At one time or another, everyone has filled out a job application. Jobseeker JNL emulates a hand-printed alphabet and numerals as one would find on such forms, but it is also useful for any project where a simple handwritten block print is needed.

Joseph is a slab-serif face designed by TOMO. With a wood type look - letterpress print, this fatty comes in handy when is time to design an informal —yet strong—looking communication piece. Imagine this typeface on a T-shirt, even a mug! Sweet.

With some slight variation, Merchandising JNL was modeled from the lettering on a display box for Meyercord Decal letters and numbers. The phrase "make your own signs with decals" was lettered in a casual brush-like style, and is reproduced for the first time digitally.

ALYRAK is born from the anxiety of the future dystopia of the human race. The fear of Artificial Intelligence, robots, and technology that potentially invade living things. Represented in a font and visual to emulate the vibe every time you type it from your keyboard.

Maebashi is a display font in Japanese style. This font comes with a Japanese feel and you can feel it every time you use this font. It's the perfect font for multipurpose projects like logos, branding, posters, headlines, and more (especially for Asian-themed projects).

If you need a fantasy font that will brighten up your book about Drakula or your game about Tricksters or other fantasy characters or your movie needs magic then this font is for you. Any time if you need magic, the font is for you!

The look and feel of pen lettering is captured in this nostalgically-styled font from Jeff Levine. Add a touch of the 1920's or 1930's to your projects with Pendraw JNL to evoke the look of old-time show cards and signs.

This font was a product of self-initiated project I started a while back. It started and finished as a project that I was working on while procrastinating at school, for fun; however, I spent enough time to not give it out for free.

Graceful, elegant, and at times eccentric, Homage Script was inspired by James Hellmuth’s hand-lettered design for the cover of “Homage to the Alphabet” — a gigantic tome produced in 1980 to provide full-showings of photolettering fonts available for traditional typesetting at Phil’s Photo.

Ray Cruz releases another typeface family, this time inspired by 1970's pop culture. Fat Albert Regular, Outline and Shadow are bold poster types that evoke the fun and funk of an era gone by. Go on bro, get Fat Albert and get down.

Born out of an insatiable addiction to handwriting fonts, Andrea's Handwriting fonts are simple, readable and easy on the eyes. Each font is cool, casual and fun all at the same time. Perfect for printing your personal thoughts be they silly, pensive or absolutely nonsense!

Cocobella is a beautiful chic and elegant hand painted font. The characters are uneven which gives Cocobella an edgy unique look. Cocobella will work best for clothing brands, fashion magazines, advertising, books, greeting cards, invitations, weddings and any time you feel sophisticated and chic.

Sticky Brash is my laid back kids comic book font - suitable for anything that needs a fresh and quirky attitude, and super legible at the same time. Originally handdrawn, and then manually traced digitally, in order to make those insane clean curves and lines!

Based on some script in the 19th century. Inky texture gives realistic handwriting appearance. Smooth writing feeling creates antiqued and nostalgic atmosphere. Rising Star on March 2007. There are two other script designed by in the same concept. -Daisy Lau -Lily Wang -Pansy Bo

Bilestone inspired from vintage baseball, sign painting, and labeling, is suitable for logos, product names packages, labels, old fashioned coffee shops, bars and everything with specific characteristics of past times. Bilestone is a great combination to create something good and with a vintage feel.

The 1911 sheet music for “A Hot Time In Monkeytown" is an example of Art Nouveau hand lettering that could not be ignored as a typographic design source. The end result is Nouveau Moon JNL, which is available in both regular and oblique versions.

Wickenburg is a rough and tumble grunge slab typeface that has taken a lickin' but keeps on coming back for more. It is a powerful heavyweight serif that makes a strong design statement. Pick up this bad boy and take him for a ride!

Judging the amount of superhero series, I thought it was time for a superhero-font. Meet Backyard Hero - your friendly neighbourhood good guy. He will fight off aliens and criminal masterminds, help old ladies across the street and give your designs an unexpectedly good look!

Picz JNL is a rockin' font made up of guitar picks and is perfect for any projects representing good times. Use it moderately in short phrases or as initial caps, or combine it with Sock Hop JNL for a matching look. Limited character set.

Sign and Design JNL is a casual brush alphabet modeled after an Alf R. Becker design that appeared in Signs of the Times Magazine. Thanks to Tod Swormstedt of ST Media and the American Sign Museum for providing the reference material to make this font.

