On the cover of the 1926 sheet music for “There Ain’t No Maybe in My Baby’s Eyes”, the title is rendered in Art Nouveau hand lettering; pen-drawn with rounded ends. The type design is now available as Nouveau Vaudeville JNL, in both regular and oblique versions.

The Pacific Standard Bold was originally designed as a - capital only - poster typeface for a poster for the 30th International Film Festival Rotterdam in 2001 in the Netherlands. Theme of the festival was 'ports'. The design is inspired by the unpretentious typography often seen in ports.

Inspired in the machine aesthetics and in the human conflict with them, Discord is a flexible family of sixteen fonts designed to be used in a wide range of work. Ready for multilingual support and with advanced OpenType features such as Small Caps and Old Style Numbers.

The Pacific Standard Bold was originally designed as a - capital only - poster typeface for a poster for the 30th International Film Festival Rotterdam in 2001 in the Netherlands. Theme of the festival was 'ports'. The design is inspired by the unpretentious typography often seen in ports.

Batam brush - Is pure handwriting using a brush which we dipped in ink and then scratched on paper naturally and I made these letters as they are without being repaired in the slightest. this font looks like life in the harsh wilderness still has to survive.

Dolce Caffe is a pretty hand-written font, designed in 2011, that is very legible and high in style and carefully constructed all-uppercase letters. It was totally inspired by hand-written chalkboards in Berlin, a city that I love. Take also a look at Merendina

Smena was based on the lettering of the so called 'calligraphic style' that was very popular during the period 1940-1970. The style was used in logos, book and magazine headlines, posters, signage etc. For use in advertising and display typography. Licensed by ParaType in 2006.

Modeled from an example in the book “Lettering” by Harry B. Wright (1950), the poster alphabet shown was reminiscent of the kind of style used in the early 1900s by sign painters and show card artists. Vintage Poster JNL is available in both regular and oblique versions.

Classical Oriental brush font Western Latin + Greek + Cyrillic typeface, created using the principles of Chinese traditional Kaishu brush script (Kaisho in Japanese) and Japanese kana. All Caps Fonts There are different oriental styles in this project, first of them was developed in 2005 for orientalist community Oriental.ru.

A set of water-applied decals manufactured in 1962 by the American Decalcomania Company for Goodyear serves as the basis for Margate JNL. This block-style letter (with a hint of the Art Deco era) is bold, uniform in weight and commands attention in any titling application.

A 1942 menu cover for the restaurant at the Biltmore Hotel in Los Angeles features its name in a stylized Art Deco serif design. This is has been turned into the digital typeface Bill of Fare JNL, and is available in both regular and oblique versions.

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.

Type family of two weights was designed in 2000-2001 by Oleg Karpinsky and licensed by ParaType. Similar to Ariergard face in letterforms but differs from it by slab serifs, which always project to the center of an em square. For use in advertising and display typography.

La Carte Pen is a paper textured version of the popular La Carte font. Inspired by a series of handwritten menus produced in 1980, La Carte is a stylish but easy-to-read script that sets as well in body copy as it does in headlines.

Sheet music published in the 1860s for "The Soldier’s Chorus" [from the Gounod opera "Faust"] had the title and the arranger’s name hand lettered in a bold, condensed chamfer font. This was the basis for Condensed Chamfer JNL, which is available in both regular and oblique versions.

Vallecito or “Little Valley” is an Aldine woodtype design popular in the 19th century for posters and headlines. Vallecito’s multitude of weights and widths allows for impactful typography in signage, posters, menus and logos. Vallecito’s exaggerated, reversed stress shapes may be used in traditional or impressionistic typography.

A 1930s casual Art Deco type style with as much influence in 1970s graphic design as in its day was found within the pages of the 1930s French publication L'Art du Tracé Rationnel de la Lettre. Discotheque JNL is available in both regular and oblique versions.

Best life - This cool one line handwritten font is very stylish and elegant that has a great style for your work with hearts in the middle and also lowercase swashes in front and back and lowercase swashes on back and hearts in front of letters to connect.

