype Old Style is a nineteenth century update of Caslon Old Face with characteristics of the moderns built in. Monotype Old Style was recut by Monotype in 1901 from a Stephenson Blake & Company version. The design originated at the Miller and Richard foundry in 1860. In some respects it can be seen as transitional between old style and modern, but the spirit of the old styles predominates. By the turn of the century it had become a successful rival to the moderns. The Monotype Old Style font family is an attractive design which gives a light, airy feel to text.

The light and the bold. The thick and the thin. Laverne and the Shirley. Peanut Butter and the Jelly. Hoban is about contrast. Hoban wants to be noticed, but only after a second glance. A friend of a friend to the didones, it has smaller, tapering serifs, slightly calligraphic traits, and spindly little terminals that go where they please. It’s a headline face. Period. Set it big and bold. Or light and airy. But preferably next to something with flair. Cuff links, canapés, or corvettes–it’s up to you. Distinct ligatures, ornaments, and swashy alternates provide plenty of character to tailor your style.

Manufacturer JNL is a reinterpretation of the classic type face Venus Extra Bold Extended, and is available in both regular and oblique versions. According to Wikipedia: “Venus or Venus-Grotesk is a sans-serif typeface family released by the Bauer Type Foundry of Frankfurt am Main, Germany from1907 onwards. Released in a large range of styles, including condensed and extended weights, it was very popular in the early-to-mid twentieth century. It was exported to other countries, notably the United States, where it was distributed by Bauer Alphabets Inc, the U.S. branch of the firm.”

Sheet music at the beginning of the 20th Century reflects both the musical and artistic tastes of the times in often colorful ways. It seemed to be a favorite thing amongst songwriters of that era to come up with very wordy song titles. The cover of the sheet music for 1907’s “Every Little Bit Added to What You’ve Got Makes Just A Little Bit More” checks in at fourteen words, but the hand lettered title (done in an Art Nouveau style) made it worthy of transposition into a digital type face. Nouveau Years JNL is available in both regular and oblique versions.

Petulante is a striking and creative hand-drawn face with a scribbled feel. It's an all-caps font and brings two options for each letter and numeral for a more organic and natural look. There are yet a few ornaments to add an extra something here and there. Petulante is ideal for book covers, packaging, apparel, album art, posters, or any situation where you want a stylish and uncommon hand-crafted look. And let's not forget to mention the broad language coverage: Petulante speaks more than 208 languages, including Russian and Greek. Yes, just take it everywhere!

Roughler is brush font with clean and simple font. This font can apply to banner, wallpaper, tees, music theme, cover and party moment with brush style.

Antoni Bokir is brush font with clean and simple font. This font can apply to kids tees, banner, wallpaper, cover and party moment with brush style.

Rosie is a chunky but elegant pen script with useful OpenType features. In non OpenType-savvy applications it still works beautifully as a fully joined script.

See also some related font families: American Advertise 013 , American Advertise 014 , American Advertise 015 , American Advertise 016 , American Advertise 017 , and American Advertise Square Series .

IMark is a “drying” marker hand written, felt tip pen font. Usage recommendations include captions, packaging, invitations, cards, posters, ads, greeting cards, book jackets and covers.

Relax and take time to see the benefits of purchasing this neon style font, low weight file, fast and easy run Designed by Pedro Alexandre Teixeira

Lilybud is a sweet and flowing handwritten font. Created with the help of a beautiful brush pen, Lilybud is masterfully designed to become a true favorite.

