"A capital titling face with numerals, erroneously labelled in Figgins specimen book of 1817 as an 'antique' or roman. With a very bold, nearly monoline construction and squared serifs as thick as the main stroke, this type surpassed even the fat face style in blackness, it was popularised by the advent of handbills and early advertising posters, which needed bold type styles to project commercial messages from a distance. A sign-writer friend of mine theorises that the Egyptian style originated with the North African campaigns (hence Egyptian) of Napoleon Bonaparte, and the type historian Ruari McLean also suggests that the Egyptian style originated with signwriters 'block' letters, just like the prototypical (and contemporary) sans serif of Caslon IV." (Ben Archer)

Fractul is a geometric sans with architectural qualities. Built from the Konnect family, this typeface introduces even more unique and display oriented design details, which you'll see in characters like a, f, g, t, y, etc. where certain strokes have been straightened for an angular and modern appearance. Also included is Fractul that takes the angular design further by styling characters like m, n, u, etc. to be rectangular and avant garde.

Aramus is a new serif font in my continuing objective of designing book fonts that I can really use. In many ways, Aramus is a very different direction for me. It comes from a scan of an old display face that has been radically modified to a much smaller x-height than I have been using lately, plus taller ascenders. Many of the characters needed a lot of correction to bring them into my taste. In general, I have decided that many of my fonts create a type color that is too dense. Aramus is an attempt to get away from that look. Although Amitale has been a very successful book family and excellent to work with, I find I still need something more open with a lighter color. Aramus is the first look at the new direction. The original hand-cut serifs vary a lot, different for almost every character. This gives a little looseness and helps the lightness I am looking for. It will be interesting to see where this all goes. This is a normal serif for me in that it has caps, lowercase, small caps with the appropriate figures for each case. This font has all the OpenType features in the set for 2009. I didn't bother with the CE accents (though I can add them upon request. They will be in the final new book family). There are several ligatures for your fun and enjoyment: bb gg ff fi fl ffi ffl ffy fj ft tt ty Wh Th and more. Like all of my fonts, there are: caps, lowercase, small caps, proportional lining figures, proportional oldstyle figures, & small cap figures, plus numerators, denominators, superiors, inferiors, and a complete set of ordinals 1st through infinity. Enjoy!

The type design for Impecunious JNL comes from the 1939 sheet music for "You Don't Know How Much You Can Suffer (Until You Fall in Love)". The name comes from another piece of sheet music, 1899's "Impecunious Davis" [a piece of late 19th century tripe demeaning Black Americans]. However, the word "impecunious" was intriguing. According to the website Merriam-Webster.com, the simple definition of impecunious means "having little or no money". Since we've all been in that spot at one time or another, it became a perfect font name. Impecunious JNL is available in both regular and oblique versions.

A couple of pieces of sheet music from France [circa 1925] offered the inspiration for Chanson De Paris JNL (Song of Paris), which is available in both regular and oblique versions. This hand lettered Art Nouveau style features a unique take on thick-and-thin lettering which foreshadows the Art Deco typefaces to come during the 1930s.

A single line of type, identified as "Ornamented No. 5" and spelling out "ROPE ONIONS", from the 1888 MacKellar, Smiths & Jordan specimen book provided the pattern for this whimsical face. Offbeat yet elegant, graceful yet bold, it’s a natural choice for distinctive headlines. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Deco Template JNL is a font made from the inline portion of Stationer JNL, which itself was based on the hand lettered 1938 sheet music title for the official Coast Guard Marching Song "Semper Paratus" "(Always Ready)". Resembling a drafting template with a square, modular look, this type design is available in both regular and oblique versions.

Deco Semi Serif JNL was modeled from the hand lettered title on the sheet music cover for the 1933 song "Another Perfect Day Has Passed Away". This interesting design blend of serif, sans serif and partial-serif characters commands attention with its eccentric mix of letter forms, and is available in both regular and oblique versions.

Halliday JNL was redrawn from impressions made by a rubber stamp sign printing set, thus providing the slight imperfection of line widths that gives a hand-made approach to the typeface. The lettering style is based on Beton Open Condensed, a clean and popular slab serif used for decades in print display titling and rubber stamp manufacture.

