Core Gothic D is a simple and modern sans-serif Korean font consists of 9 weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy & Black). Character set is consist of Korean 11,172 characters, Hirakana & Katakana, Latin and Korean symbols. It is well balenced between Korean and Latin characters. Latin typeface (Core Sans D) was adjusted to be matched with korean typeface. Spaces between individual letter forms are adjusted in detail so that it makes perfect typesetting. Supported codepages are MS Windows 1252 Latin1 and MS Windows 949 Korean. We recommend to use for books, web, screen displays and so on.

The Core Sans GS Family is a rounded version of Core Sans G and a part of the Core Sans Series such as Core Sans N, M, A, E, D. Core Sans GS is constructed of straight, circular or square shapes. These geometric shapes are inspired by classic geometric sans (Futura, Avenir, Avant Garde etc.). Every stem is a rectangle or a straight line and every letter, lowercase or uppercase, seems to be in perfect geometric form and even weighted. The small x-height makes readability clean and clear. Core Sans G can be used equally well in headings or in body copy. The Core Sans GS Family consists of 9 weights (Thin, Extra Light, Light, Regular, Medium, Bold, Extra Bold, Heavy, Black) with maching Italics. It also includes alternate characters (a,g,t) and a bunch of ligatures. The Core Sans GS provides a wide range of character sets to support (Cyrillic, Central and Eastern European characters) and advanced typographical support with features such as proportional Figures, tabular Figures, numerators, denominators, superscript, scientific Inferiors, subscript, fractions, standard ligatures, discretionary ligatures and stylistic alternates. Core Sans G is an ideal font family for use in magazines, web pages, screens, displays, and so on.

Found within the pages of the 1934 edition of the American Type Foundry’s “Book of American Type” is a sans serif design with rounded terminals that emulates a typewriter face. “Jumbo Typewriter” is reminiscent of the type of lettering formerly found on teletype news copy. “Teletype” was a division of Western Electric (part of AT&T), and the machines utilized telephone lines to electronically type and send (as well as receive) messages worldwide. Many folks will remember the sound of teletype machines in the background when radio stations had their news breaks. Now available digitally as News Copy JNL, it is available in both regular and oblique versions.

Core Sans C family is a part of the Core Sans Series, such as N, M, E, A, D, G, R and B. Core Sans C is inspired by classic geometric sans (Futura, Avenir, Avant Garde etc.). It is based on geometric shapes, like near-perfect circle and square. It has a much higher x-height (height of lowercase letters), an effect which promotes readability especially at small print sizes. The Core Sans C Family consists of 9 weights (Thin, Extra Light, Light, Regular, Medium, Bold, Extra Bold, Heavy, Black) and Italics for each format. Core Sans C supports complete Basic Latin, Cyrillic, Greek, Central European, Turkish, Baltic character sets. Each font includes proportional figures, tabular figures, oldstyle figures, numerators, denominators, superscript, scientific inferiors, subscript, fractions and case features. Core Sans C is an ideal font family for use in magazines, web pages, screens, displays, and so on.

The Core Sans BR Family is a part of the Core Sans Series, such as N, NR, N SC, M, E, A, D, G, R and B. The Core Sans BR Family is designed with rounded stroke endings for visual comfort. This family has very small x-heights and large ascenders(descenders) which give an elegant feeling in body text. It is a sans-serif family but it’s structure is similar to serif fonts, so you can make paragraph beautiful with this font family. It is very legible and readable even in small size because of its open counters and distinctive shapes. This font family consists of 7 weights (Thin, Light, Regular, Medium, Bold, Heavy, Black) and Italics for each format. Core Sans BR supports complete Basic Latin, Cyrillic, Central European, Turkish, Baltic character sets. Each font includes proportional figures, tabular figures, oldstyle figures, numerators, denominators, superscript, scientific inferiors, subscript, fractions and case features. We highly recommend it for use in books, web pages, screen displays, and so on.

