This family of faces is based on the series Riverside Drive, designed by Peter Max for Photo-Lettering Inc. in the early 1970s. However, several letters have been altered to maintain design consistency and to improve legibility. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Basis is a bitmap font family which is happy being used at both small and large sizes. Designed as a 9 point bitmap face for the web, it offers different styles than most normal bitmaps. The stencil style can be used for display purposes, while the SmallCaps lowercase is great for website navigation menus.

When a formation of jets flies over the top of a stadium before a big game, there is an unparalleled sense of excitement in the crowd. Flyover, a display typeface, captures that moment with an italic base, left-facing serifs, hollowed notches and a change in angle representing the instant the jets pass overhead.

One in the series of fonts called Whiz-Bang Wood Type, intended to be set large and tight. Rio Grande is a classic ultrabold "Egyptian" face, named for the river that separates Texas from Mexico. The Opentype version of this font supports Unicode 1250 (Central European) languages, as well as Unicode 1252 (Latin) languages.

Alambart is one of a new series of ‘wood type’ inspired fonts. Alambart is a hand-cut oblique Roman, suggesting the late Victorian era, but the type of thing that continued in use well into the twentieth century. If you want a title face that has versatility and suggests a past history, this is it!

Sans serif characters re-drawn from old newspaper headlines (and used in the design for Late Breaking News JNL) were given a slab serif treatment in order to create a condensed type face with both grotesk and block influences. The end result is Tabloid News JNL, which is available in both regular and oblique versions.

Umbra was designed by R. Hunter Middleton for the Ludlow Corporation in 1935. This is a three-dimensional typeface, unique in that the main character shape is defined only by its shadow. It was originally designed to be a second-color drop-shadow for the typeface Tempo, but stands alone as an unusual display face.

Baker’s Dozen is a lovely display font that’s sure to put a smile on your face. It is a delightful handwritten font that complements anything nicely. Slightly minimalistic and very tidy, this typeface is sure to please! Its charming, playful design features soft curves and whimsical details that evoke a sense of innocence and sweetness.

AMAZE font is inspired by the maze. Maze always appears as a problem. I feel that in our life, we are facing a lot of problems every day. And for designers, I hope this font can help to solve your design problem. This font is also given an optical illusion. Enjoy and have fun.

Don’t ask me why I called this font Blabbermouth, as I really don’t know. I guess it reminded me of a person who talks too much, as Blabbermouth is kind of in your face, uneven and slightly crazy. Blabbermouth won’t keep your secrets, but I’m sure it’ll make your designs get the attention they deserve.

British designer Tim Donaldson created the lively typeface Etruscan in 1995. Based on Etruscan letters from ancient Italy, this unusual and condensed sans serif face whimsically mixes soft lowercase characters with more angular capitals. Etruscan brings light and airy classical form into contemporary documents, and a sunny Mediterranean flair and jollity into your projects.

Athenaeum was released in 1945 by Alessandro Butti and Aldo Novarese, probably for the Niebolo foundry in Turin, for whom this duo designed many successful types. Athenaeum is an Old Style face with strong calligraphic influence. The Athenaeum font family includes a set of decorative initials illustrated with a symbol beginning, resembling early paper watermarks.

Adelita by Adela de Bara, Laura Meseguer / OpenType, 4 styles   Adelita has its origins from Adela de Bara’s hand drawings, a display typeface with balls at the end of the strokes. Helped by Laura Meseguer, this artist entered our catalogue in the nineties with four weights: three display faces and a collection of naive dingbats.

Jacob Graffiti is a font inspired by graffiti. In order to reflect the feeling of spray paint, the beginning or the end of the characters show a sense of stroke. When designing this font, to add some fun, a pictorial ligature was specially designed: jacob. And it's on the smile face Unicode block too.

A typeface from the 1873 Miller & Richard of Glasgow specimen book of 1873 named Cuban provided the inspiration for this festive face. Its graceful curves and open stance gently whisper nostalgia, with traces of both the quaint and the exotic. Both versions contain the complete Latin 1252, Central European 1250 and Turkish 1254 character sets.