Back in 2006 when we first released our Happy Holidays font, we thought the War on Christmas was over! We'd taken down our Menorahs, our Christmas trees, reclining Buddhas and red, black and green Kwanzaa decorations, and were prepared to sprinkle nothing more than a little Season's Greetings over our end of year celebrations. When we saw our friends and neighbors at department stores, we'd greet them with a simple, cordial, non-denominational “Happy Holidays.” But the font showed up at our company party this year having learned over 200 new languages (and, it must be said, a little bit loaded on Stylistic Alternates) in a mood to celebrate EVERYTHING. It was wishing people happy Bodhi Day, Solstice, Festivus, you name it! It even brought (count 'em) THREE new outfits based on the colors of Christmas, Hanukkah and Kwanzaa. So may the designs on the cups of the hot beverages that take you through the long dark coffee break of the soul that stretches from Halloween to Thanksgiving to New Year's Day be a little more festive this year with the refreshed, Remastered, all-inclusive spirit of Happy Holidays!

When Social Gothic first launched in 2007 as a basic single font, it became an instant branding and advertising favourite. It was used widely by a few major fashion outlets and department stores, then soared to new heights of exposure when it became the billboard-cause standard face for a few charity outfits and political organizations throughout Canada’s major urban centres. Social Gothic is a unicase font that combines standard sans serif elements with some distinct “wooden” shapes and oval lowercase components, to make for a totality that achieves a handmade look while maintaining a clean, legible, understated and easy message delivery. It is a gothic with quite a few humanist leanings, something seldom found in the sans serif genre. This retail Social Gothic family is the re-conceptualized, refined and optimized redux of the many bespoke versions that were commissioned and customized for various proprietary brands and projects over the years. The remastered set consists of four multi-script weights, rough and soft variations, and a very unique stencil treatment. Each of the Social Gothic fonts contains over 550 glyphs and support for Latin, Greek and Cyrillic languages.

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.

Googie Architecture, also known as "Midcentury Coffee Shop Modern," was born in California during the Atomic Age. Martini at Joe's is based on lettering from several historic Googie sources - many of which no longer exist. The futuristic Martini at Joe's collection was named for Northern California's famous Italian-themed "Joe's" restaurants, some of which are still serving up large portions of charbroiled beef steak, canned buttered veggies and pretty decent martinis. Martini at Joe's contains many fabulous typographic extras – and is available in single font packages or as a 15 font interchangeable Megaset (with "italic-esque" obliques and "retro obliques"). Martini at Joe's is perfect for use as commercial signage, on the menu for your coffee shop, supper club, tiki bar, fish grotto, smorgy, space port or destination casino. It also holds its own in any vintage store, on greeting cards, t-shirts, hi-brow gallery announcements, product skins, your 'zine masthead, on the faceplate of your futuristic microwave oven, tv dinner packaging, at millionaire's conferences or even embellishing the fuselage of your latest jet airline venture. Martini at Joe's: there's no better way to say, "Hold the olive, I'm having a moment."

Bon Air was one of a series of script typefaces cut into wood by the Hamilton Manufacturing Company for the Morgan Sign Machine Co. (makers of the Line-o-Scribe showcard press) in the mid 20th Century. These were some of the last new designs cut into wood by Hamilton until the museum revival in the early 2000s. Bon Air was created in 1958 and trademarked in 1961. The wood type made for Morgan was used largely in department stores to make their own signage. The script styles are reminiscent of sign painters alphabets and evoke a Mad Men era advertising aesthetic. The font was only cut in four sizes: 12, 18, 36 and 72 line. It was distributed by Morgan for use in their presses, but as type high wood type, it could be used on any press. The font was issued with several alternate letters and ligatures to simulate the effect of hand lettering. Its lively strokes and odd details give it an exotic flavor suitable for advertising display work. The digital version includes all of the original alternates plus new characters to fill out a full European character set.

Hey there! As the proud creator of Sketchen, I'm stoked to introduce you to my latest font creation! Sketchen is a sketch style font that's just perfect for outdoor advertising and menus. Imagine a beachy vibe, summer vibes, and a whole lot of fun – that's what Sketchen brings to the table! I designed Sketchen to capture the essence of summertime and the carefree attitude of beach life. With its playful, hand-drawn style, Sketchen adds a whimsical touch to any design project. Whether you're creating a menu for a tiki bar or promoting a surf competition, Sketchen is the perfect font to convey a sunny, laid-back feeling. Sketchen's bold, eye-catching letters ensure that your designs won't be missed. And with its relaxed, playful vibe, it's sure to make a splash in any setting. So why not give Sketchen a try and see what kind of summery designs you can come up with? With Sketchen, you can add a touch of fun to all your outdoor advertising and menu design projects. So let your creativity run wild and see where Sketchen takes you!