The Core Sans G Family is a part of the Core Sans Series, such as Core Sans N SC, Core Sans N, Core Sans NR, and Core Sans M. Core Sans G is constructed of straight, circular or square shapes. These geometric shapes are inspired by classic geometric sans (Futura, Avenir, Avant Garde etc.). Every stem is a rectangle or a straight line and every letter, lowercase or uppercase, seems to be in perfect geometric form and even weighted. The small x-height makes readability clean and clear. Core Sans G can be used equally well in headings or in body copy. The Core Sans G Family consists of 9 weights (Thin, Extra Light, Light, Regular, Medium, Bold, Extra Bold, Heavy, Black), 3 for rounded (Medium, Bold, Extra Bold) with matching Italics. It also includes 4 effects fonts (Outline, Neon, Shadow, Dimensional), Alternate Characters (a,g,t) and a bunch of ligatures. The Core Sans G provides a wide range of character sets to support (Cyrillic, Central and Eastern European characters) and advanced typographical support with features such as proportional Figures, tabular Figures, numerators, denominators, superscript, scientific Inferiors, subscript, fractions, standard ligatures, discretionary ligatures and stylistic alternates. Core Sans G is an ideal font family for use in magazines, web pages, screens, displays, and so on.

The typeface Typist originated during an extensive research on the origin and development of typewriter typestyles. The first commercially manufactured typewriter came on the market in 1878 by Remington. The typestyles on these machines were only possible in capitals, the combination of capitals and lowercase came available around the end of the nineteenth century. Apart from a few exceptions, most typestyles had a fixed letter width and a more or less unambiguous design that resembled a thread-like structure. A lot of this mechanical structure was due to the method the typestyles were produced. Looking at type-specimens for print before the first typewriters were good enough to came on the market we can see that in 1853 and in 1882 Bruce’s Type Foundry already had printing type that had a structure of the typewriter typestyles. Of course printing types were proportional designed as typewriter typestyles had a fixed width. So it is possible that except from the method of production for typewriter typestyles, the design of printing types were copied. In the design of the Typist, the purpose was – next to the monospace feature – to include some of the features of the early typewriter typestyles. Features such as the ball terminals and the remarkable design of the letter Q. This new typeface laks the mechanical and cold look of the early typewriter typestyles. The Typist comes in six weights with matching italics in two versions. One that resembled the early typewriter typestyles (Typist Slab) and a version designed with coding programmers in mind (Typist Code).

CA Cape Rock, first released in 2007 and now reissued and expanded, is an impressive display typeface. Designed with a fat Clarendon and wood type in mind, the typeface’s bold and distinctive forms add spice and personality to any design that requires a strong display aesthetic. CA Cape Rock is particularly enjoyable for use in headlines and ideal for highlighted text. With already two dozen existing ligatures and many OpenType swashes, the new edition also received letters for use in the Central European and South Eastern European area. Cleaned and harmonized paths, a completely new kerning as well as a newly added Italic (Slanted) style are also among the new features.

Coding Cincoy display font. Bold stroke, fun character with a bit of ligatures and alternates. To give you an extra creative work. Coding Cincoy display font support multilingual more than 100+ language. This font is good for logo design, Social media, Movie Titles, Books Titles, a short text even a long text letter and good for your secondary text font with script or serif. Make a stunning work with Coding Cincoy display font.

The Core Sans ES Family is a rounded version of Core Sans E and a part of the Core Sans Series such as Core Sans N, M, A, G, D. This is a modernized grotesque font family with horizontal terminals, low stroke contrast, enclosed apertures and little line width variation. Its tall x-height makes the text legible and the spaces between individual letter forms are precisely adjusted to create the perfect typesetting. The Core Sans ES Family consists of 9 Weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy, Black) and Italics for each format. It supports WGL4, which provides a wide range of character sets (CE, Greek, Cyrillic and Eastern European characters). Each font includes support for Superiors and Inferiors, Fractions, Tabular numbers, Arrows, Mathematical operators and Opentype Features such as Proportional Figures, Tabular Figures, Numerators, Denominators, Superscript, Scientific Inferiors, Subscript, Fractions, Case Features and Standard Ligatures. We highly recommend it for use in books, web pages, screen displays, and so on.

