Joe Kubert's son Adam has a story or two to tell as well; the AdamKubert font, based on Adam's own pen lettering in BATMAN/PREDATOR, was created by Comicraft for Marvel's ULTIMATE X-MEN series. Comicraft fonts are created BY comic book letterers FOR lettering comic books. Accept no substitutes!

British Stencil JNL was sketched from images of a vintage stencil set made by Reese and Sons of England that was being sold on ebay. In truth, this is a semi-stencil, as some of the characters are solid; lacking the breaks in the letter shapes so typical of stencil alphabets.

INFO DUMP: Get jacked into cyberspace direct feed, no buffer with this hotwired font by John 'Son of a Glitch' Roshell. Initial upload to Ghost Rider 2099 was prematurely aborted, but not before the downramp pusbag Ozymandias pirated a jagged beta version and assaulted the Uncanny X-Men during 'Onslaught.'

Turbayne is an all caps serif display revival of book cover titling originally drawn by A.A. Turbayne in 1896 London. Expanding upon the original drawings, Turbayne includes basic Latin, western and south eastern European language support, and includes opentype features such as ligatures, stylistic alternates, and even ornaments. Reflecting the refinement of the late Victorian era without being gaudy, it is perfect for designing headlines, labels, logotypes, posters, invitations, t-shirts and so much more.

Kesmod is a clean display typeface that excels in urban posters, music covers, clothing print design, impactful headlines, large page headers, billboards, signs, bold headlines, modern acid typography, Brutal Bold design, and much more. This modular Sans Serif typeface features 12 styles spanning from delicate thin to bold black, which really can help in modern experimental design. You will receive: - 12+1 styles - including Uppercase Alphabet, numbers, punctuation, and common additional glyphs.

Bermula is a Contemporary, Classy, and Warm Serif typeface. Bermula has a Clean and Smooth details. The design was intended to improve upon the Legibility. Bermula included 16 Fonts. Regular and matching Italic, from Light to Black weight. Also included Variable Font support. OpenType features allow for the implementation of typographic such as Ligatures. and added Latin Language support. It’s a perfect choice for Branding, Magazines, Posters, Advertising, Print, Packaging, Headlines, Logos, Web Design etc.

Vulnerable is an elegant script typeface inspired by a vintage type specimen I found some time ago at an art fair. Thin to thick contrasting lines and elegant curves make Beginta the perfect font for this type of logo and display purposes. Hope you enjoy it Feel free to contact me if you have any questions or concerns you may have and I will get back to you as soon as I can.

A totally off the wall crazy sans serif display type, Beaucoup started as a digitization of a film typeface called “Bippie” by Facsimile Fonts. From there, it was taken and built out to an extensive character set ready to take you for a wild ride. Completely loco, yet somehow still easily legible, this typographic wildchild is dying for you to get your grubby little hands on it and take it for a spin!

This typeface is named after Sarah Eaves, the woman who became John Baskerville’s wife. As Baskerville was setting up his printing and type business, Mrs. Eaves moved in with him as a live-in housekeeper, eventually becoming his wife after the death of her first husband, Mr. Eaves. Like the widows of Caslon, Bodoni, and the daughters of Fournier, Sarah similarly completed the printing of the unfinished volumes that John Baskerville left upon his death.

Wedding Text was designed by Morris Fuller Benton in 1901 for American Type Founders (ATF). The face was so popular that its forms soon began appearing with other font foundries under different names, Elite Kanzlei with D. Stempel AG, Comtesse with C.F. Rühl, Linotext with Linotype, etc. Its ornamental forms are not considered very legible by today's standards; therefore it should be used for headlines and short texts in point sizes 12 or larger.

To canoodle means to hug and kiss passionately. I leave the rest to your imagination. Canoodle is also a very adorable font - some would even go as far as calling it kissable. It is an all caps typeface, but upper and lower case differ and love to mix and match. I won’t guarantee a spot of canoodling if you use this font, but who knows, maybe you’ll get lucky. Canoodle speaks many tongues.

BR Segma is a geometric sans-serif type family of 8 weights plus matching italics. Geometric precision and modern utility create a contemporary modern aesthetic, while open apertures, and low contrast strokes provide a comfortable reading experience. Segma builds upon geometric traditions but remains firmly in the present. BR Segma provides advanced typographic support with features such as case sensitive forms, fractions, slashed zeros and multiple figure sets. For custom enquiries please contact: mail@brinktype.com

Altis combines geometric regularity and soulfulness into one font family. It resembles the traditional sanserif from the early 20th century, which communicates friendly and reads extremely well. Bring out its optimistic airiness with light styles or exploit the masculine strength of the bolds. Altis has been developed to fit present-day editorial conditions and publishing models. There are ten optically-balanced weights and practical OpenType features, which make the family versatile and operationally spot-on.

