In the beginning of his typographic design work, Jeff Levine produced a large number of freeware dingbat fonts utilizing very rudimentary font creation software. Although popular in the world of home crafts, there were many issues inherent with those early font files. Jeff has chosen to clean up and update some of these fonts and make them commercially available. PLEASE NOTE: Refer to the license agreement regarding use of Jeff Levine's art-based fonts. Logos and derivative works made from these fonts are not allowed.

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.

Puchiflit is a typeface disguised as a pen script. I didn't create this typeface by importing the letters on paper and tracing them into a computer with a draw application. So I think it's a pseudo-pen script typeface. By the way, I used a famous Japanese maker's felt-tip pen as a reference for line widths. I thought, "Isn't this what it would look like if I wrote with this pen? I drew a line in the draw application while fantasizing about this.

Dnipro is a version of experience generalization of Ukrainian decorative font creation. The generalization development was initited by Georgy Narbut and Mark Kirnarsky in the 1920s and continued in 1970-80s. Latin letters of the font have half-uncial forms, which makes it appropriate for the printing of the relevant content. Besides its decorative properties the font is easy to read and quite suitable for short texts. It is well suited for folk tales, Ukrainian and Slavic in general as well as Western European.

NEUROMANCER is a font inspired by the novel of the same name by William Gibson, the TV series "The Lone Gunmen" and the game "Watch Dogs". Two versions of glitch and regular, for different purposes. I wanted to convey the atmosphere of all references. The atmosphere of cyberspace and the oppressive atmosphere of hacking. The font can be used in posters, covers, texts, titles, banners, and others. If you find an error in the font or kerning, please write to me at: bunineugene@gmail.com

In the beginning of his typographic design work, Jeff Levine produced a large number of freeware dingbat fonts utilizing very rudimentary font creation software. Although popular in the world of home crafts, there were many issues inherent with those early font files. Jeff has chosen to clean up and update some of these fonts and make them commercially available. PLEASE NOTE: Refer to the license agreement regarding use of Jeff Levine's art-based fonts. Logos and derivative works made from these fonts are not allowed.

Brenta is a crisp typeface with open counters and compact proportions, its name referring to a range of mountains in northern Italy. Like its namesake, Brenta is characterized by sharp-edged and sturdy forms, but also by its clarity and elegance. Strong serifs, flat and bold shoulders and open terminals pronounce the horizontal and help to guide the eye along the line. Very fine junctures keep the characters sharply defined and create dynamic light traps. Visit this minisite to see the Brenta webfonts in action: http://brenta.ludwigtype.de

The Memesique Font is unicase sans-serif typeface with ultra-thick strokes, compressed letterspacing and strong regular rhythm. It is a product of the analysis and the reinvention of the font Impact created by Jeffrey Lee. Each parameter of Impact was increased to the absolute. As a result, we have a modern grotesque with a large collection of glyphs and stylistically referring us to the mid-1960s. A font designed for memes, good for advertising, ideal for headlines. Videos: — Memesique Font Logotype — Memesique Font Presentation

Changing Times JNL was inspired by the hand lettering on the cover of the 1929 sheet music for "Wedding Bells (Are Breaking Up that Old Gang of Mine)". While the font’s name is an extremely vague reference to the subject of the song itself, it also represents the fact that the lettering style (still reflecting some Art Nouveau influence) welcomes the dawning of the Art Deco movement with the thick-and-thin line letter forms. The type design is available in both regular and oblique versions.

Vintage Stencil Art JNL collects another twenty-six charming designs, all re-drawn from antique and vintage stencil sources. These images make for the perfect embellishment to typographic projects which utilize stencil type, or the designs can be applied as decorative thematic backgrounds (such as a flower show, nature walks and so forth). For reproduction as saleable commercial products such as stencils, decals, stickers, transfers, etc. please refer to the terms and conditions which are clearly stated in the font's End User License Agreement regarding specialized licensing.