Linotype Colibri is a delightfully playful display face, from the award-winning German typeface designer Hans-Jürgen Ellenberger. Linotype Colibri's letters dance up and down across the baseline, and appear as if they had been drawn quickly and whimsically with a felt tip pen. The design is available in two weights: Light and Regular.

Trencher JNL is based on hand-cut stencils spray-painted onto a vintage 1947 Cleveland Trencher acquired by the Marine Corps Mechanized Museum at Camp Pendleton, California. Restoration volunteer Brian Platzer supplied to Jeff Levine the images of the stencil markings - and they were quickly re-drawn and turned into a digital type face.

BearAnark is a decorative slab-serifed typeface that can be used for some text purposes. It has moderate contrast and comes in five weights, each with a true italic. The development of the family began with a blending of two other slab-serif faces, Anarckhie and BearButteT, and this origin is reflected in its name.

Stonecut JNL is an adaptation of a novelty display face found in one of the Dan X. Solo lettering books. Resembling letters made from cut stone, both the inline and solid black versions are perfect for themes encompassing outdoors, the Stone Age, "macho" events or anything where an unpolished or rustic look can be adapted.

Stout is a deliberately aggressively solid family of four faces, offered in two weights and in serif (deliberately large serifs) and sans forms. It’s ideal for signage that needs to be read over long distances or for anything where an emphatic statement is needed. Stout is big and clear and always makes a statement.

Jeff Levine took Crown Heights JNL [named after his childhood neighborhood in Brooklyn, NY] and gave it a make-over; transforming it into a Western-style all-caps display face called Homesteader JNL. The point of interest being the rounded characters: C, G, O and Q - usually not as geometric in Old West typography.

A 1970s Photolettering catalog indentified the pattern for this typeface as "Exotique" ...from France, no less. Named for a French expression meaning “pun,” this face is, indeed, witty and playful, with nary a groan in sight. Both versions of this font include the complete Unicode 1252 Latin and Unicode 1250 Central European character sets.

Will Ransom designed the uppercase letters in this typeface for Barnhart Brothers & Spindler in the 1920s, under the name Clearcut Shaded Caps. The lowercase letters come from another BB&S typeface named Clearcut Italic. An elegant headline face, best used sparingly, the font includes decorative flourishes in the brace, bracket and en dash positions.

Arsis is a condesed modern headline face that was originally produced and cast in hot metal by the Dutch type foundry Lettergieterij Amsterdam. The Arsis font family was designed by Gerry Powell in 1937. Arsis is a Serif (Antiqua) Modern Style font. Arsis font family attributes include roman serif, Didone, elegant, formal, modern style, feminine.

This stately typeface takes its inspiration from Erbar Medieval, designed by Jakob Erbar for the Ludwig & Mayer foundry of Frankfurt am Main, released in 1914. Equally at home in headlines or text blocks, this face is both elegant and inviting. Both versions contain the complete Latin 1252, Central European 1250 and Turkish 1254 character sets.

Snoogle is a friendly, round display typeface. Its character set contains 99 ligatures, which may be automatically implemented in OpenType-savvy applications. These give Snoogle the feeling of a script face, as opposed to normal rounded types. Snoogle's text variant is complimented by a Dingbats font, including further design elements as well as pictogram figures.

I have always liked handmade display fonts - maybe that’s why I have so many of them! Display Patrol is a rather fat, in your face font. It is completely handmade and comes in two distinct styles: regular and dots. Use it for your posters, books and product packaging. I am sure it will stand out!

Umbra was designed by R. Hunter Middleton for the Ludlow Corporation in 1935. This is a three-dimensional typeface, unique in that the main character shape is defined only by its shadow. It was originally designed to be a second-color drop-shadow for the typeface Tempo, but stands alone as an unusual display face.