I'm happy to present you my new Romanesque font from the Codex Gigas. The manuscript was created in the early 13th century in the Benedictine monastery of Podlažice in Bohemia. The codex was written in a handwriting atypical for the 13th century, which is actually a late version of the Carolingian minuscule. Texts about repentance and exorcism were written in large Majuscule (Square Capitals (Imperial Roman capitals written with a brush)). Majuscules first incised in stone more than two millennia ago, married to minuscule letterforms that evolved from manuscript hands of the eighth and ninth centuries. Majuscule font is the name given to a type of decorative upper-case letters used in inscriptions and, typically, at the start of a section of text in medieval manuscripts. They are characterized by their straight forms unlike rounded in Lombardic capitals with thick, curved stems. Majuscule capitals were also used to write words or entire phrases. The text is divided into words, punctuation marks are used consistently – periods indicate the end of a sentence and the middle of a phrase. You will get: * Uppercase glyphs * Numbers and symbols * Multilingual support * Ligatures * Free future updates Thank you!

Muisca, that in its early edition was named as «Muisca Sans», was developed in mid-1997 and based on the graphic concept of pre-Columbian characteristics figures within some of the very few visual elements recovered from the Muisca culture. This ancient pre-Columbian tribe disappeared since the arrival of the Spanish 500 years ago, in what is now the center of Colombia. In fact, the name of the capital Bogotá goes back to Bacatá as primary or village downtown of what was once the imperial capital of the Muisca tribe. This typographic project was submitted as my work for the degree in Graphic Design, obtained in September of that year (at the Universidad Nacional de Colombia), under the creative concept of vindicating the ancient culture and identity through a functional typeface, into a fact without precedent in the country. Muisca was recently edited, arranged and completed, including multilingual diacritic glyphs to be versatile in several languages. Related and inspired by Latin America, Ethnic, Native, Tribal, Mysthical, Handmade, Aboriginal, Pre-Hispanic, Pre-Columbian, Textured, Fantasy. Ideal to be used in logos, display text & titles, games and other design applications that reminds of the Pre-Hispanic art.

As if gliding in on the tide, ITC Kahana floats across the page with the pulse and sway of the sacred Hawaiian hula dance. The original drawings for this display typeface were created while designer Teri Kahan lived in the Aloha State, and its bold verticals symbolically convey the power and strength of the Polynesian people. Kahan has spent most of her life working with letters. She discovered Speedball lettering pens in her teens, opened a design studio that specialized in the lettering and calligraphic arts while in her early twenties, and grew her business in California and Hawaii. Today, she embraces new design challenges and digital technology, but letters are still at the core of her work. In ITC Kahana, Kahan created a design that is both distinctive and versatile. Menus, posters, display headlines, packaging and brochures fall easily within this typeface's range. And the word “kahana” is more than just a namesake: in Hawaiian, “kaha” means “to mark, draw, place, turn or surf,” and “na” means “belonging to.” ITC Kahana also includes an enchanting decorated alphabet in the lowercase position that expands this typeface's usefulness to the designer.

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.

Lincoln Electric started its life as an in-house experimental film type Thomas Lincoln drew shortly after concluding his work as part of Herb Lubalin’s famed crew in the late 1960s,. The master alphabet was drawn on illustration boards using pen and ink and press-type lines. The typeface was initially made for use in the branding and promotional material of Lincoln’s new design outfit. This alphabet’s forms are a spin on Bifur, the all-cap deco face designed by Adolphe Mouron (known as Cassandre) in 1929, and published by the Deberny & Peignot foundry in France. Lincoln Electric evolves Cassandre’s idea further by constructing new shapes more in line with minimalist principles rather than art deco geometry — something clearly evident in Lincoln’s minuscules, which exhibit a clear connection to Bauhaus ideas More than 50 years after the typeface’s design, Thomas Lincoln found the original film alphabet tucked away in his archives and brought it over to Canada Type for digital retooling. The result is a modern and thoroughly elaborate set of fonts that belonging prominently in a 21st century designer’s toolbox. The following features are included in Lincoln Electric: • Three fonts for chromatic layering. • More than 1900 glyphs in each font. • Expanded Latin and Cyrillic character sets. • Small caps and Caps-to-small-caps. • Six different sets of stylistic alternates. • Ordinals and case-sensitive forms. For a showing of the stylistic set variations and a sample of demonstration of chromatic layering, please consult this PDF.

