The Magnate Family began as a digitization of a film typeface from LetterGraphics known as "Wilshire". What began as a basic glyphset was fleshed out with a full character set with a smallcaps feature. We also decided to add a slightly more delicate side to Magnate, softening up the sharp flair serifs just a little. 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. - A Stylistic Alternates feature for an alternate lowercase t style. Approx. 687 Character Glyph Set: Each style of Magnate comes with a glyphset that includes standard & punctuation, international language support, and additional features.

Police JNL was modeled from one of the many fonts created by the late Alf Becker exclusively for Signs of the Times magazine during the 1930s through the 1950s. This was a bit of a difficult design to translate into a digital font file, because the individual characters did not follow a formal structure as to the width and length of the cast shadows or the letter shapes—such is the way of the hand-lettered alphabet. Special thanks to Tod Swormstedt of ST Publications (and curator of the American Sign Museum in Cincinnati) for providing the archival material to work from in creating this font. Police JNL has a limited character set. The basic A-Z character is on the upper and lower case keys, along with numbers, some punctuation and the dollar and cents signs.

Ready to slay your design with a epic font? Get it now. Repath is a awesome serif font. This font expresses a heart desire for strong and sophistication design overall. The weight of the font brings strength to any title or header you apply to it, On the other hand, the curves of the letters and numbers convey sense of elegance. As our commitment to support your brand globally recognized, we always come with multilingual options. Features: Alternates Ligatures Uppercase and lowercase PUA Encoded Numerals and Punctuation It can be used for branding, logos, social media quotes, stickers, posters, vintage designs, wall art, merchandise, social media, and many more. Get more inspiration by seeing the preview. Thank you for purchasing premium fonts from Din Studio! Happy Designing!

Have you ever wanted to set a headline within a burst, but found the drawing of all of those angles was a bit too tedious? Sales Pitch JNL solves that problem by setting letters, numbers and punctuation inside individual sections which, when typed out, generates an extended burst pattern. For a flat sided pair of end caps, use the left or right bracket keys. For burst ends, use the left or right brace keys. A blank space is located on the equal sign keystroke, and a wider blank space is on the plus sign. Keep in mind the optical illusion in some program that shows line gaps between characters on the screen. All characters have equal sidebar settings, and are flush with each other. Sales Pitch JNL contains the basic A-Z and 0-9 characters as well as numerous punctuation. For a companion font with a more complete character set, use Prankster JNL, the same type design, but without the burst pattern.

The first version was created in 2022, Avita was again revised and improved in V.2.0 in 2024, reborn with sharper sharpness and a cosmic gaze. This geometric sans serif is not just a font; he is more than that, weaving clean forms into a dance of precision and imagination. The tall x-height and playful ascender ensure it fits perfectly into any design in its 54 styles, whispering a subtle secret or a bold statement as your design demands. Don't be limited by the ordinary. Avita embraces the future, whether it's sleek sci-fi, minimalist style, or the unexpected charm of a skincare brand. Let Avita speak to the world in 103 languages, including Cyrillic and Greek, or reach for the stars with special astrological and astronomical glyphs. Unleash your typographic art with an arsenal of OpenType alternatives, ligatures, fractions, arrows, and more. It's not just a font; this is the sculpting tool for your wildest design dreams. Avita's clean lines and limitless versatility are an invitation to push boundaries, elevate your vision, and let your creativity soar.

An elegant duo of fonts and floral illustration extras - designed to work together in harmony, to produce a plethora of beautiful, sophisticated & feminine designs. The luxurious modern calligraphy script works perfectly together with the delicate hand-drawn florals - ideal for elegant branding projects, greeting cards, packaging, social media, logo design and of course, wedding invitations. Also included is Serenity Serif, a rustic serif font, with a touch of imperfection as you'd find in old printed press inks - to contrast with and therefore compliment the more refined luxurious contemporary flow of the script font . Serenity Script includes handy OpenType features that makes the font look more natural - it includes a universal beginning swash for lowercase letters , a full set of lowercase letters with ending swashes, a beginning swash that can be added via OpenType Ligatures by typing either { } or ( ), and a full set of alternate lowercase letters , as well as 70 beautifully crafted ligatures . A more slanted, and heavier version of the script is also included for you. OpenType capable software is required to access these features - The most popular of which is and Photoshop CC, any version of Illustrator, Indesign, Word (new versions).  The Serif font comes in 4 versions: Regular, Bold, Heavy and Italic - when used together with different tracking settings and weights, they produce beautiful looking type designs to compliment the Script.