Pabean Market is an interpretation of the incription on the oldest market in Surabaya, Indonesia, which was established on 1849. The unique character inspired me to make a complete set of typeface. It’s a retro typeface but has a futuristic aura yet a festive vibes. This font comes in single style and has several Discretional Ligatures. -- Uppercase

Get ready to transcend to a world of magic, laughter, and butterflies. Your branding will spark delight and engage everyone who sees it! Glitzier-A Calligraphy Font A beautifully handcrafted calligraphy font that’ll make your guests sing and elevate your projects! Every swash, stroke, and curve was created to entice happiness and elegance. The ideal font for social media banners; posts, and ads, printed quotes, t-shirt designs, packaging, or even as a modern text overlay to any background image. Our font always includes Multilingual Support to make your branding reach a global audience. Features: Swashes Ligatures Stylistic Set PUA Encoded Numerals and Punctuation Thank you for downloading from Natha Studio

In 2019, P22 Type Foundry met with Milton Glaser (1929–2020) to initiate the official digital series of typefaces designed by Glaser in the 1960s and 70s. P22 Glaser Babyteeth is the first family released in the series. According to Glaser: “The inspiration for my Babyteeth type face came from this sign I photographed in Mexico City. It’s an advertisement for a tailor. The E was drawn as only someone unfamiliar with the alphabet could have conceived. Yet it is completely legible. I tried to invent the rest of the alphabet consistent with this model.” P22 Glaser Babyteeth was based on original drawings and phototype proofs from the Milton Glaser Studios archives. Over the years there have been many typefaces that borrowed heavily from the Glaser designs, but these are the only official Babyteeth fonts approved by Milton Glaser Studio and the Estate of Milton Glaser. The solid and open versions are designed to overlap for two-color font effects and can even be mixed and matched for multi layer chromatic treatments. Babyteeth includes an expanded character set to support the majority of Latin languages.

Kuschelfraktur is a unique, eye-catching take on the theme of blackletter that replaces the broad nib with a brush pen and achieves stroke modulation through stencil-like gaps. It combines the texture and dignity of blackletter with the human warmth of informal handwriting. Kuschelfraktur offers five separate sets of capital letters and several additional customization option via stylistic alternates. The degree of ornamentation in the blackletter capitals can be increased (SS02) or decreased (SS07), while SS04 and SS05 offer two simpler approaches to capital letters that bridge from blackletter to Roman letters (Antiqua). The default single-storey �a� can be replaced with a two-storey version in SS01, and SS08 offers a single-storey capital �A� for the simple capitals. Finally, SS03 restores some of the more unique letter shapes of the Fraktur style of blackletter. The old-style figures can be replaced with lining and/or tabular figures. All these stylistic sets are accessible via OpenType from the main font, Kuschelfraktur, whereas the spin-off fonts (Traditional, Verziert, Text, Schlicht, Antiqua) offer convenient access to those sets even in environments without OpenType support. I am grateful to the helpful souls on the TypeDrawers and Typographie.info forums for encouragement and constructive feedback, and to the Glyphs team for their fantastic type editor. Kuschelfraktur is dedicated to my son Marius.

The hand lettered show card brush lettering in the trailer for the 1960 musical comedy “Bells are Ringing” (starring Dean Martin and Judy Holliday) inspired Musical Comedy JNL, which is available in both regular and oblique versions.

Courier is the king of typewriter faces. But if you want an alternative, something with a look reminiscent of the older, manual typewriters, consider TiredOfCourier. The family includes true italics, something very unusual in a typewriter face.

Beat Poet JNL is a throwback to the late 50s and early 60s when Beatniks hung out at coffee houses to listen to poetry and folk songs and live the Bohemian lifestyle of the Pre-Hippie generation.