Tritura is my personal take on textura fonts. Several methods of drawing were used, both analog and digital, to bring its overall rough feel. Each and every character was designed not from historical references, but from my view on this very peculiar typographic style. Instead of following established rules of character construction, I preferred to just keep in mind the mechanics of the pens used in textura drawings, as well as the little I already knew from the style, to create my own characters from there.

Modern script font with an elegant and captivating concept. You can use it in designs such as logos, photographer watermarks, business cards, creative posts, branding, business, wedding invitations, crafts and many more because they have interesting features and characters. See some of the previews above for reference. Features: -Uppercase -Lowercase -Numeral -Punctuation -Multilingual -Ligature -Alternate -Swash Note : Open with a program that supports the Opentype feature and an glyphs panel is available to see more alternative characters. Sample programs like Adobe Illustrator and the like!

Butan was originally designed as a typographic project for the Specialization in Typography Design at the University of Buenos Aires, during the years 2013 and 2014. The project was conceived as a “wayfinding” font, that would be functional for bilingual signage systems. The main guideline for its design was to create a font that could be readable from great distances and it could be potentially used in signage systems. Therefore the neutral aesthetics and clean shapes were very relevant in order to create this particular font.

Neon Quebec This font appears inspired by the retro neon style of the twentieth century. comes with all the beautiful capital letters, a little retro style but still relevant today. New modern & fresh display font in neon light style with a futuristic touch makes this font look elegant, stylish and perfect for any awesome project that requires a futuristic look. What's Included : - Uppercase Character - Lowercase Character - Numbers - Punctuation - Multilingual Support Thank you for your purchase! and hope you're having fun with Neon Quebec ! Happy creating!

Moscow-based designer Julia Borisovna Balasheva created her Lubok face as a pictogram-based font. The term "lubok" refers to a popular style of Russian folk art printing, which dates back to the 18th Century. In Lubok, Bakasheva has digitised several whimsical characters and animals, which were common in these prints. She suggests that you use Lubok's symbols to illustrate fairy tales; we suggest that you use Lubok to decorate everything: from your next office party invitation to comic books of your own design!

Some years ago we developed a monospaced 12 pitch sans serif for a client. We also created a 10 pitch version that was later discarded. PropTen is the 10 pitch version modified to proportional widths. The name PropTen refers to 'Proportional 10 Pitch'- which is a technical impossibility. It does have a slight 'its time to vote' twist to it. You know, after you pick your candidate you also need to vote yes or no on the following Propositions, don't forget Prop10, the team needs those uniforms.

A type foundry example showcasing some letters from a narrow slab serif wood type design served as the inspiration for Wood Serif Poster JNL. This condensed typeface is available in both regular and oblique versions, and digitally recreates the kind of lettering found on flyers, broadsides and newspaper headlines of the mid-to-late 1800s.

Sheet music for a selection from the 1928 musical “New Moon” had the show’s title hand lettered in a bold sans serif that reflected the upcoming Art Deco movement, along with a contoured outline around the letters. This served as the model for Poster Contoured JNL, which is available in both regular and oblique versions.

Vegacute is probably the most romantic font from pizzadude.dk to date! With it's elegant swings and jumpy x-height it stays true to the handwritten sketches that served as a model for this font. Use it for headlines or logos; use it for massive text or letters; either way, Vegacute wins with its retro-cuteness!

On the cover of the 1932 sheet music for "Without Your Love", the credits for the stage play "The Dubarry" are listed under the name of the star and the play's title. These hand lettered credits served as the work model for Stage Direction JNL, which is available in both regular and oblique versions.

Lettering on a vintage bottle cap served as inspiration for MVB Pedestria. Akemi Aoki’s design is simple and legible, yet full of life, thanks to its loose, casual forms. Two sets of irreverent Pict fonts take characters from ubiquitous public restroom door symbology to a new level, providing playful pictograms for invitations, advertising, and infographics.

An online photo gallery showcased a number of vintage and unique signs around Europe – mostly from Germany. One particular sign (“1818-Hoofdkant Spaarbank-1921”) was formed in metal and with stencil letters of a distinctive 1970s feel. This served as the model for Euro Stencil JNL, which is available in both regular and oblique versions.