The Core Sans M Family is a part of the Core Sans Series, such as Core Sans N, Core Sans N Rounded, Core Sans N SC, and Core Sans G. This font family has open and square letter shapes, and overall rounded finishes provide a soft and friendly appearance. Simple and modern shapes with a tall x-height make the text legible and the spaces between individual letter forms are precisely adjusted to create the perfect typesetting. The Core Sans M Family consists of 2 widths (Condensed, Normal), 7 weights (ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy), and Italics for each format. Small Caps versions are also available. It supports WGL4, which provides a wide range of character sets (CE, Greek, Cyrillic and Eastern European characters). Each font includes support for Tabular numbers, Arrows, Box drawings, Geometric shapes, Block elements, Mathematical operators, Miscellaneous symbols and Opentype Features such as Proportional Figures, Numerators, Denominators, Superscript, Scientific Inferiors, Subscript, Fractions and Standard Ligatures. The Core Sans M Family provides both OpenType (.OTF) and TrueType (.TTF) versions in the same package. We highly recommend it for use in books, web pages, screen displays, and so on.

The Typist Code SansSerif is part of a big family, the Typist Family. The family consists of a monospaced, a Slab Serif and a SansSerif version. The idea behind this family originated from the research into the design of typewriter typestyles, which is also the reason why the monospaced version was released first. Since it was decided from the start to make a SlabSerif and a SansSerif version of these monospaced fonts, it was also a logical consequence that the proportional variants also became available in these versions. The monospaced SansSerif fonts have been given the name 'Code' since they are designed to be used while writing code for a software program, for example. The proportional variants with each 6 weights of the Typist Slab Serif and Code (SansSerif) are now available. Although the name may seem a bit strange, it is a logical consequence from the monospaced variant. The SansSerif variant therefore has Typist Code Prop, written in full the Typist Code Proportional. After all, who wants to be bothered with long font names in their font menu. The entire Typist family is designed as a font for use in editorial and publishing publications. A lot of attention has been paid to the spacing and kerning of the fonts. Due to the many variants and weights, this font is versatile. Typist Font Family was designed by Nicolien van der Keur and published by vanderKeur design. Typist Slab Prop and Typist Code Prop contains each 6 styles (Thin, Light, Regular, Medium, Semi-Bold and Bold, each weight also designed as a true italic) and has family package options. The links to the monospaced version of The Typist are here: https://www.myfonts.com/collections/typistslabfont-vanderkeur https://www.myfonts.com/collections/typist-code-font-vanderkeur

Core Sans CR family is a rounded version of Core Sans C; a part of the Core Sans Series, such as Core Sans N, Core Sans M, Core Sans E, Core Sans A, Core Sans D, Core Sans G, Core Sans R and Core Sans B. Core Sans CR is inspired by classic geometric sans (Futura, Avenir, Avant Garde etc.). It is based on geometric shapes, like near-perfect circle and square. It has a much higher x-height (height of lowercase letters), an effect which promotes readability especially at small print sizes. The Core Sans C Family consists of 9 weights (Thin, Extra Light, Light, Regular, Medium, Bold, Extra Bold, Heavy, Black) and Italics for each format. Core Sans C supports complete Basic Latin, Cyrillic, Central European, Turkish, Baltic character sets. Each font includes proportional figures, tabular figures, oldstyle figures, numerators, denominators, superscript, scientific inferiors, subscript, fractions and case features. Core Sans C is an ideal font family for use in magazines, web pages, screens, displays, and so on.

Zombie Coming is a display font with a monoline Dripping graffiti style, there is some swash for your awesome design. It will elevate a wide range of design projects to the highest level, be it branding, headings, wedding designs, invitations, signatures, logos, labels, and much more! Featured : Uppercase Number and Punctuation Stylistic Alternate (Swash)

The typeface which inspired Promotional Copy JNL can be found on hundreds of 45 rpm records from the 50s through the 80s, as well as in headlines from articles found in one of the music industry’s leading publications throughout their older issues – it was a favorite and a workhorse. Now’s your chance to create a facsimile of the record label you always wanted to have with your garage band… or at the very least, utilize this font for some clean and crisp text or headline projects.