OMG it's got a smiley face underscoring the exclamation point! What a sweet, charming handwriting font from the wrist of an 18-year-old Norwegian girl. A sassy skip and a flowery flair lift this particular marker font up a notch above the rest. Now available in OpenType format for your Personal or Commercial Use.

Hermann Zapf made his first scetches for Orion in 1963. Zapf's aim was to create a neutral textface which can be ideally used as a newspaper face. Its strokethickness and open letterforms also fits well for book and magazine production. The final two weights of Orion were released in 1974 for the Linofilm photocomposing machine.

Sporting broad, unadorned caps and just a dash of flair, ATF Wedding Gothic is like an engravers gothic at a black tie affair. It comes from the same tradition as other social gothics from the turn of the twentieth century, such as Engravers gothic and Copperplate. But where these are the faces of business cards and common announcements, ATF Wedding Gothic is a special occasion. Its swaying ‘R’ and ‘Q’, its characterful figures, and spritely-yet-sturdy insouciance make ATF Wedding Gothic well suited for tasteful engagements of all sorts. Yet there is much more here than the name implies. Originally offered long ago as metal type in a single, wide weight, this digital interpretation expands what was once a novelty design into a surprisingly versatile family of nine weights. An additional, narrower, standard width brings the count to eighteen fonts. From Thin to Medium, ATF Wedding Gothic retains the airy elegance of its source, while the heavier side of the family takes on an altogether different feel, more reminiscent of wooden poster type.

Recta was one of Aldo Novarese’s earliest contributions to the massive surge of the European sans serif genre that was booming in the middle of the 20th century. Initially published just one year after Neue Haas Grotesk came out of Switzerland and Univers out of France, and at a time when Akzidenz Grotesk and DIN were riding high in Germany and Gill Sans was making waves in Great Britain, it was intended to compete with all of those foundry faces, and later came to be known as the “Italian Helvetica”. It maintains traditional simplicity as its high point of functionality, while showing minimal infusion of humanistic traits. It shows that the construct of the grotesk does not have to be rigid, and can indeed have a touch of Italian flair. While the original Recta family lacked a proper suite of weights and widths, this digital version comes in five weights, corresponding italics, four condensed fonts, and small caps in four weights. It also includes a wide-ranging character set for extended Latin language support.

Plantin is a Renaissance Roman as seen through a late–industrial-revolution paradigm. Its forms aim to celebrate fine sixteenth century book typography with the requirements of mechanized typesetting and mass production in mind. How did this anomalous design come about? In 1912 Frank Hinman Pierpont of English Monotype visited the Plantin-Moretus Museum in Antwerp, returning home with “knowledge, hundreds of photographs, and a stack of antique typeset specimens including a few examples of Robert Granjon’s.” Together with Fritz Stelzer of the Monotype Drawing Office, Pierpont took one of these overinked proofs taken from worn type to use as the basis of a new text face for machine composition. Body text set in Plantin produces a dark, rich texture that’s suited to editorial and book work, though it also performs its tasks on screen with ease. Its historical roots lend the message it sets a sense of gravity and authenticity. The family covers four text weights complete with italics, with four condensed headline styles and a caps-only titling cut. Plantin font field guide including best practices, font pairings and alternatives.

Rooted Rooted in 1960s Brit modernism and infused with a fresh, contemporary spirit, FS Elliot is a future-proof, workhorse sans serif, well-suited to any assignment. Open and harmonious, its clear, fluid shapes lend words a distinctive and optimistic bounce. Britishness FS Elliot came out of a desire to create something squarely in the British modernist tradition, drawing on influences such as Design Research Unit’s portfolio of type for famous British brands and products, and Margaret Calvert and Jock Kinneir’s work on the British road sign system. Nick Job took the openness and simplicity of that style and injected warmth and wide appeal, coming up with a highly practical, multi-purpose family of faces. Enduring appeal “The great thing about having an eye on the future,” says designer Nick Job, “is that most of it is unknown. It’s what encourages us to take risks. And it leaves an uncertainty which, I believe, gives the best work its enduring appeal.” FS Elliot is available in a Pro version with full language support and a full range of Roman, Cyrillic and Greek weights.

