A contemporary sans serif design, Arial contains more humanist characteristics than many of its predecessors and as such is more in tune with the mood of the last decades of the twentieth century. The overall treatment of curves is softer and fuller than in most industrial-style sans serif faces. Terminal strokes are cut on the diagonal which helps to give the face a less mechanical appearance. Arial is an extremely versatile family of typefaces which can be used with equal success for text setting in reports, presentations, magazines etc, and for display use in newspapers, advertising and promotions.

The font Antique Slabserif JNL was run through a filter to create a design that looks like worn type at smaller settings or jaggedly distressed lettering in larger type heights. The end result is Radio Interference JNL, which is available in both regular and oblique versions.

Bloktor Mosaik JNL from Jeff Levine was at first a straightforward brick design sent to Typodermic's Ray Larabie for preview. Ray decided to run it through a filter to see what would happen, resulting in a font that emulates the look of cut stone or tile.

The original Phenix typeface was produced in 1935 by Morris Fuller Benton for ATF. Utilizing the original proofs, we have added three additional complementary weights with all the alternate glyphs. Our Phoenix Pro contains all the high-end features expected in a quality OpenType Pro font.

For many type lovers, Broadway is the quintessential Art Deco typeface. Designed as an all-caps typeface in 1927 by Morris Fuller Benton for ATF, it was expanded two years later with a lower case designed by Sol Hess, who also drew the inline version, Broadway Engraved.

In 1935, Morris Fuller Benton designed Phenix American for American Type Founders. For 2017, the classic Art Deco design has been reinterpreted in an all-caps display version with an ever-so-slight "hand made" feel. Industrial Arts JNL is available in both regular and oblique versions.

Streamlined Stencil JNL is based on a photo of an Art Deco era shipping stencil saying "With Care" which was heavily influenced by the Futura Black style of lettering. The image was seen in the Steven Heller-Louise Fili book "Stencil Type" (published by Thames and Hudson).

A geometric-ish font family that's a bit off-kilter, offering three families: Regular, Rounded and Hatch as well as the bonus Noise, catchwords and dingbats for some occasions. Each font comes in Light, Regular and Bold styles. Complete latin character set with a range of ligatures.

Backwash AOE is a typeface I drew up back in 2000 inspired by various graffiti artists. Coming across all of my sketches recently and seeing a trend lately in graffiti inspired styles, I finally came around to finishing it up digitally for release. I love the break the rules, wildchild aspect, of graffiti lettering. And while this typeface is nothing like the wilder inspirations that I spawned this typeface from, it has a more legible direction to it, retaining just the flavor of the originals. I hope you enjoy it.

Pittsbrook Family, a pack of classic typefaces that inspired by the letters used in old advertisement and packagings. Its rigid shape gives you strong, sharp and blocky feelings, no curves were harmed in the making of these typefaces. Comes in three styles; Sans, Serif and Outline, all of them are consistently mouse-crafted characters, we spent a lot of attention to every details. Suits best for any classic/vintage design project, such as E-Sport logo, liquor/food label, packaging, headline, space-filler, logotype, typographic quote writings, etc.

Introducing our new font Killarney. A bold and heavy display font that inspired by the vintage/classic letterforms used in old-advertisements. Mouse-crafted with high attention to details; clean lines, sharp edges and tempting curves. Its square and blocky letterforms make Killarney a great for headlines and space killer. Packed with 500+ glyphs, Killarney composed of slanted version, standard upper/lower case characters, numerals, punctuations, some multilingual letters, alternate characters, stylistic sets, ligatures, etc. This font is a must have item for your designing arsenal. Go get yours now while it's hot. :D

Breaking news! Hallandale JNL has been italicized and run through a line filter (courtesy of Ray Larabie of Typodermic Fonts)! The result: Newsbreak JNL... a bold, techno-style font with all of the headlines and the first on the scene when the latest news matters... Get the whole story first... with Newsbreak JNL!

Morris Fuller Benton's 1935 offering from ATF, entitled Raleigh Gothic Condensed, inspired this ultracompact masterpiece. Benton's alternate characters are included in several lowercase positions, to add a little Art Deco sparkle to this versatile workhorse. Both versions of this font include the complete Latin 1252, Central European 1250 and Turkish 1254 character sets.

This is a type design based on a retrospective food design posters from 1950 in the United States. The intention was to create handmade letters ideal for handmade projects. The principal reference was the book of Steven Heller Mid-Century Ads. This typeface was the graduation project of my degree as graphic designer.

Morris Fuller Benton started the Bodoni revival with this version for ATF in the early years of the 20th century. We consider it the first accurate revival of a historical face for general use. Sturdy and a little mechanical in the 19th century tradition, this is the Bodoni series familiar to us all.

Morris Fuller Benton's 1917 typeface named Invitation provided the pattern for this elegant and endearing face. Classic Engravers Roman style caps are exquisitely balanced with a sinewy lowercase, adding warmth and charm. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

The original Franklin Gothic was designed in 1903 by Morris Fuller Benton. Franklin Gothic is named after Benjamin Franklin, America’s greatest printer. Our Franklin Gothic Black Condensed is unique because it is designed to set properly in all display applications. It contains all the high-end features expected in a quality OpenType Pro font.