Hawkes is an extensive handmade typeface family that comes with a bundle of weights, widths and styles, all designed to work cohesively. Here is a breakdown of the Hawkes family. Hawkes Sans: The primary subfamily is a sans-serif typeface that includes nine fonts: three weights (light, medium and bold) and three widths (narrow, regular and wide). Within this set are an array of stylistic features; including small capitals, character style alternatives, discretionary ligatures and contextual alternatives. See details below for more information on OpenType Features. Hawkes Variable Width Sans: The secondary subfamily is the same base sans-serif fonts but combined in variating widths. Essentially, it takes all three widths of each weight and randomly mixes them together. This creates a funky and creative alternative to the more traditional sans-serif set. The variations are for the uppercase, lowercase, small capitals, ligatures and numbers. Hawkes Script: The last subfamily is the script typeface. It’s a quirky script with variations of its own, including ligatures, swashes and contextual alternatives (again, see below for further details.) The script font works great as a complimentary style to the sans-serif, or on it’s own. FEATURES Alright, let’s get into all the extra goodies this typeface has to offer. Small Capitals: Small caps are short capital letters designed to blend with lowercase text. These aren’t just capital letters just scaled down but designed to fit with the weight of both the lowercase and capitals. With Hawkes, small caps can either sit on the baseline (in line with the base of the capital and lowercase) or to be lifted to match the height of the capital letters by applying the discretionary ligature setting in the OpenType panel. These small capitals have a dot underlining them that sit along the baseline. The feature offers a unique display affect that is great for logos, titles and other headline needs. Discretionary Ligatures: A discretionary ligature is more decorative and unique combination than a standard ligature and can be applied at the users discretion (as the name indicates.) The specific styling for these ligatures varies for different fonts. With Hawkes, they are used as an all capital styling feature, or to lift the small capitals to align with the height of the capitals. In the former setting, both lowercase and uppercase letters are first changed to all capitals, then a specialized set of letter combinations are transitioned so small characters are positioned within a main capital letter. These combinations only happen with main characters that include an applicable stem, such as C F K L R T Y. Some of these combinations include two or three characters. When Small Caps is turned ‘on’, this feature will lift the small caps to the height of the capital letter. For more information, please check out the user guide! Stylistic Alternatives: Stylistic alternates are a secondary form of a character, often used to enhance the look or style of a font. For Hawkes, these alternatives provide a slightly more handmade feel. A - the capital and small capital A will lose its pointed apex and become rounded. Think of it more as an upside-down U than an up-side-down V ;-) Oo, G, Ss, Cc- these characters’ topmost terminal becomes a loop. The O is applied automatically, the G S and C need to be turn on individually. Titling Alternatives: This feature does sort of the opposite of what it intends. Instead of being used for titling purposes, this feature makes the text look better in paragraph text settings. Kk Rr h n m - curved terminals on the are straightened e - the counter stroke also gets straightened from a more looping motion y - the shape of y is changed from a rounded character to a sharper apex (think more like a ‘v’ than ‘u’) Contextual Alternatives: Contextual alternates are glyphs designed to work within context of other adjacent glyphs. With Hawkes Sans, there are three slightly different variations per character. The feature rotates the application of each variation. This helps with organic authenticity, so if you have two e’s next to each other, they won’t look identical (reflecting the natural variations in handwriting and lettering.) With Hawkes Variable width fonts, I have created a contextual pattern that randomizes the widths of each character. So, when the feature is turned ‘on’ in the OpenType panel, the widths would alternate in a pattern such as: Narrow, Wide, Regular, Narrow, Regular Wide, Narrow, etc. It happens automatically so the user doesn’t have to think or worry about getting a random seed. With Hawkes Script, contextual alternates allow strokes to connect properly from one character to the next while maintaining a believable, natural flow. Connecting strokes are present for two letters next to each other but are replaced by a shorter stroke when located at the end of a word or sentence. Some characters have in-strokes when located at the start of a word. When a character is preceded by a capital letter that doesn’t connect, it too needs an in-stroke or altered spacing. This feature is complicated and messy, but luckily you don’t really have to think about it! I’ve done all the coding so all you have to do is turn ‘on’ the feature in the OpenType panel and you are off to the races! I’m just letting you know what’s happening behind the scenes. Swashes: These are just for Hawkes Script and provide tail swashes to the start and ends of letters. There are three different options. You can pick the basic option by turning ‘on’ the swash feature in the OpenType panel, or you can pick using the Glyph panel. Stylistic Sets: This feature work in new versions of Illustrator CC and InDesign CC. You can pick specific styling sets instead of turning on an entire feature. For example, let’s say you want to have a loopy S, but not a loopy C or O, you can just turn on the S in the Style Set. It also helps create the little drop box that pops up when you hover over a character, showing you the alternates associated with that character. This makes it easy to pick and choose specific styles you want in a word or headline. ---------- And there it is folks! That’s all the basic info on Hawkes, I know it’s been a lot and I appreciate you hanging on. If you are like me and need more of a visual reference to accessing all these goodies, I’ve made a user guide to help navigate Hawkes and everything it has to offer. Altogether this extensive family boasts 14 total fonts in a wide array of styles, weights and widths, making it a great addition to any handmade type collection. Enjoy!