Gunsmoke is a revival of a James Conner's Sons font that's been listed under different names such as Extended Clarendon Shaded, Original Ornamented and Galena. Dating back to 1888 this font was available with an original lowercase, numbers and punctuation. Today we've expanded the set to include the original shaded version a regular black, open left, open right and a fill font for the two open faced versions. The single Gunsmoke fill font is in alignment with the Gunsmoke Open R version and will also work with Gunsmoke Open L by shifting your fill font layer to align with the Open L version. You will need an application that works in layers in order to use the fill font with the Gunsmoke Open L and R fonts. Make sure you check out the left and right pointing gun hands on the less than and greater than keys, the gun alone is on the left and right brace keys. Remember to check your gun in with the Marshal when entering Dodge City.

Rooted Rooted in 1960s Brit modernism and infused with a fresh, contemporary spirit, FS Elliot is a future-proof, workhorse sans serif, well-suited to any assignment. Open and harmonious, its clear, fluid shapes lend words a distinctive and optimistic bounce. Britishness FS Elliot came out of a desire to create something squarely in the British modernist tradition, drawing on influences such as Design Research Unit’s portfolio of type for famous British brands and products, and Margaret Calvert and Jock Kinneir’s work on the British road sign system. Nick Job took the openness and simplicity of that style and injected warmth and wide appeal, coming up with a highly practical, multi-purpose family of faces. Enduring appeal “The great thing about having an eye on the future,” says designer Nick Job, “is that most of it is unknown. It’s what encourages us to take risks. And it leaves an uncertainty which, I believe, gives the best work its enduring appeal.” FS Elliot is available in a Pro version with full language support and a full range of Roman, Cyrillic and Greek weights.

Éric de Berranger likes to multitask, and often works on two typeface families at once. Such was the case with Mosquito, a jaunty sans that was developed at the same time he was creating the more traditional Maxime. Mosquito represented a sort of recreation," says de Berranger. "When I grew tired of working on one design I could work on the other and then come back to the first, full of courage and desire!" Mosquito is built from simple, straightforward shapes, but its distinctive stroke terminals and slight oblique weight stress distinguish the design from more conventional sans serif faces. The relatively large x-height and open counters add to the legibility of the design. The capitals are straightforward (with just a hint of Peignot), while the lowercase has a softer, more inviting demeanor. "I drew Mosquito with the hope that it would be pleasant to look at and to read," says de Berranger. "I think the end result is almost feminine." Mosquito comes in three weights, with complementary italic designs and a suite of small caps, old style figures and alternate characters."

Bayside Tavern is a weathered version of our Tavern Alt font family. With its straight sides Bayside Tavern fits better in tight spaces and reads better at smaller point sizes than the regular Bay Tavern version. With three weights, open faced and outline versions to choose from you're sure to find the right style for your new project, restaurant menu, logo, t-shirt design or Pirate costume party. While our original Tavern Alt font has been increased to include five weights additional weights for Bay Tavern will have to wait for now, adding the notched cut in's were all done by hand which causes a lot of cramping so a long break is needed before creating the extra weights. The Fill fonts in the Bayside Tavern family are meant to be layered behind the Bayside Open fonts, if you're using Bayside Open select Bayside Fill, if you're using Bayside Open L select Bayside Fill L, if you're using Bayside Open S select Bayside Fill S and so on.

Either Futuristic or Space ship logo - it will sure fit to a mysterious poster.

Mogan is a modern serif, with some alternates and ligatures that are perfect for branding materials, t-shirt, logo, poster, photography, quotes, and many more. An Original typeface that suitable for any graphic designs such as branding materials, t-shirt, print, business cards, logo, poster, t-shirt, photography, quotes .etc This font support for some multilingual. Modern Sweet Retro that contains uppercase A-Z and lowercase a-z, alternate character, numbers 0-9, and some punctuation. If you need help, just write me! Thanks so much for checking out my shop