Paralucent is versatile all-purpose modern sans. Available in seven weights, from Thin to Heavy, and in two widths each with corresponding italics, it avoids some of the more eccentric calligraphic quirks of Akzidenz or Helvetica or the cool precision of Univers for an elegant, functional, yet warm design. There are two additions to the core 28-weight family: a three-weight stencil set, and a four weight text family. The text weights have been adjusted for use at small point sizes, and feature more open character shapes, looser inter-letter spacing for improved readability, and lining numerals for use in listings and tables. Several core ideas inform Paralucent’s design. Prime attention has given to the negative space between characters, giving a more even “colour”, especially in text. For example, the J, L and T have shorter arms than comparable sans typefaces, while the M and W are wider. The A has a lower bar, opening up the interior counter. An unusually high lower-case x-height again helps to give a more even colour and improve legibility. Care has been taken to rationalise repeated elements like the tails on lower-case letters, or the Q and the “ear” of the g. Typographic design solutions that are consistent across all these features add more stylistic cohesion. ‘Ink traps’ are exaggerated incisions used to open up a letter's narrower internal angles, which can become clogged with ink, especially in small point sizes. Now largely redundant due to the high quality of modern print, they are still sometimes used as a stylistic quirk or design feature. Now that digital fonts are often reversed or outlined, or enlarged to enormous sizes, these can also lead to unexpected or obtrusive results. Paralucent takes these inevitable digital manipulations into account, and adds optical corrections without resort to ink traps. The family has been picked up by many UK and US publishers, featuring heavily in magazines like Loaded, Heat and TV Quick, as well as high-end coffee-table photography books and gallery websites. A perennial Device bestseller.

Full of life Hispanic Didot in 2 optical sizes Retiro is a daring interpretation of Spanish typography. Severe, austere and yet, full of life, Retiro is a vernacular version of Castilian and Andalusian in a typical Didot. Named after a lovely park in Madrid, Retiro started life as a a bespoke typeface designed to give a unique voice to the magazine Madriz. In 2006, the founder of Madriz was looking for a Didot for his new magazine. The Didot is the archetypal typeface used in high-end magazines. Retiro is a synthesis of these high contrast styles mixed with an Hispanic mind. Result is then, after 2-3 years of work, a typeface with countless variations to establish typographic shades adapted to different sections and pages of the Madriz. In 2014, it was necessary to further revise the typeface before its launch at Typofonderie. In order to keep its originality, the unique weight was retained, but complemented with optical size variants to set highly contrasted headlines into various sizes, visually balanced. How to use Retiro optical sizes? Each font provided in Retiro family is named according to the scale of body size: 24 pt and 64 pt. Of course, these names are referring to the body sizes used in typographic design. In the “glorious old days,” the letterpress period, it was customary to cut punches directly to the size at which typefaces would be used. The punchcutter had to visually adapt his design to the engraving size. The aim was to optimize the best contrast and general weight, but also to respect both design’s and reader’s needs. In Retiro’s case, intended for large titling sizes, it’s an adaptation of this ancient practice for our contemporary uses. Although each font is named by a typographic point size, do not feel obliged to use this font at this precise size, but why not, in larger or smaller. It’s rather the concept of gradients that must be preserved in layouts, rather than strictly size numbers. It’s up to the designer to select the right font size for his own designs. Granshan Awards 2012 Creative Review Type Annual 2011 Designpreis 2011 Club des directeurs artistiques, 41e palmarès Type Directors Club 2010 Certificate of Type design Excellence