Spring has come is a stylish modern handwritten script. It has an unique, striking look which can be used to make any design stand out. Incredibly versatile, this font fits a wide pool of designs, elevating them to the highest levels. Add this font to your favorite creative ideas and notice how it makes them come alive! This font is PUA encoded which means you can access all of the glyphs.

Core Gothic N is a simple and modern sans-serif Korean font consists of 9 weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy & Black). Character set is consist of Korean 11,172 characters, Hirakana & Katakana, Latin and Korean symbols. It is well balenced between Korean and Latin characters. Latin typeface (Core Sans N) was adjusted to be matched with korean typeface. Spaces between individual letter forms are adjusted in detail so that it makes perfect typesetting. Supported codepages are MS Windows 1252 Latin1 and MS Windows 949 Korean. We recommend to use for books, web, screen displays and so on.

Core Sans DS is a rounded version of Core Sans D and a modern interpretation of condensed sans-serif typeface designed by S-Core and the whole family consists of 2 widths (Condensed, Normal), 7 weights (Thin, Light, Regular, Medium, Bold, Heavy, Black) with their corresponding italics. Core Sans DS features a condensed geometric construction and has a large x-height which enhances legibility. The family is ideal for signage, headline as well as body text. Core Sans DS is a part of the Core Sans Series such as Core Sans N SC, Core Sans N, Core Sans NR, Core Sans M, Core Sans G,Core Sans A, Core Sans GS and Core Sans ES. Letterform in this type family is simple, clean and highly readable. The spaces between individual letter forms are precisely adjusted to create the perfect typesetting. Core Sans DS supports complete Basic Latin, Cyrillic, Central European, Turkish, Baltic character sets. Each font includes proportional figures, tabular figures, numerators, denominators, superscript, scientific inferiors, subscript, fractions and case features.

The Core Sans E family is part of the Core Sans series, such as Core Sans N, Core Sans M, Core Sans A, Core Sans G and Core Sans D. This is a modernized, grotesque font family with horizontal terminals, low-stroke contrast, enclosed apertures and little-line-width variation. Its tall x-height makes the text legible; and the spaces between individual letter forms are precisely adjusted to create the perfect typesetting. The Core Sans E family consists of 9 weights, from Thin to Black with italics. It supports WGL4, which provides a wide range of character sets—Greek, Cyrillic, and Central and Eastern European characters. Each font includes support for tabular numbers, arrows, mathematical operators, and OpenType features (such as proportional figures, numerators, denominators, subscript, superscript, scientific inferiors, fractions, case features, and standard ligatures). We highly recommend it for use in books, web pages, screen displays, and so on.

With the publication of the “Today Sans Now” Elsner+Flake extends its offering of the “Today Sans Serif” type family, developed in 1988 by Volker Küster for Scangraphic, by another cut so that the gradation of the stroke width can now be more finely calibrated. The type complement is available for 72 Latin-based languages as well as Cyrillic. Where available, small caps were integrated, and mathematical symbols as well as fractions were included. In order to make the symbols for text applications in regard to headlines more flexible, the insertions which were formerly added, for technical reasons in order to sharpen the corners, were eliminated, and the optical size adjustments of the vertical and diagonal stem endings (I, v, H, V) to the horizontal bars (z, Z) were scaled back. Already since the end of 1984, Volker Küster experimented with broad sticks of chalk and a broad felt pen in order to develop a new sans serif typeface which, in the interest of easy legibility, would be built on the basic structures and proportions of the Renaissance-Antiqua. Using a normal angle of writing, his experiments lead to the form structure of the characters: a small contrast between bold and light weights, serif-like beginning and end strokes in some of the lower-case characters, and the typical, left-leaning slant of all round lower-case letters and the typical left-leaning axis of all round letter forms. In this way, a rhythmization of a line of type was achieved which created a lively image without being “noisy”. With this concept, Volker Küster has enlarged the Sans Serif by a distinctive, trend-setting form variation.