In the heyday of "Tin Pan Alley", a song plugger was one whose job it was to bring a publisher's song to the attention of performers, show producers and radio station executives; the forerunner of the promotion man who visited disk jockeys with new record releases in the hopes of getting them played on the air. Song Plugger JNL was based on hand lettering spotted on some late-1920s-early 1930s sheet music.

The letterforms of this face represent a "subtraction" of two different faces by weight, style, and shape -- one from another. The shapes of TM Miniature Italic are subtracted from FreeSet Bold with subsequent deconstruction. Though the spots may look amorphous they create images of both external and internal. At the same time none of them is explicit. The alphabet is lower case only. Designed by Boris Popov and licensed by ParaType in 2002 .

Introducing Kinder, our first serif font featuring both upper and lowercase characters! Featuring unique beautiful curves and a modern feel (look at that K!) Inspired by old records and packaging designs, with an 1871 spin. It has a beautiful range of stylistic alternates with unique characters making it a versatile powerhouse for logos, headlines, posters, shirts, you name it! Pick up Kinder today and make the world more beautiful with your creations!

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.

A powerful handmade font with a crunchy outline and a lot of attitude. It’s slightly based upon my own handwriting, when I really really concentrate on making each letter both legible and related to the other letters. Otherwise my handwriting is really garbage! :) I’ve added ligatures of repeating letters, such as bb, cc, dd, ee… and more - a great way to sparkle a little more energy in the font and the design it’s used for.

Otoiwo Grotesk is an extremely versatile sans-serif typeface with a closed aperture. It features whopping 126 styles over 7 widths, each containing 9 weights with corresponding italics. The mood of the family ranges from fairy neutral in Normal and Condensed widths to very flavorful Compressed and Ultra Wide. Rich language support, which includes Cyrillic and spans 131 language ovarall, makes Otoiwo Grotesk a worthy choice for brands that strive to reach international audience.

The cover lettering of a 1940s issue of a romance comic spotted in an auction online was the inspiration for Monthly Adventures JNL. Classic in its Art Deco look, this condensed outline font is evocative of the hand-lettered titles used during the Golden Age of the comic book. Available in both the original outline version and a thick, solid version with the outline removed, as well as oblique variations of both.

An image of a vintage British lettering stencil set [probably circa 1960s] spotted in an online auction inspired North End Stencil JNL. The original lettering was a hybrid of both stencil and solid letter forms, but for the digital version all of the characters were given the stencil treatment. North End Stencil JNL is named after a district in London, and the type face is available in both regular and oblique versions.

After visiting Milan, I stumbled upon the Sforza castle, and found some interesting type on the inner courtyard castle walls. I became inspired by what I found, and decided to design a typeface based off of the limited quirky letterforms. Thus Sforza was born, with ligatures galore, alternates, pictograms, and swooshes. Sforza is a roman style typeface with a quirky flair. It has loads of ligatures, nested letterforms, and tails and swooshes for endless combinations.

Sigmund PRO is a visual journey around Poland. The main style is inspired by the Polish road signage typeface – designed by Marek Sigmund. With the increase of weight, Sigmund turns into a geometric display – in the spirit of vernacular typography from the signs of Polish streets. Thanks to this span of styles Sigmund will work both in visual identifications and posters. The family consists of 18 varieties and has many alternative characters.

In the tradition of the stock cuts that printing type foundries offered as metal, these spot illustrations remind you —for their look and technique— of vintage publications like victorian age newspapers and magazines. Similar to their counterparts in the Whimsies, Absurdies, Ombres, Bizarries and Whimsies series, the Genteta is another collection of little people in funny and absurd situations, recreated in black ink, from imagination and with no reference or models, and then carefully digitized. The Genteta trio of dingbats includes more than 150 new images. Their vectorial file format means you can use them at any size with no loss of quality. Every Genteta dingbat offers ready-made images for a variety of creative projects. They can be used as they come or easily customized in any graphics program. At small sizes they are ideal spot illustrations with a whimsical touch; at large sizes they can bring a whole page, a spread or even a big poster to life. Use them in creative projects including, but not limited to, flyers, brochures, book jackets and editorial illustration.

The Cedi Typeface is a single weight display font that is based on the fluid handwritten style of a work colleague. This design is a fast flowing script that is both lively and original yet equally legible due to it's defined letterforms and open forms. Despite working well in a regular format, during the design process I started to look at ligatures as a solution for solving some problematic combinations. However, this small implementation soon got vastly expanded as I started to focus on the rythm of the letterforms and how best to convey the hand drawn feature in the design. A common problem in most script fonts is the repeating letterforms that would be particularily un-natural for this manual typeface, therefore hinting at it's digital source. The ligature concept soon evolved into over 2400 ligatures, trying to cover all repeating glyphs as well as finding more harmious combiations. This design was created for use in short text settings and use at large point sizes suiting titles, screen use or logo designs.

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!"

Mama Bear is a playful, neat, children's book typeface. It is cute and happy, very legible and comes with extensive language support, including the 'schwa' glyph found in a handful of languages. Mama Bear was inspired by my 16 month old son, who loves his fluffy bear and likes to play hide and seek.