HoneyBee is an all-caps display face in a delightfully hand-lettered style for irresistibly sweet layouts on food packaging, fantasy games, or children’s products. This versatile font includes three sets of full-size capitals, two sets of smaller capitals. Mix and match swash forms with titling forms to create headlines, titles, and wordmarks. 20 charming ornaments are included to complement your designs. See what’s included! http://bit.ly/2bGYin7 *NOTE* Basic versions DO NOT include swashes, alternates or ornaments This font has been specially coded for access of all the swashes, alternates and ornaments without the need for professional design software! Info and instructions here: http://lauraworthingtontype.com/faqs/

One day shortly after Christmas 2004, the art-director of Vogue Moscow called me. Would I maybe make a Cyrillic version of my Bodoni Classic Text typeface? Well, since I had been thinking about doing it since a long time, this was the perfect reason to finally do it. It was not an easy venture, since I do not have the faintest idea of Russian but, together with those nice people in Russia and a fellow helpful type designer in Kiev, I managed. I did an enormous amount of kerning, thanks to the help of the Moscow Vogue office. Here the fonts are now for all of you: five text cuts, plus one standard roman cut that has no Cyrillic letters but an extra set of medieval numbers. At Vogue they are happy with the fonts, even though I did not quite adhere to Bodoni's originals in this case. Nastarowje (or whatever you say in Russia), Gert Wiescher

Buffalo Bill is a revival of an old favorite font that’s been around since 1888, the James Conner’s Sons foundry book of that same year is the oldest source I've seen for this old classic. If you're looking for the font used as the logo for Buffalo Bill’s Irma Hotel in Cody Wyoming please refer to the FontMesa Rough Riders font. New to the Buffalo Bill font is the lowercase and many other characters that go into making a complete type font by today’s standards. The Type 1 version is limited to the basic Latin and western European character sets while the Truetype and OpenType versions also include central and eastern European charcters. William F. (Buffalo Bill) Cody called America’s Greatest Showman was one of the United State’s first big celebrity entertainers known around the world, millions of people learned about the Old West through Buffalo Bill’s Wild West shows which traveled throughout the United States and Europe. William Cody, at age eleven, started work on a cattle drive and wagon train crossing the Great Plains many times, he further went on to fur trapping and gold mining then joined the Pony Express in 1860. After the Civil War Cody went on to work for the Army as a scout and hunter where he gained his nickname Buffalo Bill. In 1872 William Cody started his entertainment career on stage in Chicago along with Texas Jack who also worked as a scout, the Scouts of the Prarie was a great success and the following year it expanded to include Wild Bill Hickok and was eventually named The Buffalo Bill Combination. By 1882 Texas Jack and Wild Bill Hickok had left the show and Buffalo Bill conceived the idea for the traveling Wild West Show using real cowboys, cowgirls, sharpshooters and Indians plus live buffalo and elk. The Wild West shows began in 1883 and visited many cities throughout the United States. In 1887 writer Mark Twain convinced Cody to take the show overseas to Europe showing England, Germany and France a wonderful and adventuruos chapter of American history. The shows continued in the United States and in 1908 William Cody combined his show with Pawnees Bill’s, in 1913 the show ran into financial trouble and was seized by the Denver sheriff until a $20,000 debt (borrowed from investor Harry Tammen) could be paid, Bill couldn't pay the debt and the loan could not be extended so the assets were auctioned off. William Cody continued to work off his debt with Harry Tammen by giving performances at the Sell’s-Floto Circus through 1915 then performed for another two years with other Wild West shows. William F. Cody passed away in 1917 while visiting his sister in Denver and is buried on Lookout Mountain joined by his wife four years later. Close friend Johnny Baker, the unofficial foster son of William Cody, began the Buffalo Bill Memorial Museum in 1921, over the years millions of people have visited William Cody’s grave and museum making it one of the top visitor attractions in the Denver area. William F. Cody romantisized the West creating the Wild West love affair that many still have for it today through books and cinema.