Bluset Monospaced enlarges the re-worked and expanded text- and headline typeface family Bluest Now with 6 new cuts. The concept for Bluest Now was based, in its original form, on a corporate design typeface by Elsner+Flake in 2004, ordered by the Landor Agency for a large German energy corporation. Regularly re-worked and brought up to modern standards, the typeface is still used to this day. Because of its large x-height and its well-balanced appearance, Bluset Now Mono is also excellent for use in small typesizes. The three Roman cuts, Regular, Medium and Bold, and the corresponding obliques, allow a clear differentiation of base- and display applications for every typesize. The character complement has been created for 72 Latin-based language areas and thus allows a neutral text exchange across language borders. Translation Inga Wennik

Digital Sans Now combines and completes the many diverse requests and requirements by users of the past years. By now, 36 versions for over 70 Latin and Cyrillic languages have become available, including Small Caps. Digital Sans Now is also available as a webfont and reflects, with its simplified and geometric construction and its consciously maintained poster-like forms as well as with its ornamental character, the spirit of the decorative serif-less headline typefaces of the 1970s. The basic severity of other grotesque typefaces is here repressed by means of targeted rounds. Exactly these formal breaks allow the impression that it could be used in a variety of visual applications. Short texts, headlines and logos of all descriptions are its domain. It is because of this versatility that the typeface has become a desirable stylistic element, especially in such design provinces as technology, games and sports, and that, for many years now, it appears to be timeless. Additional weights designed on the basis of the original, from Thin to Ultra, the Italics, Small Caps and alternative characters allow for differentiated “looks and feels”, and, with deliberate usage, give the “Digital Sans Now” expanded possibilities for expression. The basis for the design of Digital Sans Now is a headline typeface created in 1973 by Marty Goldstein and the Digital Sans family which has been available from Elsner+Flake since the mid-1990s under a license agreement. The four weights designed by Marty Goldstein, Thin, Plain, Heavy and Fat, were originally sold by the American company Visual Graphics Corporation (VGC) under the name of “Sol”. Similarly, the company Fotostar International offered film fonts for 2” phototypesetting machines, these however under the name “Sun”. The first digital adaptation had already been ordered in the mid 1970s in Germany by Walter Brendel for the phototypesetting system Unitype used by the TypeShop Group, in three widths and under the name “Digital Part of the Serial Collection.” Based on the versions by VGC, Thin, Plain, Heavy and Fat, new versions were then created with appropriate stroke and width adaptations for data sets for the fonts Light, Medium and Bold as well as for the corresponding italics

Wake Up Now is a cute and simple lettered handwritten font that can be used for all chalkboard quotes or teaching material! Its authentic look will add a realistic feel to your designs.

The design of Kristall Grotesk Now is based on a cut by Wagner & Schmidt, Leipzig, from the 30s of the last century as well as the digital version Kristall Grotesk MdK, created for the Stiftung Werkstattmuseum für Druckkunst. The implementation of the Kristall Grotesk MdK, a headline font, was deliberately created as a replica to create a faithful reproduction of the original. The design of the complete family Kristall Grotesk Now is based on the one cut Kristall Grotesk Buchschrift by Johannes Wagner GmbH, 1937, with its function as a text family. Designer: in parts Johannes Wagner GmbH, Redesign Elsner+Flake, Hamburg Designdate: 1937, 2009 Publisher: Elsner+Flake Design Owner: Elsner+Flake Original Foundry: in parts Johannes Wagner GmbH