A faithful reproduction of the common French Ronde of the nineteenth century; the design originates at the Inland Typefoundry in St. Louis as French Script and was revised by Morris Fuller Benton in 1905 and made popular by ATF under the name Typo Upright. Stephenson Blake also had a version available as Parisian Ronde.

Mongoose is a condensed sans serif, made for posters, headlines and logotypes. Caps and x-height were made to match the ultra wide Briller, so it could be fun to combine these two highly contrasting type families. Thanks to the OpenType features, figures come in both tabular and proportional widths, fractions and superior/inferior positions.

Benderville comes with a solid construction, an ample x-height, an angular edge, and an attitude to match. A sort of rangy slab-serif with a voice all its own -- a voice that seems to holler "Hey! What you lookin' at?" Its sturdy single weight has a complete character set, including ligatures, diacriticals, and other symbols.

German type designer Joachim Müller-Lancé created this sans FontFont in 1997. The family contains 3 weights and is ideally suited for advertising and packaging and sports. FF Lancé provides advanced typographical support with features such as ligatures and case-sensitive forms. It comes with proportional lining figures. In 1993, FF Lancé received the Morisawa award.

This elegant face with a few semi-script flourishes is based on Morris Fuller Benton’s Announcement Roman, designed for American Type Founders in 1917. It’s perfect for invitations, programs and all kinds of formal ballyhoo. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

French Script font is based on script handwriting and engraving used in formal announcements and invitations in general, and specifically on a 1905 ATF face named Typo Upright," by Morris Fuller Benton. French Script lends itself to typesetting in which an elegant mood is desired. French Script is an upright script font with an engraved appearance and decorative capitals. "

Designed by Morris Fuller Benton 1913-15, this Oldstyle family was digitized by Jim Rimmer in the early 2000's. It is a roman face closely styled to that of Nicholas Jensen's with a companion italic in the style of Aldus Manutius. Benton considered Cloister the ideal typeface and it does indeed lend itself to many uses.

Eastport JNL is the interpretation by Jeff Levine Fonts’ of the classic Stymie Extra Bold (a/k/a Stymie Black), designed in 1931 for American Type Founders by Morris Fuller Benton. Stymie and the somewhat similar Beton were both derivations of the popular European typeface Memphis. Eastport JNL is available in both regular and oblique versions.

Here's a stencil version of another Nick's Fonts typeface based on Chic, a Morris Fuller Benton creation for American Type Founders from the 1920s. Stylish and sophisticated as always, and now with an arts-and-crafts flair. Both versions of this font include the Unicode Latin 1252 and 1250 Central European character sets, with localization for Moldovan and Romanian.

This typeface is inspired by the powerful political and social posters by Paul Peter Piech, a tireless artist and printer. Questioned about his endless energy and focus on work, he said "I don't want to sit around and be silent". Pieches is a linocut-looking font heavily loaded with interlocks, including vertical pairs of letters. There are alternates also, and not quite a few: four glyphs for each letter so countless expressive possibilities are open. Graphical elements are also included, for added wilderness. This is a loud-speaking font for those who don't want to be silent. Come on, let’s shout!

I love blueberries. When my brother and I were young, we used to pick them in the forest by the bucket. Afterwards, we’d always look like victims of a serial killer, but it was all worth it, as nothing quite tastes likes homemade blueberry jam. I don’t know why I named this cute little font Blueberry Jam. Maybe I was craving some… Blueberry Jam is a highly legible, extremely cute and very handmade font. It would look good on just anything, but book covers, product packaging and homemade jam labels come to mind. Blueberry Jam comes with a bucketload of diacritics.

Smooth but crazy wilder, say hello to Claudio! The coolest display font with more than 40 stylish ligatures. As an all caps sans serif, Claudio has different vertical size between uppercase and lowercase. You can mix them to create something wild and eye- catching typography on your work. Claudio is flexible font that can be used for classic retro or vintage project and also great for another modern projects with fresh and colorful design. It's give you all control to use Claudio in any style you need. Features: Uppercase (a taller version) Lowercase Numeral and Punctuations 44 Ligatures Multilingual Supports (AÀÁÂÃÄÅÇEÈÉÊËIÌÍÎÏNÑOØÒÓÔÕÖŠUÙÜÚÛÝŸŽÆŒß) PUA Encoded

Brolly Fight is a fun, slim line font with off-kilter lines. I had so much fun creating this one! It has a stick figure art deco feel. It's fun and playful, with lots of ligatures and alternates to play with. Mix and match lowercase and uppercase letters for a unique look. There are four alternate ampersands, and fun double letter ligatures, as well as playful ligatures for r, k + a, e, o, u combinations. That high lowercase o with an underscore has a twin lowercase a alternate you can access too! Mix and match capitals and lowercase (plus the ligatures & alternates) to create unique text designs. Now with a bold version!