“Kindah” is a Yemeni ancient tribe with evidence of its existence going back to the second century B.C.E. The kings of Kindah exercised an influence over a number of associated tribes more by personal prestige than by coercive settled authority. The Kindites were polytheistic until the 6th century CE, with evidence of rituals dedicated to the gods Athtar and Kahil found in their ancient capital in south-central Arabia. It is not clear whether they converted to Judaism or remained pagan, but there is a strong archaeological evidence that they were among the tribes in Dhu Nuwas' forces during the Jewish king’s attempt to suppress Christianity in Yemen. They converted to Islam in the mid-7th century CE and played a crucial role during the Muslims' conquests of their surroundings. Among the most famous figures from Kindah known as Kindites are Imru' al-Qays (526-565?), al-Ash'ath ibn Qays (599-661), Hujr ibn 'Adi al-Kindi (?-660), al-Miqdad Ibn Aswad al-Kindi (589-653), and Abu Yusuf Yaíqub ibn Ishaq as-Sabbah al-Kindi (805-873) known as the Philosopher of the Arabs. "Kindah" font is a modern Kufic font comes in three weights (i.e., bold, regular, and thin) which is mainly designed to be used as a display Arabic font. The main feature of this typeface is the mixture of curves and rectangular shapes used in the designed Arabic characters. Kindah font was inspired by the design of the Yemeni modern windows of houses in which only top part of the arc is used for building such windows which reflects the originality of the architecture preserved in this part of the world. "Kindah" font is extremely outstanding when used in printed materials with big sizes especially for headline, titles, signs, and names of brands. Hence, it is suitable for books' covers, advertisement light boards, and titles in magazines and newspapers. It has also a Latin character set and it also supports several Arabic character sets which makes it proper for composing alphabetical and numerical words in Arabic, Urdu, and Persian.

Lemons here and lemons there - I really love lemons! I use them in foods, deserts and drinks. I even eat them just for the taste of it! And, I name a lot of my fonts something with lemon! This Lemon font has 3 different versions of each lowercase letter and comes in both Regular, Outside and Inside versions - use them as single fonts, or mix them for nice results! Go go Lemon Smash!

I am a coffee person, but two years ago, just before the whole Covid-thing happened, I came down with what I assumed to be the flu. It was a really nasty flu as well: I was down for 10 days or so and when I sort of recovered, nothing tasted the same. Coffee tasted like cardboard and I couldn't stand the taste of it, so I decided to drink tea instead. The 'supermarket tea' we have in Holland is quite bad and tasteless, so I ordered some proper strong English tea online and I have been drinking it ever since. Of course I was thinking of this when I created Imperial Tea font. Imperial Tea font was made with... yes, you've guessed it: Chinese ink and a brush. Imperial Tea is a nice, 'oriental-ish' looking font that comes with a set of alternate glyphs and an impressive language support, including Vietnamese and Greek.

One of my dreams as a type-designer was making a good looking chancery cursive. Full of life, like some of the best calligraphers around the world do on their artworks. With Julian Waters, John Stevens and Denis Brown (just to name a few of them) (1) chancery, or italic script, was transformed into a new, exciting and very fresh style of calligraphy mainly at the end of 20th Century. Dream Script may be that dream named above made true. I have been practicing chancery in the way I learnt from those calligraphers for many years now. Making a font out of my ink-sketches was a tough work, since they were closer of -being art- than of -being type-. However, this font rescues many aspects of handmade calligraphy: You have to look at it really close to notice it is actually a font, and that was one of my goals. The secret of a good looking chancery is on its subtle details: pen angle is constantly changing, even on the strokes which seem straight. Capitals and swashes have to be done a little faster than lowercase letters. The rhythm has to be even, in spite of its playful look. The fact that makes Dream look alive is that it has many alternates per glyph. This makes each word look unique like it happens in calligraphy: you will find alternates for the beginning/ending of a word/phrase, some for the middle of it, some interchangeable. Also, to accompany the script, you will find Dream Caps, which was inspired in the eternally beautiful trajan capitals. Place them like I did on the posters and you will have great results for sure. The font works great in small, middle and big sizes and can be a great selection for magazines, wedding invitations, perfumes, and posters. Close your eyes, and Dream with me... TECHNICAL Dream Script Pro is the most complete style, it contains all the alternates and ligatures (OT programmed, better if you use Adobe applications) If you plan to use the font for text, be sure to activate the less decorative capitals, which are placed in the “salt” group of alternates. Dream Script Standard has less glyphs than the Pro one, it contains just some ligatures for a better legibility. (OT programmed, better if you use Adobe applications) NOTES (1) Not only are they great artists, but also good people, who are always willing to share with their students all what they know. I would also like to thank Ricardo Rousselot, whose work inspired me this time to make “The Dream Script” exlibris; and to Alisara Tareekes, a very talented friend which international calligraphy conferences gave me: She kindly helped me with some tips to make this font better.

