The sheet music for the 1914 Word War I comic novelty song "When the War Breaks Out in Mexico I'm Going to Go to Montreal" had one of those overly-worded song titles popular during this period (13!), along with interesting sans serif hand lettering. It now debuts digitally as Conscription JNL in both regular and oblique versions.

In 1955 the Czech State Department of Culture, which was then in charge of all the publishing houses, organised a competition amongst printing houses and generally all book businesses for the design of a newspaper typeface. The motivation for this contest was obvious: the situation in the printing presses was appalling, with very little quality fonts existing and financial resources being too scarce to permit the purchase of type abroad. The conditions to be met by the typeface were strictly defined, and far more constrained than the ones applied to regular typefaces designed for books. A number of parameters needed to be considered, including the pressure of the printing presses and the quality of the thin newspaper ink that would have smothered any delicate strokes. Rough drafts of type designs for the competition were submitted by Vratislav Hejzl, Stanislav Marso, Frantisek Novak, Frantisek Panek, Jiri Petr, Jindrich Posekany, and the team of Stanislav Duda, Karel Misek and Josef Tyfa. The committee published its comments and corrections of the designs, and asked the designers to draw the final drafts. The winner was unambiguous — the members of the committee unanimously agreed to award Stanislav Marso’s design the first prize. His typeface was cast by Grafotechna (a state-owned enterprise) for setting with line-composing machines and also in larger sizes for hand-setting. Regular, bold, and bold condensed cuts were produced, and the face was named Public. In 2003 we decided to digitise the typeface. Drawings of the regular and italic cuts at the size of approximatively 3,5 cicero (43 pt) were used as templates for scanning. Those originals covered the complete set of caps except for the U, the lowercase, numerals, and sloped ampersand. The bold and condensed bold cuts were found in an original specimen book of the Rude Pravo newspaper printing press. These specimens included a dot, acute, colon, semicolon, hyphens, exclamation and question marks, asterisk, parentheses, square brackets, cross, section sign, and ampersand. After the regular cut was drafted, we began to modify it. All the uppercase letters were fine-tuned, the crossbar of the A was raised, E, F, and H were narrowed, L and R were significantly broadened, and the angle of the leg and arm of the K were adjusted. The vertex of the M now rests on the baseline, making the glyph broader. The apex of the N is narrower, resulting in a more regular glyph. The tail of Q was made more decorative; the uppercase S lost its implied serifs. The lowercase ascenders and descenders were slightly extended. Corrections on the lower case a were more significant, its waist being lowered in order to improve its colour and light. The top of the f was redrawn, the loop of lowercase g now has a squarer character. The diagonals of the lowercase k were harmonised with the uppercase K. The t has a more open and longer terminal, and the tail of the y matches its overall construction. Numerals are generally better proportioned. Italics have been thoroughly redrawn, and in general their slope is lessened by approximatively 2–3 degrees. The italic upper case is more consistent with the regular cut. Unlike the original, the tail of the K is not curved, and the Z is not calligraphic. The italic lower case is even further removed from the original. This concerns specifically the bottom finials of the c and e, the top of the f, the descender of the j, the serif of the k, a heavier ear on the r, a more open t, a broader v and w, a different x, and, again, a non-calligraphic z. Originally the bold cut conformed even more to the superellipse shape than the regular one, since all the glyphs had to be fitted to the same width. We have redrawn the bold cut to provide a better match with the regular. This means its shapes have become generally broader, also noticeably darker. Medium and Semibold weights were also interpolated, with a colour similar to the original bold cut. The condensed variants’ width is 85 percent of the original. The design of the Bold Condensed weights was optimised for the setting of headlines, while the lighter ones are suited for normal condensed settings. All the OpenType fonts include small caps, numerals, fractions, ligatures, and expert glyphs, conforming to the Suitcase Standard set. Over half a century of consistent quality ensures perfect legibility even in adverse printing conditions and on poor quality paper. RePublic is an exquisite newspaper and magazine type, which is equally well suited as a contemporary book face.

In the immortal words of Homer Simpson, "It's easy to complain... and so much FUN, too! Woo-HOO!" Now your characters can grumble, mumble and mutter in barely audible tones as they dredge up some bit of misery from their lives, unleash a rambling river of criticism and complaints about the state of their health, or the government, garbling as much graphic detail as time and your imagination will allow! Or perhaps your creations are issuing drunken slurs as they wake up outside their own fricka-frackin' houses cuddling wheelie bins, covered in glitter, wearing a shiny hat and budgie smugglers over their jeans while holding the reins to a miniature horse. So moan, groan, gossip incoherently or swear under your whiskey-soaked breath like a trooper... courtesy of those Rassum Frassum font lovers at Comicraft. >Hic!

Y'know the real trouble with Spider-man, Superman and the rest of the soulful superheroes, gloating supervillains and musing muckmonsters is They Just Don't Shut Up! For Crying Out Loud, give those iron jaws a REST willya?!? Yak Yak Yak! Blah Blah Blah! Yada Yada Yada... "With Great Power Comes Great Responsibility!" "You won't get away with this, Luthor!" "I'm the best there is at what I do!" SHUT UP!!! Letterers don't get paid by the WORD you know! QUIT YER WHINING! Yeah, yeah, yeah this font IS the much requested typeset -- featuring upper AND lower case characters -- created by Starkings & Roshell for the X-Men back in the Age of Apocalypse. Hell's Squakkin' Teeth -- The X-MEN... don't even get me started on THOSE guys! What THEY need is the mutant ability to put a freakin' sock in it!

