Within the pages of the 10th edition of the Speedball Lettering Book (1927) is an alphabet called “Vanitie”. This had been redrawn digitally as Merriment JNL, and is available in both regular and oblique versions.

Progreso is a condensed, unicase, serif gothic type design inspired by the hand-lettering on Russian posters from the 1920s. Supports most European languages, including modern Greek and most languages that use the Cyrillic alphabet.

MardiParty is a totally wild latin typestyle with inlines that grow out of it. Inspired by hand-lettering from a 1950's Haiti travel brochure, where the original lettering was just the word "Haiti", this font proved a fun challenge to flesh out. The end result, a funktastical tribute to its origins, perfect for any celebration themed invitations, logotypes, or outlandish branding.

Orkhon inscriptions (Orkhon inscriptions, Orkhon inscriptions, Khöshöö Tsaidam monuments (also known as Khoshoo Tsaidam, Koshu-Tsaidam or Höshöö Caidam) or Kul Tigin steles (simplified Chinese: 阙特勤碑; traditional Chinese: 闕特勤碑; pinyin: Què tèqín bēi )) They are two monumental installations written by the Göktürks in the Old Turkic alphabet in the Orkhon Valley in Mongolia at the beginning of the 8th century. They were erected in honor of two Turkish princes Kül Tigin and his brother Bilge Kagan. Both Chinese and Old Turkish inscriptions describe the legendary origins of the Turks, the golden age of their history, their subjugation by the Chinese and their liberation by İlteriş Kağan. According to one source, the inscriptions contain "rhythmic and parallel passages" similar to those of epics. In the Old Turkish Alphabet, 38 letters are accepted academically and this pattern is generally used in the books. But there are more than 38 letters in this alphabet, these special letters are included in this font.

Scoreboard JNL emulates illuminated scoreboards and is based on an alphabet found in an old clip art book of sports-themed alphabets.

It is the Adapted Version of the Byzantine Imperial Script to the Latin Alphabet. The original Alphabet is also in my Foundry.

Ritornelos is a lively hand-drawn typeface, perfect for adding that whimsical touch to your designs. It's a unicase alphabet that contains two variations for each letter (accessible through keyboard's upper/lower keys) and handy embellishments.

Wonsmith is a family of 3 handwritten script fonts, including latin and cyrillic alphabet and diacritic symbols, so the font can be used for most European languages. Ligatures of the most common letter pairs are included.

ITC Machine font was created by the design team of Bonder and Carnase, a bold uppcase alphabet whose geometric letters add strength to any presentation. ITC Machine font is excellent for signage and other display applications.

Originally created by Craig Frazier, San Francisco designer and illustrator, for The Alphabet Critter Playbook, the clever creatures of Critter tell you their names by the letter they represent. A helpful hint: x" is for xenopus."

The Helinda Rook font is a popular choice in advertising, invitations, greeting cards, and wherever a formal hand-lettered or engraved look is desired. Helinda Rook is an elegant connecting alphabet font based on formal handwriting.

Campland from Magpie Paper Works is a rustic, hand-lettered, sans-serif font chock full of summer-camp fun. This Opentype font features decorative glyphs and interlocking borders, as well as a complete uppercase & lowercase alphabet.

Kitchen Utensils is a pictorial font with 36 different common kitchen tools and appliances in the shape of the letters of the alphabet and numbers. Perfect for cooking and kitchen-related texts, recipes, and culinary publications.

The name DIN refers to the Deutsches Institut für Normung (in English, the German Institute for Standardization). The typeface began life as the DIN Institute's standard no. DIN 1451, published in 1931. It contained several models of standard alphabets for mechanically engraved lettering, hand-lettering, lettering stencils and printing types. These were to be used in the areas of signage, traffic signs, wayfinding, lettering on technical drawings and technical documentation. Rooted in earlier designs for Germany's railway companies, the alphabets were based on geometric shapes in order to be easily reproducible using compass and ruler. In post-1945 West Germany, the DIN alphabets were widely used, for instance on most road signs. They became available as fonts that were appreciated by designers for their industrial, somewhat quirky and “non-typographic” look and feel. From the 1990s onwards, more refined versions became available for use in book and magazine typography. DIN Next is a typographically corrected and expanded version of this quintessential 20th-century design. DIN Next Rounded is its softer, friendlier version.