A vintage lettering stencil manufactured by the E-Z Letter Stencil Company of Baltimore, Maryland was the model for Schoolyard Stencil JNL, available in both regular and oblique versions. Re-drawn digitally and following the actual bend of the steel rule dies used to cut the stencils, this typeface has not been cleaned up from its original design. Upon close examination, you will find straight angles and slight curves in the most unusual places. This was representative of the difficult work involved in bending steel cutting rule material and fitting it into small areas. For many years, E-Z Letter was the main competitor to the Stenso Lettering Company; the originator of the oil board stencil lettering guide complete with automatic spacing holes. Anyone over 40 will well-remember lettering their science fair posters, report covers and ring binders with these stencils.

RaseDowne is unique amoung all of our other Graffiti Fonts. This font is intended to be rotated 90 degrees clockwise so the text reads downward. This single font includes 2 alphabets with capitals that extend downwards. The RaseDowne font was created from hundreds of handwritten samples. This style was created by RaseOne & is often used to create tattoo designs, fashion designs and mountable artwork. There are actually nearly 3 full alphabets plus numbers, symbols and a variety of embellishments all included in this one font. The rough, natural style and imperfect lines help maintain a handmade look. Using the optional glyphs you can try multiple letter combinations until you get just the right configuration for whatever word or phrase you are trying to make.

The Joseph Struhl Company of Long Island, NY pioneered the use of cling vinyl in the field of reusable signs. Along with sets of die-cut letters and numbers, one of their main products for many years was a set of letters and numbers silk screened onto vinyl panels for larger window displays. Cling Vinyl JNL is Jeff Levine's tribute to this sign kit and its innovative contribution to retail marketing. The font comes in two styles: Cling Vinyl JNL has white characters on a black background and Cling Vinyl Clear JNL has black characters on an open (clear) background. For those wanting a "panel" space between words, there are two different width ones on the < and > keys. Please note: limited character set.

Kelso is a highly original, outline display font. Each character is represented by a single continuous line to create a fluid and rhythmic look. This technique seems somehow to bring out the individual characteristics of each letter, resulting in a harmonious typeface that’s both easy to read and easy on the eye.

Office Space JNL is based on “Condensed Edina” from the 1921 Miller & Richard type specimen book and is available in both regular and oblique versions. This spurred serif Art Nouveau monoline font is a milestone – marking the 1900th font design released by Jeff Levine Fonts since its inception in January of 2006.

Shell Shock was inspired by stencil typefaces used on military tanks and ammunition boxes. It can be enhanced with a separate set of bombs and warning signs for the typographer in power. Shell Shock Cloak is the ultimate add-on for Shell Shock. This 3-layered 'Cloaking Device' enhances the existing Shell Shock. Put the 3 Cloak layers on top of Shell Shock and suddenly it's camouflaged and you will hardly be able to find it. Use only one extra Cloak layer to give Shell Shock that cool distorted look, like those damaged warsigns on military vehicles. If you only use the Cloak layers you can create background patterns and structures. Try using different color combinations and you'll be surprised by the possibilities of Shell Shock Cloak. It's preferably seen on clothing, skateboards, party flyers, posters or other daring design.

A silk screened sign promoting a mattress sale that was spotted on Flickr features Art Deco-influenced sans serif lettering that is the basis for Innerspring JNL.

Brewmaster Modern is a very contemporary script that will work well for sign lettering and t-shirt designs, it also resembles the lettering used for Budweiser Racing.