Essay is an elegant serif typeface intended for setting books, with many stylistic alternates and other typographic goodies, designed by Stefan Ellmer. It is a highly legible text face with a natural flow of reading. This is enhanced by a slight slant of the roman, the combination of open and closed apertures and the amalgamation of organic strokes and counters with a static, fully straight baseline. Essay Text Regular looks back to the spirit of the french Renaissance, when the roman typographic letterforms came to full emancipation. Departing from that historical reference, Essay Text gets rid of all sentimental antiquity and becomes a contemporary interpretation of the “archetypes” of that period. Essay Text Italic refers to that more vaguely, resulting in a formalised look with fairly upright and open shapes and little cursiveness. As in the Renaissance, before the mating of roman and italic, Essay Text Italic works as a separate text face and a perfect secondary type. The name Essay derives from the literary meaning of the word, attempt or trial. Therefore, the typeface Essay can be seen as an attempt to express an opinion about reading, the omnipresence of history, the importance of calligraphy and the importance to deviate from that calligraphic source; as well as an attempt to crystallise lettershapes in balance between convention and the designer’s personal idiom.

The Quandor Family began as a digitization of a film typeface from LetterGraphics known simply as "Impacta". The original specimen included standard Capitals and Lowercase, as well as a Biform character set. We've fleshed out the original style and added an Oblique to the family, but we just couldn't leave it alone at that, and beefed it up to include an Ultra Black and Ultra Black Oblique style as well, because uber heavyweight font styles are the bees knees. Chocked full of features, including Biform alternates, SmallCaps, and SmallCaps Biform alternates, this family is built to perform. See the 5th graphic for a comprehensive character map preview. Opentype features include: - Full set of Inferiors and Superiors for limitless fractions. - SmallCaps feature. - Tabular and Proportional figure sets. - A small collection of Standard Ligatures. - Stylistic Alternates for Biform alternates and SmallCaps Biform alternates. Approx. 818 Character Glyph Set: Each style of Quandor comes with a glyphset that includes standard & punctuation, international language support, and additional features.

Homework font was specially conceived/designed for teaching cursive writing. This resource allows tutors and parents to create worksheets for individual or class teaching. Associated with the dashed version of the font, students can learn and exercise their handwriting abilities. All capital letters, excluding I, F, T and P, link to any following small letter: the sequence of the previous letter stroke always follows the angle of the initial stroke of the subsequent letter. This, in the real world, means that words built with the font can be handwritten without having to lift the pen from the paper (except to cross t and f and dot i and j) or interrupt the writing flow. All the letters are base aligned and all small letters have the same ‘x’ height in order to fit a ruled worksheet. Homework font letter stroke widths are uniform in order to emulate regular pens. Homework font also mimics genuine handwriting, making it useful for online stores gift cards, thank you cards and all applications where a real world feel is desired. The Homework font also performs well on long texts.

Bastia is a classy, bold upper and lowercase typeface that looks incredible in both large and small settings. Best used as a display for headings and logos, Bastia's clean lines and smooth curves give any project an extra touch of class. See how it looks when used for body text in the 11th sample image above. I also love combining Bastia and clean sans serifs for minimal logos (see the "Lucky Finch" sample logo). This download also includes a special outline version of the serif, so you can layer text or add some flair to your logos and display type. There are also alternates available for "k" and "s" that give each letter some extra curves (available via the special characters panel One thing to note about Bastia is the letter spacing. It was intentionally spaced for clean reading if you wanted to use it for body type, so I recommend setting the spacing a little tighter for display use (around -10 to -20 should do!). Includes: Bastia Bold (uppercase & lowercase) Bastia Bold Outline (uppercase & lowercase) Numbers & punctuation Foreign language support Alternates for "k" and "s" – available via the special characters panel

A tessellation is a shape that can be used to completely fill the plane—simple examples are isosceles triangles, squares, and hexagons. Tessellation patterns are eye-catching and visually appealing, which is the reason that they have long been popular in a variety of decorative situations. These Tessie fonts have two family members, a solid style that must have different colors when used and an outline style. They can be used separately or they can be used in layers with the outline style on top of the solid style. For rows to align properly, leading must be the same as point size. To see how patterns can be constructed, see the “Samples” file here. TessieOddsNEnds contains shapes that did not fit into the other Tessie fonts: TessieStandingBirds, TessieFlyingBirds, TessieMoreBirds, TessieXtraBirds, TessieSpinners, TessiePuzzlePieces, TessieAnimals, TessieBugs, TessieMiscellaneous, and TessieMoreStuff. (Earlier tessellation fonts from IngrimayneType, the TessieDingies fonts, lack a black or filled version so cannot do colored patterns. The addition of a solid style that must be colored makes these new fonts a bit more difficult to use but offers far greater possibilities in getting visually interesting results.)