Geometric Sans with Humanistic proportions Typeface (Roman a.k.a. ‘Capitalis Monumentalis’), Inspired on vintage minimalism, with a subtle Art Déco air, where the configuration of the basic and open shape (long ascenders/descenders and a moderate ‘x’ height) star a crisp and luminous look, manufactured under an analytical and handmade process as used to be in ancient times. Among its graphic virtues are a special focus on relaxed and fluid reading rhythm while looking clear and sophisticated, an upright version representing a formal voice paired with an Italic with a more expressive vocal tone, easily distinguished as a second quoted content in Editorial and Branding communicational contexts. Equipped with generous stylistic options controlled by OpenType features as: 17 glyphs variations stored as stylistic sets Standard and Discretionary Ligatures Lining and Old Style Numeral forms Tabular forms Superior and Inferior Scientific Numeric Notation Numerators and Denominators for fractional compositions Pre-Composed Fractions, ordinals Dotted Zero for alphanumeric contexts Circled numbers An Art Déco style Border Set Bullets set for multiple levels ordered list Arrow set Monetary Symbols Mathematical Operators Publishing and Social Media Markers Wide range of Diacritics allowing you to set contents in more than 200 Latin base languages. The access to all these options is also possible via character set panel. With no hesitation, PGF Now is a highly valuable publishing and Branding tool that deserves to flaunt in the more elegant contexts but also daily situations that need a clear and modern voice.

Albireo Soft in a softer version of Albireo, released by Cory Maylett Design in 2019. The svelte sans-serif letterforms and rounded terminals give Albireo Soft a highly legible and informal look that's perfect for packaging, headlines, logos, brochures, digital use and anywhere else that needs a friendly condensed typeface. With a combination of seven weights in each of the three condensed widths, Albireo Soft will do the job when you need to squeeze many words into a limited amount of space. The fonts include the entire set of glyphs needed for all Western and Central European Latin-based alphabets. Meticulously crafted to ensure each glyph conforms to the highest possible quality standards, Albireo Rounded won't let you down. You may buy one font at a time or save money by purchasing packages consisting of the seven fonts in each width. Save even more by purchasing the entire Albireo Soft collection and, in addition to the 21 separate fonts, you'll receive a variable font that covers all the weights, widths and everything in between.

Galano Grotesque is a geometric sans in the tradition of Futura, Avant Garde, Avenir and the like. It has a modern streak which is the result of a harmonization of width and height especially in the lowercase letters to support legibility. Galano Grotesque aims to be a universal weapon not only because it works great in headlines, short and long copies but also because of its subtle neutrality. It comes in 10 different weights with matching italics and is equipped with a set of powerful opentype features including alternative glyphs, fraction, arrows, ligatures and many more. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. During the design process of the alternative glyph shapes of Galano Grotesque, the interest of creating a standalone version emerged rapidly. This was the birth of Galano Grotesque Alt. Not only because of the legible and unique character created by the alternatives, but also because this could be the small copy embracing stylistic companion to Galano Grotesque. In addition to the alternative glyphs, the height of descender and ascender was increased, supporting structure and rhythm. When finishing Galano Grotesque Alt, it turned out to not only work great in small and long copies but also to be a great performer in headlines and short copies. I'm proud to introduce: Galano Grotesque and Galano Grotesque Alt.