For nearly 90 years, Paul Renner’s Futura has been as popular as it is versatile—from children’s books to fashion magazines to the plaque on the Moon. Futura is a typographic icon. Futura Now offers designers a chance to see Futura with fresh eyes. It’s more truly Futura-like than any digital version you’ve ever worked with. “It brings some much-needed humanity back to the world of geometric sans serifs,” says Steve Matteson, Monotype’s Creative Type Director who led the design team. “Despite its reputation as the ultimate modern typeface, Futura Now is surprisingly warm,” he explains. “It’s just as at home set next to a leafy tree as it is next to a stainless-steel table, because it skillfully navigates the border between super-clean geometry and humanist warmth.” Futura Now—the definitive Futura—contains 102 styles, including: new Headline and Text weights; new Script and Display weights and styles; and new decorative variants (outlines, inlines, shadows, and fill). Its contemporary alignment of names and weights makes the family easier to understand and use, and its comfortable Text and judicious Headline subfamilies provide instantly refined spacing. With a large Latin, Greek, and Cyrillic character-set, Futura Now serves a wider international creative community. Futura Now is available both as individual OpenType fonts and as a set of Variable fonts, delivering limitless styles in a tidy digital footprint.

Dez Now Sans is a humanistic typeface family that was begun in 2005 by Chris Lozos of Dezcom. Since then, it has been nurtured, revised, and expanded to include 12 weights in both upright roman and true italics totaling 24 variations. This allows the user to choose the weights which best work for type-size, output device, and reproduction process. There is often a difference of opinion on what the best weight to use for normal text when setting type. The truth is, there is more than one answer. When you consider the size, weight, leading and set width—along with paper and ink specifications, you may find the need for several. The subject matter of the text with the specifics of the target audience, also increase the demand for expanding choices. Dez Now Sans was designed with several potential text weights to address any circumstance. Dez Now Sans gives you a full and varied toolbox of fonts to choose from.

Now Appearing JNL is a digital version of some hand-lettering spotted on an early 1960s ad for a Miami Beach night club. Its fun, casual appearance makes it perfectly suitable for any project that conveys a relaxed atmosphere. The font was intentionally not kerned, so the free-flowing form of the lettering is at its best, but it can be set tight by hand if a more compact look is desired.

Helvetica Now Variable Helvetica Now 2.0 builds on the groundbreaking work of 2019’s Helvetica Now release—all of the clarity, simplicity, and neutrality of classic Helvetica with everything 21st-century designers need. In this 2021 release, we introduce Helvetica Now Variable and add condensed weights to the Helvetica Now static fonts. Helvetica Now 2.0 includes 96 fonts in three distinct optical sizes (Micro, Text, and Display), now with 48 new condensed weights. The Helvetica Now Variable fonts include even more: 144 instances—48 normal, 48 condensed, and 48 compressed. Helvetica Now Variable gives you over a million new Helvetica styles in one state-of-the-art font file (over two-and-a-half million with italics!). Use it as an extension of the Helvetica Now family or make custom-blends from its weights (Hairline to ExtraBlack), optical sizes (four point to infinity), and new Compressed and Condensed widths. Create infinite shades of expression, incredible typographic animations, and ultra-refined typography. Its single font file makes it easier to use and wickedly fast. Load one file and access a million fonts—in a fraction of the size of a traditional font family. More freedom. More expression. More power. More. Helvetica. Now. Each one of the Helvetica Now static fonts has been carefully tailored to the demands of its size. The larger Display versions are drawn to show off the subtlety of Helvetica and spaced with headlines in mind, while the Text sizes focus on legibility, using robust strokes and comfortably loose spaces. Helvetica Now's Micro designs are simplified and exaggerated to maintain the impression of Helvetica in tiny type. There's also an extensive set of alternates, which allow designers the opportunity to experiment with and adapt Helvetica's tone of voice. The new Condensed weights put more type into smaller spaces—for intense emphasis, sophisticated contrast, or just everyday space-fitting. Helvetica Now 2.0 is, quite simply, more: more versatility; more power; and more creative possibilities. “For more than six decades, Helvetica has been the essential typeface,” says Monotype Type Director Charles Nix. “The release of Helvetica Now insures that it will be a typographic force for decades to come.”