Baldwins was inspired by the beauty lettering of ephemera prints. Ideal for product names, packages, labels, old fashioned signs and everything with specific characteristics of past times.

Violitta is an elegant minimalist signature handwritten font package with a personal charm. With a style that I feel is the first time being blended with a different brush so it has a natural hand. Violitta Regular contains upper and lower case letters, numbers and various complete signs. Violitta Minimalis includes alternative characters, with capital letters and small that is completely new.

Take Five is a very jazzy typeface. It is more Swing than Bebop but it also evokes memories of the Cool Jazz era. Take Five can be used for jazzy covers or children's birthdays as well as jumble sales leaflets. Take Five is pretty versatile; no wonder - it is a descendant of my Bodoni Classic typeface family. Your jazzy designer Gert Wiescher

Luxury Home is a slab serif typeface of 9 weights from Extra Light to Extra Black and can be used as both a headline and text face. "Luxury Home" is recommended for using in long-form writing and articles, since a serif is far more readable for longer passages of text. The typeface has a carefully crafted weight range, with ligatures .

Geometric/Technical style logotypes have been developed for car chrome labels since the early 1980’s, but automobile companies don't monopolize the style by any means. During the 80’s and 90’s, a lot of these logos leaned towards the geometric sans styles and the swiss styling of fonts like Handel Gothic, while playing with varying degrees of squared rounds and varying expanded widths per logotype. Mercurial has this flavor, but it wasn’t derived from logotypes. Instead, it began as a digitization of a film typeface from LetterGraphics in the early 70's known as "Sam". It visual ties to this genre of automotive logotypes and fonts like Handel Gothic lend a familiarity to it, yet it has an identity all its own. As with so many automotive logotypes, this singular style film typeface, lacked an expansive family which shows off all potential the logotypes have and what they "could" be and do. And that's where we come in. What originally began as this family’s Regular Width - Bold Style has been expanded into a collection of 3 Width Families, each containing 5 Weights. Here’s what’s included with the Mercurial Complete bundle: 396 glyphs per style - including Capitals, Lowercase, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the final poster graphics for a preview of the characters included) 3 widths in the collection: Narrow, Regular, & Wide 5 weights in each width family: Light, Book, Regular, Medium & Bold. Here’s why the Mercurial Family is for you: - You’re in need of stylish sans font family with a range of widths and weights. - You’re love those 80’s automotive logos, but want more range of use. - You’re looking for an alternative to Handel Gothic. - You’re looking for a clean techno typeface for your rave poster designs. - You just like to collect quality fonts to add to your design arsenal.

This is the perfect combination of fonts, we are proud to introduce BROWN MARLYN, these fonts are of two types serif and script. Display Serif inspired by famous logo, This typeface has been made carefully to make sure its premium quality and luxury feel. The ligatures on serif makes this typeface unique and stands out rather than the regular serif font, perfectly for headlines, wedding, social media, logos, posters, packaging, T-shirts,coffee shops, restaurants, magazine’s headers, signs or gift/post cards,cafe’s and weddings or any type of advertising purpose. What's Included : Standard glyphs Ligatures International Accent Works on PC & Mac Simple installations If there is a problem, question, or anything about my fonts, don't hesitate to ask! Big Thanks ~ Ergibi Studio

Par Avion's design draws something of its inspiration from the wings of the old BSA Motorcycles logo and was developed in parallel with our Vinea typeface family. “Par Avion” means ‘By Air’ - remember those little blue stickers in the Post Office - for sending Air Mail? We think this typeface design has a lovely streamlined feel of the early jet-era about it.

Show Card Deco JNL is a hybrid of examples from hand lettered titles found on various song folios from the Carl Fischer Music Library circa the 1930s and is available in both regular and oblique versions. This particular typeface lends itself perfectly to show cards, posters, headlines and display titling which captures the modern, streamlined design of the Art Deco era.

Introduced by the American Type Founders Co. at the time of the Spanish American War and advertised as suitable for "War Scare Headlines"! Used by many papers for years after because the narrow type was suitable for narrow single column heads.