The hand-brushed Fave™ Set has ten informal scripts and other handwritten fonts made up of two subfamilies: Fave and the even-more informal Fave Casual, each have a primary script with a bold version and three other handwritten faces for a total of ten typefaces spanning the casual spectrum. All are optimized for large type use too so they look as good up close as they do set at smaller sizes. OpenType features The Fave family has a few features that happen largely in the background. All of the fonts use the OpenType Standard Ligature feature to automatically differentiate consecutive lowercase letters and numbers (using separate glyphs) and like our previous release Turbinado, they also automatically differentiate like characters that are separated by another letter. Alternate characters The script fonts have alternate uppercase and lowercase characters including multiple t (and double t) crossbar alternates that can be selected from the OpenType glyph table. Enable Contextual Alternates feature to automatically insert a bigger crossbar as the surrounding letters allow throughout a text box or document. You can also make your own custom lowercase t and crossbar to fit any situation–all of the lowercase t ascenders and crossbars are available separately in the OpenType glyph table, and can be combined and moved around manually. Stylistic sets and other goodies Fave Script and its bold counterpart have two Stylistic Sets. When enabled, one automatically substitutes non-connecting alternate characters at the ends of words, the other substitutes even bigger t crossbars than the Standard Ligature feature does. Smart apostrophes and ligatures Other subtle but hopefully helpful features include smart apostrophes, which insert themselves between two script characters in common situations without breaking their connection, and a few ligatures that also make character connections more seamless.

Killer Garbage is a grunge version of my Spitzenklasse font. It's worn and torn real bad - but not more than the font is still legible even at very small sizes. I don't fancy grunge fonts that only has one or two versions of each letter available. The text usually gets very static and predictable, because the same letters are repeated again and again. That's why I have included 6 different versions of each letter in this font! And the great thing about this is that the letters automatically cycles as you type! Forget everything about repeating the same letters all the time!!!

Round, firm, and bursting at the seams with good humor, ITC Mister Chuckles is based on the premise that barrel shapes have pleasant associations. Think: beer-barrel polkas, a barrel of fun, or a barrel of laughs, and you'll get the idea. Designer Nick Curtis has combined sans serif sturdiness, a hint of 1930s deco and a handful of giggles in this remarkably versatile all-cap face. If the typographic occasion calls for mirth and merriment, invite Mister Chuckles to the party. You'll have more fun than a barrel of monkeys!

Once upon a midnight dreary, this Comicraftsman pondered, weak and weary, For a name synonymous with Mighty and Marvelous comics lore. Solid, Outline, Inline was the nameless font I'd crafted, I nodded, nearly napping o'er the work I'd grafted When suddenly came a tapping, As of someone gently rapping, rapping at my cubicle door. "'Tis some visitor," I muttered, "tapping at my cubicle door-- Calling out "EXCELSIOR!" Then an Amazing Vision beguiled my sad fancy into smilin', By the Spectacular decorum of the countenance it wore, "Though thy crest be shorn and shaven," he said, "thou art sure no craven, And thy font should not remain nameless here forevermore!" Eagerly I wished the morrow; vainly I had sought to borrow From comic books surcease of sorrow, letters that called out "EXCELSIOR!" Then, upon the velvet sinking, I betook myself to linking Fancy unto fancy, thinking of the nominative neuter singular thing Like Some Silvered Surfer wandering from the Nightly shore-- The Vision shrieked, upstarting--"Tell me what thy lordly name is thus!" Quoth the Craftsman: "EXCELSIUS!"

DecoSpring is a decorative art-deco family that was inspired by one word in an advertisement in a 1978 edition of my local newspaper. I could not find a typeface that matched it so decided to create one, which became DecoSpring-Regular. It is caps only, with an alternative set of capitals on the lower-case keys. Characters with very thick stems invite interior decoration and I opted for floral decorations. DecoSpring-Flowers can be used alone or it can be layered on top of the regular style to create colored flowers. Changing the width of the bolder stem resulted in two more style, the light and thing styles. Another set of four styles, the Simple set, was formed by eliminating the split in the stems by merging the two parts. All the DecoSpring faces are display faces to be used in small doses, and especially the bolder ones, at large point sizes.