Named for the Zulu traditional spear, Assegai evokes the long, slim outline of the weapon, and the strength of the Zulu warrior. The font combines the irregular shapes of tribal African art with the simple, clean elegance of contemporary design. It is especially useful for headings, subheading, for shorter passages and also works as a body font since it has both upper and lower case and is striking and readable.

Larch is a clear and crisp high quality script typeface. It consists of five weights: White, Bright, Shaded, Dark & Black. Each style is working great separately, but they make the perfect combination together. Larch is designed by Måns Grebäck in 2016. The font supports hundreds of languages. It contains contextual and stylistic alternates, swashes and ligatures. Write # after any lowercase letter to make swashes! You can also write % after the following letters to make left swashes: b d f h i j k l t Example: Black% Lar#ch

Shelton is a Typeface with an eroded, printed look. The letters seem to be from different alphabets to support the wood type feeling. Every letter has an alternate character. Shelton has wide language support and also contains arrows and other special glyphs available through the OpenType contextual alternates feature.

Emphasis is the work of lettering artist Martin Wait. Its eye-catching double line effect highlights any display in an authoritative, contemporary style. Emphasis is an all caps alphabet which offers an alternative to conventional brush lettering styles, giving a casual yet robust look wherever it is used.

This casually elegant typeface is based on an unnamed offering from Pen & Brush Lettering and Practical Alphabets, published by Blandford Press, Ltd., London, in 1929. Good taste dictates that, because of the ornate and unusual letterforms of the uppercase letters, the font never be used as all caps.

Display Ardent is a display font not intended for text use. It was designed specifically for display, headline, logotype, branding, and similar applications. Display Ardent has the lowercase alphabet only, there is no uppercase alphabet. For convenience, the lowercase alphabet characters were repeated in the shift set.

Cruickshank is a decorative typeface from the late Victorian period. The upper case includes several letters with swash strokes, extending well below the baseline, as found in the original design. Alternatives to the swash caps are provided. The lower case contains small caps of simpler design. The face was designed by William W. Jackson and released by MacKellar, Smiths and Jordan Type Foundry of Samson Street, Philadelphia, Pennsylvania in 1886. MS&J was founded originally as Binny & Ronaldson in 1796 and later known as The Johnson Type Foundry. Cruickshank has a strong late Victorian flavor without the extravagance of so many fonts of the period. In its simplicity and clarity, it may be seen as a precursor to the Art Nouveau style that would develop a decade later.

Alphabet Agency proudly present Gamebred. Gamebred font is all caps with many alternatives letter characters within. The font also contains numbers, punctuation and international (latin) letters. The original inspiration behind the font is vintage lettering used on tobacco products. The initial inspiration developed into Gamebred that uses more elaborate and unorthodox character styles to real make it uniquely dope.

Apricosa – A beautiful bold serif with vintage swashes, alternate letters and ligatures. Apricosa is a delightful, modern take on a vintage font. Packed with plenty of alternates and ligatures to really bring it to life! Create stunning designs that are truly unique to your brand. Vary between a light and heavy vintage look based on how many letters you alter. Due to its large selection of alternate letters and ligatures, Apricosa is very versatile, covering a wide range of project types, from unique branding, to bold magazine design, to vintage wedding invitations, and so much more. FEATURES Uppercase alphabet Lowercase alphabet 41 alternate glyphs 36 ligatures big range of numbers, symbols & punctuation comprehensive language support

HGB Galaxo is a tribute to Othmar Motter (1927–2010), the Vorarlberg graphic artist and typeface designer, who designed very individual and perfectly crafted typefaces in the 1970's and later. (Motter Ombra, Motter Tectura ...)From a Motter sketch of 5 letters for a logogram, I derived a simplified letterform and developed all the necessary characters. Working on these glyphs and delving deeper into Motter's letterforms, the respect for the accuracy with which he drew his letters (in ink) grew more and more. The spiral resembles the shape of a galaxy, hence the name Galaxo. The font is suitable for retro, poster and logo design.

Vaudeville JNL started out as the re-drawing of an angular Art Deco font hand-lettered on some old publications for sale online. After completing the basic alphabet, it was realized that it just didn't look good -- so a more traditional letter form was adapted to represent the style and times.