Useful links: Using the variable font in Illustrator Working with a variable font in Photoshop TT Frantz is an experimental variable font, distinguished by its slimness and lightness. The variation in the font affects the change in the height of the mean line - by moving the axis adjustment slider you can easily raise or lower the mean line of the font. In TT Frantz, you can find small references to the art deco aesthetics, which are expressed in significantly lowered or, conversely, heightened waist of the letters. In addition, depending on the position of the axis adjustment slider, the closedness of the aperture changes for some letters. In order to preserve the main feature of the font—the change in the height of the main line—we made lowercase characters as tall as uppercase ones, but at the same time we kept small kerns. An interesting fact is that in Cyrillic letters з с а е, the variability of the aperture follows a different scenario in comparison with their Latin sisters. When working on TT Frantz, we tried to make it so that when changing the variability, the width of the characters would not change, and the font would remain monospaced. And in order to avoid holes in the set, we made contextual alternates and several ligatures. Frantz consists of 470 glyphs, and in addition to broad language support (Latin and Cyrillic) it can offer standard and old-style figures, including their tubular versions, as well as ligatures. Important clarification regarding variable fonts. At the moment, not all graphic editors, programs and browsers support variable fonts. You can check the status of support for the variability of your software here: v-fonts.com/support/ But do not despair—even if you do not have access to the necessary software, you still have the opportunity to use TT Frantz in your projects. Especially for you, we have prepared three separate non-variable styles (Frantz A, Frantz B, Frantz C), each of which is responsible for a certain location of the mean line of the font and where this line is already fixed in a certain position (high, medium and low).

20g Rosadelia + 200g Alcira + 2 tablespoons Heleodora + 1 cup ninja stock + 100g Lucrecia + 2 tablespoons lirrot. REDUCE to a medium heat and melt the grunge. Add the photo and color and sauté for 5 minutes or until softened. Add the design, stock and andinistas and simmer until slightly thickened. Serve immediately with Dingbats and handwriting South America.

The title hand lettered onto the 1933 sheet music cover for “Yours is My Heart Alone” represents the classic Art Deco typographic features of unusual character shapes and widths, yet at the same time it projects simplicity in geometric design. This served at the basis for Deco Diva JNL, which is available in both regular and oblique versions.

Instead of being directly based on classic wood or metal type examples, Mule Train JNL takes a roundabout route in its development. Images of a set of letters and numbers cut from plywood (which in turn were based on a vintage type design) served as the work models. Mule Train JNL is available in both regular and oblique versions.

Aabha is a contemporary and comfortable Devanagari display font that may be well-suited for those seeking a sleek and uncomplicated typeface. It is appropriate for use in various projects, such as logo design, posters, gift cards, T-shirts, and merchandising. Additionally, it may serve as an effective choice for headings in various publications, including books, newspapers, and billboards.

An image of an antique metal marking stencil [circa late 1890s or early 1900s] reading “Folck’s Roller Mills #196 New Surprise manufactured by Wolfe Brothers, Cumberland, MD” had the words “New Surprise” rendered in a Western/Victorian typeface. Those letters served as the model for Old Trail JNL, which is available in both regular and oblique versions.

Featuring condensed, block hand lettering, Informational Sans JNL was modeled from a selection of water applied sign decals once made by the Duro Decal Company of Chicago and is available in both regular and oblique versions. About fifty different small decal signs covered a wide range of general purpose information such as “Open”, Closed”, “Please Pay When Served”, etc.

In the days when sheet music was as popular as phonograph records for home entertainment, a song album was a folio of collected works. The hand-lettering on the 1940s-era cover for "The Sigmund Romberg Song Album, Book II" served as the model for Song Album JNL. Romberg was a noted composer of Broadway show tunes.

The 1920s film production company Tiffany-Stahl often used a hand lettered Art Nouveau novelty type design with thick horizontal lines in their various film release ads. One such ad was in the August 11, 1929 of “The Film Daily”. This served as the model for Nouveau Event JNL, and is available in both regular and oblique versions.

An image from the Library of Congress showing a New York City Italian Kitchen storefront window and its various neon signs inspired Spaghetti Joint JNL, which is available in both regular and oblique versions. The term “Spaghetti Joint” is old-fashioned slang for any restaurant serving Italian cuisine, especially those featuring spaghetti or other pasta dishes.

An assortment of antique, hand-punched brass stencils from Australia [used for crate marking and shipping] served at the models for Aussie Stencil JNL, which is available in both regular and oblique versions. The lettering of the original stencil punches had rounded edges to the characters; looking more machine rendered than hand punched into the brass sheets.