Homelessfonts is an initiative by the Arrels foundation to support, raise awareness and bring some dignity to the life of homeless people in Barcelona Spain. Each of the fonts was carefully digitized from the handwriting of different homeless people who agreed to participate in this initiative. A biography/story of each homeless person captures their story, to help raise awareness and bring some dignity to the life of homeless people. Monotype is pleased to donate all revenue from the sales of Homelessfonts to the Arrels foundation in support of their mission to provide the homeless people in Barcelona with a path to independence with accommodations, food, social and health care. Juan Carlos was born in Barcelona, Spain 46 years ago. Since the age of 17 – and during eleven years – he worked double shifts of eight hours every day in a factory. Excessive work and family problems debilitated his health and he lost his job. He then faced a dilemma: to spend unemployment benefits to pay for rent or for food. For a few years, he worked helping in the kitchens of different restaurants while he lived on a pension, until he was definitively left without work and ended up living in the street for 10 years. “In the street I tried to find rest in the ATMs of banks. I preferred to be alone, and if I ran into conflictive people, I looked for somewhere else” he explains. Living in the street he was the victim of an aggression. Since then, with the help of Arrels he moved into a pension. Today, Juan Carlos is a volunteer in the shower service of Arrels, the same showers he used during years. He also collaborates with the maintenance team, helps prepare hygienic and cleaning material, and participates in activities such as the theatre group and the football team.

For decades, the soft glow of a neon sign beckoned weary travelers to roadside rest courts, told the hungry individual where to eat; let enthusiastic revelers know where the night life was happening. There is something special about a neon sign, yet changing times, city ordinances and even technology itself is turning this staple of urban life for over a hundred years into a museum piece. Night Sign JNL emulates the craft of hand-formed neon signage and it (along with a few added special effects) can really add some good-old-fashioned pizzazz to a print or web project.

Gobsmacked is a rather new English word. It has been around since 1959 and was used mostly around Liverpool at that time. The word means: ’astounded’, ‘flabbergasted’ (another nice word!) or ‘speechless’. Gob could be of French or Scottish Gaelic origin and means ‘mouth’. Gobsmacked font was created using a brush and black gouache. The result is a very eroded, very legible and quite unique brush font. I have created alternates for the lower case letters, plus two double letter ligatures (oo and ss). Use it for any design that needs a little brushwork; I am sure the result will leave you gobsmacked!

You begged with us..! You pleaded with us..! But we decided to release the official Richard Starkings font anyway! Yes, I am Richard Starkings and you may remember my hand lettering from such comic books as THE KILLING JOKE, TRANSFORMERS and, um, THE KILLING JOKE! Yes, finally Comicraft is making available the font that started it all -- from the pages of MARVELS, SUPERBOY, GENERATION X and, um... MARVELS! The font that Kurt Busiek, writer/creator of ASTRO CITY, really, really likes but we've always refused to make available to him. Always leave your friends wanting more, that's my motto.

The rounded Sans with edges. Olivia Sans got curves on the outlines and edges on the inlines. So it can be very legible and space efficient at the same time: the curves keep the distinctions between the letters, the corners keep the influences from broadnibbed pens with a subtle horizontal stress for great legibility. Olivia has personality without being obtrusive. Three weights (light, regular, bold) are equipped with real italics, SmallCaps, different sets of figures, accents for almost every latin script, arrows, symbols. A fourth weight (black) comes without italics or SmallCaps, but all the other features. Olivia: with or without.

Stolzl Display is an original font family designed for headlines, titles and subtitles. Based on the combination of contrasting shapes, the harmony of form and rhythm is fundamental to the design. Inspired by Bauhaus, Stolzl represents, not just the significant influence of this “crucible of modernism”, but aims at capturing its original idealism, commitment to creativity and experiment driven philosophy. Details include six weights, Cyrillic, 480 characters, alternative glyphs, manually edited kerning and Opentype features. Named after Gunta Stölzl, the Bauhaus’s only female master, Stolzl Display is the first subfamily of the Stolzl font collection to be released this year.

Sprightful Font is a casual dry brush font with a bunch of letter variations to make that perfect and unique design. Ideal for the header, logos, handwritten quotes, product packaging, poster, merchandise, social media & greeting cards. Sprightful Font comes with upper and lowercase characters, a large set of punctuation glyphs, numerals, and the second version of Sprightful, with a completely new set of both lower and uppercase characters. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option.

Hand Cursive design is a cute cursive font, written by hand—careful writing with a steady pen! The applications of this full-out cursive font are many. It is designed to be creative & free-flowing, but I also wanted it to be at least somewhat proper. Use Hand Cursive any time you want fancy, legible, and luxurious text. Works great for logo design and beautiful for titles. Go ahead and have fun with it. Hand Cursive is extended, containing the full West European diacritics & a full set of ligatures, making it suitable for multilingual environments & publications.