Bebedot originated from doodles and scrabbles in notebooks; irregular forms very well might contain a style for an alphabet. Once used for an intro spread in Wired magazine (#6.04, April 1998): "To keep up you need the right answers. To get ahead you need the right questions". The name was inspired by a women clothing poster at the San Francisco bus stands. The dot is for the com that never came.

Crime Inc. is a grungy, sans serif font, that features smudged fingerprints in the design of its uppercase characters. The font has a full set of alternative uppercase characters, for simpler text. Use Crime Inc. for crime novel covers, movie posters, TV series graphics, "murder party" invitations, etc. The font has all the features usually included in a fully professional font. Language support includes all European character sets.

Yolk is an Eggcentric Sans Serif Typeface consisting of nine weights in both roman and italic. Essentially, this is a geometric sans typeface that has been inspired by the shape and proportions of an egg. With its bottom-heavy glyphs, Yolk has an unusual personality – it’s not too awkward to be off-putting, and it’s not too uniform to be associated with the myriad of generic geometric sans fonts that are available. Yolk has a distinctive presence in its upright form, while the italics exude a more flamboyant nature. When combined, your typographic results will be pleasing and perhaps a little quirky too. This 18-font type family achieves a good balance of personality, versatility, and usability. Small Caps are available at the click of a button, then add Stylistic Set 1 to achieve Petite Caps. The petite caps harmonise with the regular lowercase forms, so that you can create unicase-style typography too. All Latin-based languages are covered within the 1000+ glyphs of each Yolk font. Key Features: • 18 font family – 9 weights in Roman and Italic • Small Caps, Petite Caps, with Proportional, Old Style, and Small Cap figures, plus Fractions, Numerators, Denominators, Superiors, and Inferiors • Full European character set (Latin Extended) • 1,000+ glyphs per font.

Magnat is a contrasting sans drawing inspiration from designs from the early twenties century and expands them into an elegant and distinctive contemporary design. Playful elements such as the curvy ear on the lowercase g or the long tail on the uppercase Q break the strictness and add character. The combination of closed apertures with the contrasting strokes create an elegant and distinctive overall appearance. The Magnat family is available in 36 weights including matching italics, divided into 3 subfamilies: Poster, Head and Text. Each has been designed for its individual range of text sizes. The Poster and Head styles with their tight spacing and luxurious shapes are made for impactful headlines and short paragraphs, whereas the text weights are either a great addition for small text sizes or, when set in large sizes, perfectly work as a robust standalone font with a lot of character. Each font style is equipped with many opentype features such as alternate characters, different number sets or case sensitive shapes making it a perfect choice for professional type setting in branding, editorial or digital design.

Polydot is an experimental Font, built following its own rules. It has interesting letter shapes, making it a perfect choice for creative packaging and magazine design. At the same time it makes a beautiful, neat but vivid text pattern when used in smaller sizes: Use it for children’s books, food and beverage, cosmetics or health topics. Each Glyph is based on at least one dot on the body line, and has up to two more on the lower case level and the ascender level. Since they have the same size and are on the same height on all letters, no matter what weight and shape, these dots give a strong structure to the typeface, allowing for dynamic and easy letter shapes, inspired by brush strokes. It’s not a hand font but it has the dynamics of one. It has no serifs but provides the structure and readability of a roman type. It has an extensive choice of weights, but it’s characteristic dots have the same size and it has the same tracking through all weights. Try it, it’s special.

Flapper is family of four typefaces which embody a great deal of fun and more than a little spirit of the roaring 20s. If ever a set of typefaces could dance a high kicking Charleston, these are they. Flapper is offered in regular, condensed, oblique and outline forms, and they all bring a great deal of fun and life wherever they are used. The Flapper family (yes, think of one of those dancing 20s girls with a long string of pearls...) is ideal for casual heading, bold captions, poster work and anywhere else a sense of fun is required.