VLNL Beatbox is a solid tech heavy straight stencil-face with a lot of character. It was originally designed as a logo for dj Markus Schultz back in 2004, who rejected it. His management couldn't read it, or thought people wouldn’t be able to read it. But Chef Donald DBXL found the concept interesting enough to finish it and has used it in many projects since. It was the identity font for the Battle of Amsterdam, a talent showcase in beat boxing and other skills. Beatboxing is a style of hiphop music (beats) made with the mouth and a microphone. A box is a handy container to store stuff. Like food, or fonts. We use a lot of boxes at the VetteLetters office. VLNL Beatbox is best deployed big, like in logos or headlines. Or flyers, album covers, posters and signage. As a display and headline typeface it’s got a lot of character. We could definitely see it painted on the side of a tank, or an airplane. It’s heavy, but not at all dangerous. Use it without risk. VLNL Beatbox comes in two variations; Regular and Small (smallcaps)

Last Dance: Redux - The 80s Feel-Good Script Font - Updated! Welcome to Last Dance: Redux, a new and improved version of my popular brush-script font inspired by 80s movie posters, VHS covers and Friday nights at the video store! This hand-drawn script aims to capture the feel-good vibes of movie blockbusters that won our teenage imaginations, while serving as the go-to font for recreating this unique and nostalgic period. The original Last Dance font features a gritty, hand-drawn texture that looks equally at home on an aerobics competition poster or steamy urban thriller - making great titles that look distinctly cinematic. Last Dance: Redux takes that original design and strips it back to it’s bare essentials resulting in a clean, uniform look that improves letter flow and readability. It’s also much lighter on system resources making it the preferred choice when using extensively across print and web projects. Both versions come with upper and lowercase characters along with punctuation, numerals and language support, plus two full sets of alternatives and a selection of underlines. Check out the visuals to see it in action!

Hello.. Rhositania is a simple and classy font, comes with a variety of uniqueness and beauty, opentype features such as stylistic alternates, initial and final forms, and ligatures. We keep this font looking elegant, classy, easy to read, stylish, easy to remember, and easy to use. Rhositania Font is the right choice for watermarks on photography, signature or signature logo design, quotes, album covers, business cards, and many other design projects. From business cards to photo watermarks, Rhositania are here to increase your work to the highest level. Rhositania requires no special software to use or access the alternate letters. You can even use Rhositania in basic writing apps like Word For those with Opentype capable software ( Photoshop CC or any version of Illustrator/ Indesign), Rhositania also comes with Opentype features such as access to all the alternate letters and double letter ligatures. Features : Uppercase & Lowercase, International Languange & Symbols Support Punctuation & Number PUA Unicode Range, Standard Ligatures, Discretionary Ligatures, Stylistic Alternates, Swash & many more character. Don't forget to visit our store and see other products we will be happy if you don't hesitate to put likes and comments.

Alio™– Let Your Creativity Flow. Inspired by sleek sans serifs and flowing cursives, Alio™ features the best of both worlds. The hybrid modular design of this display type gives you tons of alternates and options to play. Just let your creativity flow and enjoy creating a broad range of styles from minimalistic modern to decorative flourish. *Alio Pro* comes loaded with extensive ligatures and alternates. When combined this display type with Alio Decor, you can let your creativity flow to the max. Together, you can create stunning flourish designs and unique type treatment to your projects. The Pro also supports most Latin-based languages. Heck, it even covers Chinese PinYin. Perfect for the logo, branding, poster, book cover, store sign, and packaging. [6 weights/12 font styles. 750+ glyphs each] *Alio Decor* is more than just an Alio Pro’s sidekick. You can enjoy creating flourish designs exclusively with Alio Decor. [6 weights/12 font styles, 300+ glyphs each] *Alio Std* features selected glyphs from Alio Pro (fewer ligatures and alternates). Perfect for web headlines and subheads, and minimalistic, modern print designs. [6 weights/12 font style, 400+ glyphs each]