This font is inspired by typography found on old German shop windows. It is a script font, but instead of imitating human handwriting and the gestures connected to it, the goal was to come up with a new writing flow and stroke order. As opposed to handwriting Latin script letters, which normally means drawing each character and then connecting it to the next one, the strokes of this font run across multiple glyphs. Intentionally, the design aims to achieve a flowing transition between each glyph without making use of contextual alternates, taking the limitations of classic machine lettering as a challenge.

Nibbles is a linear dingbat typeface inspired by the theme of food and food trucks. With symbols ranging from burgers, pancakes, or desserts, to food trucks and toilet signs, this font aims to cover all your hungry design needs! To help with its application, each pictogram can either be found through its glyph placement or by simply typing out the name of the food item. Type burger and presto, your burger pictogram will appear! With its simple application and extensive symbols, Nibbles can be used for branding, menus, editorial layouts, posters, and any food related projects.

The rounded Serif with edges. Olivia Serif got curves on the outlines and edges on the inlines. So it can be very legible and space efficient at the same time: the curves keep the distinctions between the letters, the corners keep the influences from broadnibbed pens with a subtle horizontal stress for great legibility. Olivia has personality without being obtrusive. Three weights (light, regular, bold) are equipped with real italics, SmallCaps, different sets of figures, accents for almost every latin script, arrows, symbols. A fourth weight (black) comes without italics or SmallCaps, but all the other features. Olivia: with or without.

I have upgraded my existing font software and also bought new font software to play around with. It takes some time getting used to working with it; the upgraded software feels similar to what I am used to, but handles things differently and the new software is intuitive, but comes with its own language and ways of doing things. I spend most days reading the handbooks and watching online tutorials, but I did manage to create a font. Steamed is a hand drawn all caps display font that comes with a whole bunch of accented glyphs (even Vietnamese) to play around with.

Rachele is a mono line based script thin font. Inspired on the cute “Italian Bella Scrittura” handwriting but influenced by Spencerian. Ornaments and ligatures make this hand more expressive offering round stroke endings and a flowing shape. Rachele is a big family, its stroke expand into extra light till medium and passing through a calligraphic/ribbon effect. At the same time the width varies, that’s make this script even more flexible, from Ultra Condensed to Super Extended. Enjoy it. Check out also Check out also ‘Mentha’ based on Rachele’s skeleton. We recommend to combine Rachele with: Turquoise

Some time ago, my son asked me to name all Seven Seas. I had to think for a bit, because I can think of more than 7 seas (the North Sea, the Caspian Sea, the South China Sea, the Sea Of Okhotsk, etc.), but apparently these are not part of the BIG Seven. It turns out that even oceans count as ‘seas’. Long story short, I created a font, had to think of my son’s question and named the font Seven Seas. Seven Seas is a hand made serif that comes with swashed alternatives for a lot of glyphs.

Liak is a sans serif family. Design with various width and weight that you can explore and combine creating rhythm and texture for comfortable reading. This font supports more than 100 Latin-based languages and has extensive Cyrillic and Greek support for languages like Russian, Bulgarian, Ukrainian, and many more.In variable version, it allows multiple options when designing, adapting to different composition solutions. Feature Uppercase & Lowercase Number & Symbol International Glyphs (Cyrillic & Greek) Multilingual support Ligature Feel free to drop us a message any time and follow my shop for upcoming updates Shoot me on email at: Suandana_Ipandemade@hotmail.com Hope you enjoy it.

He’s been mixing one part artist and one part barbarian since 2005. Brutal, ruthless, cutthroat, he moves through the concrete jungle, unsheathing his, um, sword, taking what he wants without care or remorse. He follows no rules. He is the URBAN BARBARIAN. The Spoils of Battle Await Him! Is he Conan? Roger ‘Mad Men’ Sterling? No, he’s Dan Panosian. Artist. Author. Lover of fine women, drinker of fine scotch, drawer of fine pictures. This is his fine font. Well, one of them. See the families related to Urban Barbarian: Dan Panosian Features: Two fonts: all-uppercase GIANT and upper/lowercase DWARF.

So many designers hate Comic Sans. They think people who don't know design are overusing this funny little friendly font, which is nearly every time out of place. Some years ago, type designer Hannes von Döhren created a free alternative to Comic Sans. The difference: It has serifs and a much cooler look. The big success of the HVD Comic Serif pushed Von Döhren to create a Pro Version with an eastern, central and Western European language support. “The HVD Comic Serif should spread all over and make the world a little bit better.” says Hannes.