Our Grand Hotel Pro finds its inspiration from the title screen of the 1937 film “Cafe Metropole” starring Tyrone Power. This condensed upright connecting script has a classic flair and weight to it that feels subtly tied to Holiday and Bakery themed designs, even though it can work outside that genre. Stylistic Alternates offer a non-swash set of Capitals, and a SmallCaps feature gives this upright script an exciting visual twist. Elegant, reserved, sophisticated, and yet festive all at once. Grand Hotel Pro is a style revival that still finds a strong visual appeal today. Opentype features include: - SmallCaps. - Full set of Inferiors and Superiors for limitless fractions. - Tabular, Proportional, and Oldstyle figure sets. - Stylistic Alternates for less stylized traditional Capitals. - Contextual Alternates for some initial and final forms.

Reviving a handwriting style from centuries past is similar to playing antique musical instruments; the pleasure of communing with live music arranged centuries ago by brilliant composers is heightened by the use of authentic or reconstructed artifacts. A new revived" script from the Baroque epoch is the Waza typeface, developed by Polish designer Franciszek Otto. Waza is inspired by a Wilhelm Hondius (Hondt) etching. Hondius was a Dutch court engraver for the Polish king, Ladislaus IV of the Vasa dynasty. The decorative character of the script engraved in the etching is a display of Hondius's calligraphic skill. The tangle of the flourishes in the capital letters, as well as the decorative lengthening of ascenders and descenders in the lowercase, contrast ideally with the rhythmic 30-degree slant of the design. Waza includes a set of alternative capital letters that have been deprived of ornaments; these allow the setting of proper Roman numerals, e.g., Ladislaus IV."

Fixture is our massive 72-font take on plentiful offerings of the late 19th century’s typefaces, posters and wood letterpress sundry done in the Grotesk genre. Four widths ranging from Ultra Compressed to Expanded each come in nine weights and accompanying italics. Some common sans-serif alternates, such as the a and g, are included in all the fonts. The idea with this design was to put together a workhorse font family with enough functional flexibility to work in multiple environments, from the subtlety of magazine layout or film credits to the visual drama of billboards or packaging. Aesthetically speaking, it is quite interesting — though in retrospect quite unintentional — that each different width and/or weight of this face ended up pulling a different dominant trait from the melting-pot origins of the entire family. It’s almost like a tribute album to some famous band’s covers of older songs. It may also be a good conversation piece on our tools shaping the very things for which they’re used. Can’t really get any more post-Grotesk than this. In the 21st century, this is the one genre to rule them all.

Transport yourself back to the vibrant era of the 1970s with Comisc Hippie, a groovy font that embodies the essence of that extraordinary decade. This typeface is a nostalgic journey through time, with its swirling curves and playful letterforms. Inspired by the counterculture movement, Comisc Hippie exudes a sense of peace, love, and individuality. Its bold and psychedelic style captures the free-spiritedness of the era, making it an ideal choice for adding a touch of retro charm to your designs. Whether you're working on posters, album covers, or any project that calls for a dose of nostalgia, Comisc Hippie will transport you to a groovy world of colorful expression and timeless coolness. Let the spirit of the 70s shine through with this font that embodies the era's iconic aesthetics.

Everything about Softmachine—the rounded terminals, the bold weight, the letter forms and proportions—is designed with one objective: to create a uniform distance between letter strokes, in and between characters. This is achieved by the shape, spacing and kerning of letters, and by using contextual alternates to control adjacent glyph combinations. The effect translates, in the Outline font, into an overlapping outline of remarkably even thickness. Also included: an alternate stylistic set.