The Ugaritic alphabet is a script with ancient letters that was used around 1400 BC. Ugarit is an Old Southwest Semitic language and was found in Ugarit, a place in Syria. It has 30 letters. Other languages ​​(especially Hurrian) are sometimes written in the Ugaritic script in the area around Ugarit

Letrinth is a bold, informal sans-serif face. Its lower case is unusual in design; some of the characters are scaled versions of the upper-case letters. It was developed from a special alphabet I used to construct a maze and its name (LETters for a labyRINTH) reflects that origin.

Nightowl JNL is a headline font encased in rectangles inspired by an Art Deco hand-lettered alphabet found in a 1941 edition of the Speedball® Lettering Pen instruction book. There is only a basic character set plus two different width blank rectangles located on the greater and lesser keys.

Aside from his 1920s and 1960 editions of Sam Welo’s “Studio Handbook – Letter and Design for Artists and Advertisers”, Welo also published “Lettering - Practical and Foreign” in 1930. A monoline Art Deco Alphabet from that book is now available digitally as Ladies Wear JNL in both regular and oblique versions.

Sortie Super is a take on one of the kings of display lettering - Caslon's high-contrast, reversed stress 'Italian' style. It looks great at big sizes and in short flurries... and shouldn't be used in confined spaces.  When compared with the original face, the weight and contrast of Sortie Super has been exaggerated. To add gravity to the letters I've increased their width overall and reduced the spacing to a hair-line fracture for added visual impact. Characters like 'S', 'E','O' and 'Z' are relatively close to their historical precedents - however the terminals on the 'C-G-S-З-Є', which have been drawn so to be more consistent. Other aspects, such as the leg of the 'R' and 'Я', the apex of the 'A' and the spur of the 'G' are revised and simplified, to help spacing and optical weight across the alphabet. Also, to reduce visual noise terminals in characters like 'C', 'J' and 'R'' are horizontally aligned. Meanwhile, the central horizontal strokes in the 'B', 'P' and 'R' etc are reduced to a hairline, so as to create a more simplified system of thick-to-thin.  The temptation when drawing this kind of esoteric display alphabet is to start to rely on modular components. Which, while copy-paste-repeat is a sure-fire way to make the face more visually consistent, it's a lazy method that risks allowing the font become soulless and mechanical. An early experiment I made was making a monospaced version, which was useful in headlines, but it lost that loving feeling. So, by maintaining a handful of flourishes – the tail of the '?', the inky drop of the '!', the bulbous gloop of arms of the 'Ж' and 'К', the swirling legs in the 'R', 'Я' and 'Л', the big-bowling weight of the 'J' and 'U' – plus a few in-built inconsistencies and a bit of its own silliness, Sortie Super retains some of the organic warmth of its ancestor. Conversely, the counters, apertures and negative space are largely rigidly geometric, which helps give the revival font a bit of a modern touch. Sortie Super is an uppercase-only display font that comes with Western, Central and East European Latin, extended Cyrillic, Pinyin, as well as a set of hairline graphic features and symbols.

Barmoor is a robust, classic roman display face, inspired by the letter designs of the Parisian craftsman Claude Garamond and other 16th century French engravers as well as antique roman letterforms. It works especially well letterspaced and in all caps. Alternate W, R, J, M, Q and K can be used to add a modest bit of flair to letterspaced, all cap treatments. Barmoor is mainly intended to be a display font or a limited text font.

Tomate started in 2006 as a brush lettering exercise for a poster and was later used for the ReType identity. In 2008 its author decided to turn it into a super fat typeface suitable for packaging and mass consumption products. The possibilities of ultra heavy forms are explored in this alphabet; trying to solve the design problems that these sort of forms present. Tomate shows influences from the beautiful Goudy Heavyface Italic which is a design the author admires.

The 1934 French publication L'Art du Tracé Rationnel de la Lettre is a vintage guide book on lettering chock full of interesting alphabets that have been an ongoing source of digital type revivals from the designs found within its pages. Monthly Statement JNL is a squared slab serif design with some Art Deco flair; available in both regular and oblique versions. This style of type evokes images of billheads, bank statements and other important documents of the era.