Gobsmacked is a rather new English word. It has been around since 1959 and was used mostly around Liverpool at that time. The word means: ’astounded’, ‘flabbergasted’ (another nice word!) or ‘speechless’. Gob could be of French or Scottish Gaelic origin and means ‘mouth’. Gobsmacked font was created using a brush and black gouache. The result is a very eroded, very legible and quite unique brush font. I have created alternates for the lower case letters, plus two double letter ligatures (oo and ss). Use it for any design that needs a little brushwork; I am sure the result will leave you gobsmacked!

About this font family Squaripeg is a funky square typeface with geometric shapes to create impactful headlines and web banners. This typeface was designed so that it takes up less horizontal space but still has a lot of prominence on the page. Some letters have been combined into one unit to save further space. Features 8 weights (from thin to black) Multi language Ligatures To be able to access alternative fonts, make sure the software you use can support opentype features such as Microsoft Word, Paint, Adobe, Corel draw, Cricut and other applications. Designed and published by Andy Peat. Released April 2022

Chika is a handwritten modern script font with a bold style and modern look. This font is suitable for logos, branding, product design, product packaging, photography, watermarks, social media posts, advertisements, invitations, stationery, labels, logos, magazines, books, greeting/wedding cards, fashion, make up, and more. other. What's Included: Uppercase & lowercase Numbers and punctuation Multilingual support fastener Alternative Washing Works on PC & Mac Simple installation Accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even works in Microsoft Word. PUA Coded Characters – Fully accessible without additional design software. Thank you for your purchase! Hope you enjoy with our fonts!

If we look up the definition of the word "grotesque", we find the following: "Odd or unnatural in shape, appearance, or character; fantastically ugly or absurd; bizarre." Following this definition, the design for Anti aims to create an un-compromised version of a grotesque sans-serif – where decorative details live in balance with brutalist shapes. The result is an alphabet with a slightly modernist feeling and an eccentric touch, that work wonders at small sizes. The typeface comes with four weights – light to bold – and features a character set supporting Central and Eastern European as well as Western European languages.

Please Note: as this is a picture-only font, there are no latin alpha/numeric glyphs. Each wood type manufacturer had their own selection of original Logotypes or Catchwords designs. These are taken right from the original source material, an extremely rare 1910 catalog of an English wood type maker called Day & Collins in London. As the name says it, these words are intended to attract attention, to spice up posters, packaging or advertisement designs. I made these available for the digital age, leaving the original texture of printed wood type at the highest detail possible.

Charlotte Veronica is a display font crafted for fashion design needs. This font family consists of modern sans serif and delicate script, play and combine them to come up with a unique design! Charlotte Veronica is also usable in a wide range of works such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, stationery, novels, labels or any type of advertising purpose. Feature : - Alternates & Ligatures - Multilingual Language - Works on PC & Mac - Simple installations - Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even works on Microsoft Word. Thank you! Grezline Studio - Akhmad Reza Fauzi

Dambera is a made up word I used as planet name in my first comic published in a kids magazine when I was 6 years old. Dambera font has pretty similar reference - it's a simple script font I initially designed for wedding invitations and restaurant menus, but it can have wide appliance in every design field, from posters, book covers, outdoor signes to labels and packages. It contains a set of stylistic ligatures and swash alternates, as well as a small set of floral dingbats. Also contains a set of characters with specific endings (in OpenType terminology, better known under FINA term).

Margo is a playful font duo that includes a signature script and a hand-drawn serif – already matched up and ready to be used together for your next design! You can see how Better Homes and Gardens used Margo throughout their October 2019 issue. FEATURES: Margo Script includes: • 108 ligatures, which will help make your text look even more hand-written • Alternate letters to help avoid duplicating letters in your words • Foreign language accents & characters for the international designer Margo Serif includes: • Alternate letters (the lowercase letters function as alternates of each uppercase letter!) • Foreign language accents & characters

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.

England's own Sean Phillips wanted a lettering font to suit his distinctive work with Joe Casey on WILDCATS -- and we gave it to him! Of course, the tricky bit was working on Sean's Northern accent, and making sure that every time words like color, favorite and neighborhood popped up, the letter "u" was correctly inserted. Sean's font has now undergone months of Beta testing and is now ready for release to the public. Yes, Sean Phillips, your favourite British Master of Comic Book Art is coming to a neighbourhood near you soon -- now in Full Colour!

Personally I think a brush font should have the word ‘Brush’ in its name. It’s not that easy finding a name - you need some magic to come up with a good one! Magical Brush is a completely handmade font. I used a small brush (a number 3 to be precise) and Chinese Ink. I wanted just a little ‘erosion’, so I used copier paper rather than my expensive French water color paper (which is quite rough). Magical Brush comes in the normal variant and a chickenpox one. Use it for your posters, your book covers and your Christmas invitations!

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.

Unison Pro is an extended sans serif typeface. The family includes 8 fonts with stylised caps and a rounded version for each. Unison has bold and light minimal extended glyphs making it great for headers, logos, posters, titles and much more. The stylised caps included allow users creative control for creating unique typography. 8 Fonts Total 4 Font Styles Stylised Caps Multilingual Over 1700 Glyphs

A grotesque style with extended caps, true short caps and a thin mono-weight drop shadow. Bitters was designed for all media in a wide point size range. Bitters requires subjective display kerning and compensation.

decorative caps from america heritage typography