A funny looking font with circular shapes and cutouts - both hippie and futuristic at the same time. I have completely redrawn all the glyphs, and introduced a lot of alternate and new letterforms to make a little more variety between upper- and lowercase (the original layout with all the "old" letterforms can easily be accessed by using the OpenType menus "stylistic Alternates" or "Stylistic Set SS01"). All diacritics and accents are totally new, and made large - in the style of the original dotted i. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

The Bitstream version of Linotype Janson. Nicholas Kis (Miklos Kis) was a Hungarian punchcutter who worked in Amsterdam. His types are some of the greatest in the Dutch old face style and have been used as models for a number of developments in this century. The Linotype version of this style, Janson, was created by Chauncey H.Griffith in 1937 and based on an original face cut by Kis in 1670–90. The face is named after Anton Janson, a Dutchman who worked in Leipzig, with whom the face has no connection. The typeface is used for text setting. Cyrillic version was developed at ParaType in 2001 by Vladimir Yefimov.

For decades, the National Show Card Writer Company of Minneapolis, MN produced sign making kits used by shopkeepers, schools, churches and many other types of organizations. The standard sets were comprised of two part stencils that when overlaid, produced finished lettering, or a buyer could choose the same type style designs with a standard stencil letter. From one of these templates comes Show Card Stencil JNL, in both regular and oblique versions. Take note that the U, V and W have the heavier vertical strokes reversed. As this was the way the original stencil design was manufactured, it has been retained for this digital type as well.

GOOD GOD! You have circumnavigated the globe and chosen wisely...The Grail is FOUND! Oh... no, Zoot set light to our beacon, which I've just remembered is Grail-shaped. But wait, look! There! Carved in the wall... a Legend: "Here may be found the last words of Joseph of Aramathia: He who finds the Grail must face three, maybe four, challenges. First, the path of God; Second, the word of God; Third, the breath of God, and fourth is the Font of God. Only a font that is valiant, pure of spirit and includes international characters, both European AND Cyrillic -- may find the Holy Grail... in the Castle of AARRGGGHHH… That's all it says; the guy carving it must have died before he could finish.

Bronto is a typeface that mutated many times: it went from being morphologically conventional, to have soft features, to finally have some inverted contrasts that made it more dynamical; but all this without losing sight of the meaning of a typefamily, and the aim pursued by this work: Bronto doesn’t behave as a piece of art, but as a tool. In some weights, this typeface possesses fluffy characteristics and is boldly bighead, while in other versions is slightly contrasted and controlled; this in order to maintain the essential features of the typefamily along the versatility and usability of the 20 variations that composed it. Bronto it’s inspired in neo humanists typographies of the 20th century, and in Chilean lettering. This kind of work was made by the spontaneity of the paintbrush, which gave an inverted contrast to some characters. This typeface has plenty of OpenType features, specially an extensive set of ligatures in all weights. Bronto is well suited for motion graphics, letterings, web, advertisings, magazines and books.

ITC Aspera is the product of graphic experimentation. Olivera Stojadinovic, who designed the face, recalls, Over the last 15 years, I have made several small prints using Cyrillic characters. Often, I made my first sketches with a special pointed brush which was difficult to manipulate well, but once tamed, gave me interesting results." Stojadinovic decided to see if she could reproduce the unique brush quality in digital form. "The idea was to preserve the look of strokes made by my brush, so I kept the scanned shapes as close as possible to the originals, making interventions just to maintain consistent proportions, slope and weight." While this typeface is not a connecting script, Stojadinovic did create a number of letters, such as the 'o' and 's' that are natural connecting characters. She also drew a set of ligatures and matching ornaments to accompany the design."

Our Bazaruto family was inspired by an old fashioned specimen from “Letters and Lettering” by Carlyle & Oring, but you'll find the inspiration has been greatly expounded upon. What began as an all Capitals specimen has been fleshed out to an extended full character set with many features and variants from the original design. Bazaruto has been an exercise in typographic evolution. The original Art Deco style spawned an Engraved version, then a Bodoni-esque text style, and then a monoline version of that text style (both of the latter complete with Obliques). But after that is when the real interpretations of form began with the development of the Iron fonts, playing off the original specimen having a visual flavor of wrought ironwork in them, and blending that into the Bodoni-esque typestyles. Lastly, a fast and loose hand drawn version of the Iron fonts and an ornaments font were created to add more variety and spunk to the family. The Bazaruto family is a visual grab bag of styles which all have an underlying harmony.