Arial was designed for Monotype in 1982 by Robin Nicholas and Patricia Saunders. A contemporary sans serif design, Arial contains more humanist characteristics than many of its predecessors and as such is more in tune with the mood of the last decades of the twentieth century. The overall treatment of curves is softer and fuller than in most industrial style sans serif faces. Terminal strokes are cut on the diagonal which helps to give the face a less mechanical appearance. Arial is an extremely versatile family of typefaces which can be used with equal success for text setting in reports, presentations, magazines etc, and for display use in newspapers, advertising and promotions.

Arial was designed for Monotype in 1982 by Robin Nicholas and Patricia Saunders. A contemporary sans serif design, Arial contains more humanist characteristics than many of its predecessors and as such is more in tune with the mood of the last decades of the twentieth century. The overall treatment of curves is softer and fuller than in most industrial style sans serif faces. Terminal strokes are cut on the diagonal which helps to give the face a less mechanical appearance. Arial is an extremely versatile family of typefaces which can be used with equal success for text setting in reports, presentations, magazines etc, and for display use in newspapers, advertising and promotions.

Arial was designed for Monotype in 1982 by Robin Nicholas and Patricia Saunders. A contemporary sans serif design, Arial contains more humanist characteristics than many of its predecessors and as such is more in tune with the mood of the last decades of the twentieth century. The overall treatment of curves is softer and fuller than in most industrial style sans serif faces. Terminal strokes are cut on the diagonal which helps to give the face a less mechanical appearance. Arial is an extremely versatile family of typefaces which can be used with equal success for text setting in reports, presentations, magazines etc, and for display use in newspapers, advertising and promotions.

Arial was designed for Monotype in 1982 by Robin Nicholas and Patricia Saunders. A contemporary sans serif design, Arial contains more humanist characteristics than many of its predecessors and as such is more in tune with the mood of the last decades of the twentieth century. The overall treatment of curves is softer and fuller than in most industrial style sans serif faces. Terminal strokes are cut on the diagonal which helps to give the face a less mechanical appearance. Arial is an extremely versatile family of typefaces which can be used with equal success for text setting in reports, presentations, magazines etc, and for display use in newspapers, advertising and promotions.

Here's an Art Deco classic with a bit of an edge. This typeface is based on a somewhat less refined but more energetic version of Broadway, designed by Morris Fuller Benton for ATF in 1928, originally named Broadway Poster. Both versions of this font contain the complete Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

This no-nonsense titling face is based on a Morris Fuller Benton 1934 offering for American Type Founders called, simply, Poster Gothic. Its crisp, clean lines and subtle Art Deco modeling make for attractive and attention-getting headlines. Available in plain and prismatic styles. Both versions of this font include the complete Unicode Latin 1252 and Central European 1250 character sets.

Based on Morris Fuller Benton's 1905 oeuvre American Extra Condensed, this titling face packs a lot of information into very little horizontal space. Its champfered corners give the font an industrial feel which remains fresh even after more than a century. Both versions include the complete Latin 1252, Central European 1250 and Turkish 1254 character sets, with localization for Lithuanian, Moldovan and Romanian.

Steve Jackaman & Ashley Muir. Packard Old Style is based on lettering drawn by Oswald Cooper for the Packard Motor Company (ATF 1913). The bold weight is credited to Morris Fuller Benton (ATF 1916), but it is highly probable that Benton did the adaptation for both weights. Packard Old Style Pro contains all the high-end features expected in a quality OpenType Pro font.

The Neubank family builds on the firm foundation of Bank Gothic, a twentieth-century classic designed by Morris Fuller Benton for ATF, and adds a fluid, dynamic lowercase that makes it right at home in the twenty-first century. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

Quinoa is display typeface by Catharsis Fonts that unites the seemingly opposed concepts of clean geometric architecture and organic humanist warmth. While it is designed for display and editorial purposes, its accessible forms make for comfortable reading even at small text sizes. Its exuberant adaptive "f", "j", "Q" and refreshing titling alternates bring display text to life. Quinoa covers multilingual Latin, Cyrillic, Greek, Hebrew, Arabic, and Armenian. The Quinoa family spans four stylistic cuts (Quinoa, Quinoa Titling, Quinoa Round, and Quinoa Text) with matching hand-slanted obliques, each of which comes in nine weights. The Titling cut offers a number of alternate capital letter designs with lowercase-inspired forms for a refreshing unicase look, and the Round cut additionally removes the spurs from arched letters like n. The text cut introduces true diagonals and a two-storey "a" for a more sober, reading-friendly look. A host of other OpenType features including ligatures, contextual alternates, small caps, figure sets, and character variants are built into all cuts. Furthermore, the small caps of Quinoa, Quinoa Titling, and Quinoa Text are available as dedicated font files under the names "Quinoa SC", "Quinoa Unicase" and "Quinoa Text SC" for ease of use. Acknowledgements: I am thankful to the TypeDrawers and the Typografie.info communities for great feedback and support. In particular, Thorsten Daum has been tremendously helpful with suggestions and quality control. Thanks to Craig Eliason and Jan Willem Wennekes for their help with the Latin, Alexander L. Stetsiuk for Cyrillic, Ofir Shavit and Jonathan N. Washington for Hebrew, Khaled Hosny for Arabic, and Hrant H. Papazian for Armenian.