Green Fairy is a chromatic font family highly ornamented for display purposes. Green Fairy’s characters have been specifically designed to accommodate its loops and ornaments following a modern typeface structure. Green Fairy has four chromatic weights: 1. Green Fairy Outline 2. Green Fairy Dots 3. Green Fairy Stencil 4. Green Fairy Full The outline weight has been created as the base or structure for the other weights. You can combine these weights as well as add colours to obtain multiple effects and type styles. Green Fairy has also three combined weights (combos) to simplify your work flow, for these occasions when you only want to use one single colour in your font: 5. Green Fairy Dots Combo 6. Green Fairy Stencil Combo 7. Green Fairy Full Combo GREEN FAIRY ORIGINS The origin of this typeface is the lettering I designed in October 2015 as part of my illustrated cocktail artwork called “Absinthe. La Fée Verte (The Green Fairy)”. Originally, this lettering only featured eight letters “AB·SINTHE” vector drawn in Illustrator. Right after creating the full-colour artwork, I designed a fountain-letterpress print version of it, in collaboration with Ladies of Letters, A.K.A. Carla Hackett and Amy Constable from Saint Gertrude Fine Printing. At the beginning of 2016 –and thanks to the project @36daysoftype– I found the motivation, and most importantly the deadline, to draw the rest of the twenty-six letters of the uppercase alphabet using Illustrator. I started 2017 having my first two calligraphy courses sold out, so I took this amazing opportunity to devote myself to Green Fairy for a few months. In February 2017, I purchased the font software Glyphs and I started to re-draw all twenty-six letters of the uppercase alphabet again. PRODUCTION PROCESS Green Fairy started being one weight, but quickly turned into a layered/chromatic font. Things were going more or less fine till I arrived to the Dots weight: 1) I started drawing squares following a grid; 2) Then, the squares turned into diamonds following the same grid; 3) Then, the grid wasn’t working so well on the round letters so I tried randomising the position of the diamonds but it didn’t work; 4) So I went back to the grid, and this time scaled down the size of the diamonds creating a visual half-tone effect. I spent over four weeks working on the Dots weight and I felt like I was in the middle of a very long tunnel and I couldn’t see the light at the end. I encountered many other problems along the way but by June 2017, I felt I was back on track again. I kept working, tweaking, re-drawing and re-adjusting, and then the diacritics came on board… And then more re-drawing, re-tweaking, re-adjusting and then numbers… And then spacing, symbols, and currencies… And then more spacing, kerning, contextual kerning for triplets… In September 2017 I told myself “that’s it, I’m going to finish it now!” But guess what? More re-tweaking, testing, hinting, testing, rendering, testing… For those of you not familiarized with typeface design, it is extremely time consuming and it requires a lot of hard work, focus and determination. This project could not have been possible without the help of these generous professionals: Jose Manuel Urós, typeface designer based in Barcelona and my teacher twice in the past; Jamie Clarke, freelance letterer and typeface designer who has released a couple of chromatic fonts recently; Troy Leinster, Australian full-time typeface designer living and working in New York City; Noe Blanco, full-time typeface designer and hinting specialist based in Catalonia; And Nicole Phillips, typographer currently relocating from Australia to New Zealand. To all of you: THANK YOU VERY MUCH!

When was the last time you listened to elevator music and found yourself humming along? And perhaps the tune you were listening to, got stuck in your ears for the rest of the day...the rest of the week? That's often what happens with elevator music: maybe you don't notice it - but it is there, and it could most likely be one of your all time favourites! :) My Elevator Music font does somewhat the same: it's nice and pretty harmless - but it works, perhaps even without you noticing! :) I've added 4 slightly different versions of each lowercase letter - and that goes for both Regular and Scratch versions. And they both have multilingual support, because elevator music is universal!

Introducing our new product "Drillos" Inspired by the shape of a balloon which has rounded curves so that the font looks elastic and feels soft. Which has a thick volume in each character of the letter. There are lots of script fonts that have character, but this time the font that I created this time is no less interesting and unique. The function of this font is very suitable for use as branding, posters, logos, packaging, labels and other design needs. So this font is one solution that is quite capable for the needs of designers to complete a project. Uppercase & Lowercase, Numeral, Punctuation, Miltilingual, Swash Thanks so much Happy creating! Cheers! Hanief - Hanzel Space

I remember a tea ceremony I attended in Fukuoka, Japan. The teahouse was set in a small, but beautiful garden and the whole idea of the ceremony was to appreciate the view from the porch. I thought the tea was quite bitter, but the view was unsurpassed. From time to time these memories pop up and I have to use them - that is why I named this font Teacup. Teacup is a slightly eroded all caps font, made entirely by hand with a Japanese marker pen and some high quality textured paper. It comes in a romantic open style and a more solid closed style. Teacup is filled to the brim with diacritics.

Crisis is a child of the dictatorship of economics. Since time is money the time budget of its production has been rigidly limited. Crisis was designed and generated completely on one single day. The target was to make a useful font while investing nothing more than absolutely indispensable. The component-based glyph construction scheme of another font has been utilized, further detailing work has been strictly limited. Due to those restrictions some letters have rather unusual shapes. This straightforward and contemporary sans (320 glyphs) is of compact proportions and very legible even when set in small sizes. In printing you get more text on one page and thus save up to 30% of paper.

Aldo New Roman (1000+ glyphs, incl. medieval Latin, Cyrillic, some Greek, ornaments, small capitals, nut fractions...) Renaissance antiqua · Venetian types · Venetian serif · Humanist serif · Old style antiqua A modern version of the typeface cut by Francesco Griffo for Venetian printer Aldus Manutius around 1490 AD. Intentionally not the original Griffo / Aldus / Bembo — but the part of the large project on revival and further development (by drawing many additional glyphs, sometimes over 1000) of the 20th century's typewriters’ fonts. Triple pun here :: :: #1 Aldine Roman type; #2 Since it is equalized, modernized version — the parallel to the Times New Roman; #3 He called himself Aldus Pius Manutius Romanus — he was a new Roman during his Renaissance times.

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