The letters and numbers of a home movie titling kit from circa the 1950s or 1960s called the Magna Tech Titler Number 312 were die-cut from cardboard with a magnetic backing and were styled after Futura Bold. The user of this set composed the desired title or phrase onto a metalized board and the result was photographed with their 8 or 16mm camera. Because the dies of the characters were handmade, very slight variations in the shape and stroke width of the lettering would occasionally occur. These variations were incorporated into the design of the digital type face. Intermediate JNL is available in both regular and oblique versions.

Umkhonto is the Zulu word for SPEAR, the traditional weapon of war that the Zulus used. The sharp points of the letters face upwards and represent the sharp points of the dangerous spears. The font includes a full 256 character set: all upper and lower case letters, as well as all numerals and punctuation. It also includes the most commonly used characters used in non-English European languages such as Spanish, French, German and Portuguese. The numerals are mono-spaced so that they will line up correctly in columns of figures. The letters of the alphabet are spaced according to their width and are carefully kerned.

The design process of this font was rudely interrupted on August 11th, 2015, when my first child, Hazel, was born. Thinking up names for fonts can be tricky, as can thinking up names for babies, so when the font was finally finished, it seemed like a good idea to kill two birds with one stone, and here it is: Hazel Script. Hazel Script is a finely crafted, elegant, connecting script. I wanted to make something unique, and to this end, the contrast in the face is not based on any ductal logic, or the writing of some imagined tool. The thick parts of glyphs are purely aesthetic devices, placed to give the otherwise monoline font an interesting rhythm. The over-sized upper case letters follow a mid-century lettering skeleton, and swash forms can be used judiciously to add spice to the text. Hazel Script works "out of the box" but to really get the best out of it, use OpenType-savvy programs to unlock a world of swashes, alternates, ligatures and the like. In detail, the features are as follows: Swash - alternate forms for many glyphs Stylistic Sets - 1: script r, 2: alternate s, 3: script z, 4 and 5: more swash options, 4,5,6 and 7: access to alternate ampersands (the font boasts six to choose from!), 8: connecting forms for K, L, R, X and Z. Localised forms - ij digraphs for Dutch, and a script lslash for Polish. Standard ligatures - a mixture of ligatures, including the 'percent off' (just type "% off") and a heart that connects to the ends of words (type "<3") Automatic fractions Ordinals - a and o for Spanish etc. but also s,t,r,d,h and n for English 1st 2nd and 3rd etc. Contextual alternates - automatically places special start and end glyphs where necessary. Hazel Script would look great in glossy magazines set large, or would make a slightly unorthodox choice for wedding stationery, birth announcements, letterheads...

Type designer Friedrich Poppl is perhaps best known for his classic text faces and elegant scripts, but it seems he had a playful side as well. This frisky face is based on Dynamische Antiqua, which Poppl did for the Stempel foundry in 1960, but which was never released. Bright, bold and bouncy, it’s the perfect choice for headlines with impish impact. Both versions of this font include the complete Unicode Latin 1252 and Central European 1250 character sets.

We have grown a new flower in our Garden, but this time, in a more emotional way, capturing its vibrations and using them to create a fresh handmade typeface: ‘Bach’, a display type system inspired by the new lifestyle trends that look to go back to basics and increase the value of old natural healing methods. Bach comes in two styles: a 6-weight Serif font in regular and italic versions, and a 2-weight Script in regular and bold versions. Ornaments are also included! Bach Script is based on the calligraphic catchwords set (handcrafted with brush pen) and the Serif version of the Garden typeface. This font is the perfect choice for labelling, packaging, illustrated books and posters. Go back to nature and feel the vibration again, this time with Bach! Bach is a Mendoza Vergara Studio design with the collaboration of Cecilia Mendoza in digital editing, under the supervision of Luciano Vergara and Coto Mendoza.