This curious little gem is patterned after a typeface named "Bloomsbury", released by P. M. Shanks & Sons, Ltd. of London in the 1920s. Its gentle curves and somewhat quirky construction combine to create a warm and friendly, if slightly offbeat, antique charm. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Inspired by the Froben capitals believed to have been cut by Peter Schoeffer the Younger, son of Gutenberg’s apprentice, this design is neither strictly a Venetian nor an Aldine. The archaic approach and lack of the Aldine model lead us to place the face in the Venetian group. The design owes more to Goudy than to Schoeffer.

Who doesn’t like Spaghetti & Cheese? Well, my son doesn’t like it, because he hates cheese, but he seems to be one of the few. Spaghetti & Cheese is also a handmade font: slightly slanted, slightly eroded, yet very legible and clear. It was made with a Japanese ‘Shake & Write’ marker pen. Comes with a generous topping of diacritics.

Charllona is a very beautiful and unique font. This font is perfect for all types of your work. This font is perfect for all wedding needs (wedding invitations, wedding photography, decorations, and other wedding designs), your business promotion (hotels, villas, vacation spots, products, services or promotion of snacks / beverage products. Also suitable for promo updates, logos, branding, posters, or status updates on social media, making romantic words, or quotes. This font is also equipped with swash, ligature and multilingual.

Kanna Aoki had fairy tales in mind when she designed MVB Greymantle. She drew dots with a felt pen to build up the forms, giving them their particular rough character. The “Extras” font contains a set of whimsical illustrations, including a portrait of Greymantle—her 18-pound cat, a set of curly initial caps, and border parts.  MVB Greymantle has been spotted on numerous children's books, in magazines, in salad dressing advertisements, and on food packaging.

In 1994, Edward Benguiat designed ITC Edwardian Script, an emotional, lyrical, even passionate calligraphic typeface. Its appearance was influenced by the look of writing with a steel pointed pen, an instrument which can be pushed as well as pulled, and which produces stroke contrast when pressure upon it is varied. The delicate, sophisticated letterforms of ITC Edwardian Script font were drawn and redrawn until the connective elements of the letters were perfected to create the look of true handwriting.

Set the mirrored ball spinning, and get down to Funky Town. Based on a period piece appropriately named Disco 79, this version shifts the concentric elements so that they appear to be lit from below, adding impact and, perhaps, even a sinister touch. You'll also find special treats at the dagger, double dagger and section mark positions. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

Atze, a handwriting script font, was designed by Ralph M. Unger for the profonts Library. Inspired by frowned-upon Comic Sans, Atze is much more pleasing, much milder and more natural. It cannot and should not only be used for Comics and children?s books but for literally all situations where a friendly, soft, casual and relaxed atmosphere is required. However: Especially for Comic books, Unger created a set of very funny Atze Bats: AAAAH ? BOOOM ? BRRRR!

Aesop was developed from some book jacket lettering drawn by Michael Harvey for an edition of Aesop’s Fables by a master Japanese Artist. It is based upon a pen-drawn script, and is characterised by a lively sense of movement and grace. Aesop Plus, being an OpenType font, contains many alternative characters and additional ligatures which can be automatically substituted to enhance the liveliness of set text, where the application in which it is used, permits.

Stuph Light is a collection of drawings pulled from one of the many sketch books Steve Zafarana is always doodling in. Because they are in a font, the drawings can be used in font format or opened and manipulated in vector programs like Freehand or Illustrator. Stuph Light continues to inflict upon an unsuspecting public Steves’ cockeyed outlook on the world that was started with ITC Fontoonies, ITC Gargoonies and ITC Backyard Beasties. Will this lunacy ever end?

Once upon a time (a.ka. 1984), there was a Goth band who called themselves "Hemingway's Shotgun." As a symbol of his commitment to this band, the bass player acquired a tattoo of a shotgun on his forearm. Unfortunately, this tattoo wasn't very well drawn: the barrel was much too short, and was much thinner at one end than the other. The tattoo rather resembled a small, cordless, rechargeable hand-held vacuum cleaner. Thus, the band "Hemingway's Dustbuster" was born.

Victorian Alphabets is a incoming family of complete victorian style alphabets, researched and developed upon a comprehensive number of vintage books, magazines and catalogues from XIX century. The "Victorian Alphabets A" font has just A' designs, performing 52 differnt A's to your use. And the Victorian Alphabets B and C has, too 52 B and C letters, only, each. You also can take a look in our massive collection of monograms, here : https://www.myfonts.com/fonts/intellecta/intellecta-monograms/

Bovid ready to clash Following the ancient Adriatic history and natural shapes of the ram horns, Bovid typeface connects sports and tradition in a fearless and reckless way. It empowers players as soon as they put on their jerseys, making them ready to clash for the highest score. Bovid typeface has low contrast and high legibility with priority on numerals. It has capital letters in two sizes and is suitable for sport jerseys, posters, brochures, flags and tickets.