What makes "Logopedia Now Rounded" unique is that it has a strong body, upper and lower case letters are the same size and work in perfect harmony. All letters in the character have "alternatives" in various numbers. This feature provides you variety in your designs. It is possible to take your designs to the next level by using "Logopedia Now Rounded". "Logopedia Now Rounded" is ideal for especially logo design, advertising and packaging, branding and creative industries, banners and billboards and signage as well as web and screen design. "Logopedia Now Rounded" provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. The designation “Logopedia Now Rounded 500 Regular” forms the central point. "Logopedia Now Rounded" comes 3 weights and italics total 6 types. The family contains a set of 543 glyphs. Classes and Features, Stilistic Style, Fractions and Old Style Numerator just one touch easy In all graphic programs. "Logopedia Now Rounded" is the perfect font for web use. Be sure to check out the other siblings of "Logopedia". Logopedia Now Logopedia Now Rounded Logopedia Next Logopedia Next Rounded You can enjoy using it.

The sans serif linear antiqua Maxima which was created in the beginning of the sixties by Prof. Gert Wunderlich for Typoart Dresden, was newly actualized in 2007 after more than 45 years. Many hands and heads were involved in the successful re-design of Maxima Now over a period of two years to assist the designers of the Elsner+Flake Design Studios in Hamburg, and the typeface family is now available. The re-design happened in close cooperation with Wunderlich who has given support to numerous projects in Elsner+Flake’s studio in Hamburg. A great deal of care was given to the necessary preliminary tasks such as the viewing of the original designs and print tests, the analysis of the digital Typoart data which had been in the possession of Elsner+Flake since 1985 and 1989, and a design conceptualization based on detail correlations, as well as the extension of the character complement. It had been Elsner+Flake’s goal to include as many of the existing Maxima cuts into the re-design program as possible. The result is an extended font family with 25 weights in EuropaPlus layout.

A beautiful and stylish pen lettered alphabet appears within the pages of the 1921 publication “How to Write Show Cards” and its Art Nouveau stylings made it a perfect candidate for a digital revival. Pleasant Show Card JNL is available in both regular and oblique versions.

Alf Becker graced the pages of "Signs of the Times" magazine month after month for decades, presenting attractive and unusual hand lettered alphabets as inspiration for other sign painters and show card writers. From straightforward text faces to novelty ideas, Becker's talent as a master sign crafter was constant in his work. Show Card Casual JNL is one example of what is referred to as a "one stroke" alphabet (utilizing a single brush stroke in each direction to form the letter or number). Its casual look and playful charm allow for a message to be presented in an informal format that is pleasing to the eye. The type design is available in both regular and oblique versions. Special thanks to Tod Swormstedt of ST Publications for providing the reference material.

The title and credits for the 1951 Dick Powell and Rhonda Fleming film “Cry Danger” were hand lettered in a freehand brush lettering often seen on store signs and show cards. Serving as the model for Show Card Freehand JNL, this pleasant and casual typeface is available in both regular and oblique versions.

Art Nouveau serif capitals and numerals in the 1917 instructional book “A Roman Alphabet and How to Use It” were the inspiration for Show Card Roman JNL; available in both regular and oblique versions.

Show Card Sans JNL (available in both regular and oblique versions) is based on a chart showing the basic construction of sans serif lettering in the 1922 instruction book “Modern Show Card Writing”.

The 1920 edition of “How to Paint Signs and Sho’ Cards” by E. C. Matthews offered a number of examples of then-modern lettering styles for sign painters and show card writers. A bold display alphabet made with a round lettering nib is now available as Show Card Pen JNL, in both regular and oblique versions.

A playful, casual take on round nib pen lettering was spotted amongst some online scans from an old lettering book. The free-form and stylized shapes of the letters and numbers are reminiscent of old-time show cards, movie titles and signage in vogue around the early 1900s through the 1920s. Fancy Show Card JNL is available in both regular and oblique versions.

This font was inspired by music from the band The Devil Wears Prada.