Introducing the elegant new Jenson Font! For those of you who are needing a touch of elegance and modernity for your designs, this font was created for you! Jenson was built with OpenType features and includes beginning and ending swashes, alternate swash characters for most lowercase letters, numbers, punctuation, alternates, ligatures and it also supports all latin languages :) What's Included Jenson TTF Jenson OTF Multilingual support all Latin languages Check out my blog: www.instagram.com/youthlettering pinterest.com/dmitriychirkov7 Thanks so much for checking out my shop! All the best, Dmitrii

Creating the condensed version for the Brandon Text was the missing project to complete the Brandon series. Brandon Text was created as a companion to Brandon Grotesque. When we started to designed Brandon Grotesque Condensed we felt that there should also a condensed counterpart for small sizes; so we made Brandon Text Condensed. While a condensed typeface is not just a squeezed original, we took the Grotesque Condensed as a starting point for the Text Condensed version simultaneously we also kept an eye on Brandon Text to find the perfect missing variables.

Architype Crouwel is a collection of typefaces created in collaboration with Wim Crouwel, following his agreement with The Foundry, to recreate his experimental alphabets as digital fonts. Crouwel's most recognized work was for the Van Abbe and Stedelijk museums (1954 –72) where he established his reputation for radical, grid-based design. Architype Vierkant was developed from the few letterforms that Crouwel created for an opening spread in a 1972 Drupa catalogue, on the theme ‘typo vision international’ – this single reference showed an interesting interplay of the experimental ideas underpinning his controversial ‘new alphabet’ and Fodor.

Goudy Sans Bold was originally designed by Fredric Goudy in 1922 as a less formal "gothic" and finished in 1929. The light was designed in 1930 and the Light Italic in 1931. Alternate letterforms are included in these three Goudy designs which are digitized true to their original design. In 2006, designer Colin Kahn drew "LTC Goudy Sans Regular" which is a medium weight version intended for text purposes. Kahn has also designed an experimental "LTC Goudy Sans Hairline" which has a skeletal almost mono-width stroke and results in a surprisingly elegant display face.

As a kid, I often fantasied about which superpowers would be the coolest. That was a time before the internet and social media, so my references were limited. But I guess that being invisible or fast speed was the top wishes. Not much, but still great powers - today, I think I’d wish for “world peace” or “with a blink of my eyes, sushi appears” as superpowers. Anyway, say hello to my multilingual graffiti-inspired comic font, Fictional Powers, that even comes in a super-duper-sonic-speed version!

Cooks call thinly cut - like matchsticks - vegetables "Julienne". I found that was a fitting name for this very narrow typeface. Julienne Slim is the extreme cut of the two. Personally I do not use narrow typefaces very often, but from time to time they come in handy if there is much text to be crammed into little space. I could make a typeface that was even narrower, but I will not do it. This is as narrow as my typefaces get. Enjoy what I cut for you, Gert Wiescher.

A calligraphic alphabet in bold/light brushstrokes Actually, a typeface like this one should be written with a wide brush; this one was written with a thick, pointed brush. Thus were created the round or misshapen ends of the stems, and the sometimes excessively pointed ends of the hairlines. For each character of KLEX, the large brush was dipped in the ink anew. Using this method, the forms turned out very soft, in spite of their geometrical rigidity. The individual characters are heavy, simple, and monumental, so that they are also suitable as initials.

Dungeon is a glyphic font family that combines elements of both sans serif and spur serif typefaces. It was designed exclusively for the Red Rooster Collection in 1998 by Steve Jackaman (ITF). The family is loosely based on Dick Jensen’s famous design “Serpentine,” which was created for the Visual Graphics Corporation (VGC) in 1972. Dungeon is available in four weights, each of which is optimized for legibility at any size. The family’s masculine feel has helped it to turn up in a variety of projects, ranging from brand identity to advertising.

DonnaBodoni was inspired by David Farey. He once wrote, somebody should honor the widow of Giambattista Bodoni the brave Signora Paola Margherita Dall 'Aglio for her effort to have the Manuale tipografico di Giambattista Bodoni published after his death. Since I have redesigned a good deal of Bodoni’s work and added some of my own, I thought it was my duty to do at least this for Bodoni’s unknown widow. Here is my 3-cut script in her honor. The design is remotely based on Bodoni’s English-Initials. Your honorable Gert Wiescher

BrownFox was created because I saw a need for a condensed, loose handwriting - I used my trusty nylon marker to create this font - it is rough, yet thin and elegant. BrownFox has a few surprises like some serious ascenders and descenders with an exaggerated x-height. Caps are intentionally simple to maintain an even rhythm. BrownFox works very well in caps, upper-lowercase, lowercase only, small and large. This font will be useful in many applications from invitations through CD album covers. The name was inspired by the other ipsum lorem.:-)

In the advertising industry, I was often asked to supply the art directors with ideas for a san serif type design that was not the standard Helvetica or Univers. They wanted a fresh new approach, something with generous proportion, like Avant Garde perhaps, but not as uniform in proportions. A font that would lend itself well to wide and long columns of text with lots of leading. So, I rolled up my sleeves and designed a font that meet all their criteria. Contax is the new 'Univers' for the 21st century.

Marazion takes its name from a Cornish seaside resort in the UK's West Country. It was inspired by some hand lettering I came across at a local inn on the seafront where I was enjoying a lunchtime pint (always a good place to seek inspiration in my experience!) Being based on a hand drawn script Marazion is a smooth, fluid and rounded font that is both fresh and distinctive. Personally, I think it is well suited to applications in food and fashion, but in practice its uses are more or less universal.

Frakto is a two-weight family of calligraphic Fraktur-style typefaces designed by Julius de Goede. One of the main categories of Blackletter typefaces, Fraktur was developed around 1517, and was used throughout Germany and Northern Europe well into the 20th century. With Frakto, Julius de Goede has re-applied the written element of the script back into the Fraktur style, rejuvenating and reinvigorating it for 21st century display use. Frakto is the perfect fit for certificates and newsletter headlines. We recommended using it in point sizes from 12-pt on up.

Bamberforth is a new take on the type of lettering that was often seen on Railway timetables, share certificates and anything else that needed a distinctive heading in the mid-19th Century. This sort of thing was used on both sides of the Atlantic and can carry us back to another time. Bamberforth aims to give a modern clarity to a style of lettering that, in all other particulars, harks straight back to Victorian times. Bamberforth is ideal for giving anything a 19th century feel-especially posters, book headings, dust jackets and invitations.

Frank H. Atkinson's book Atkinson Sign Painting was published in 1909. For decades, this book served as the manual for sign painters - a handbook for hand lettering. Atkinson’s book described techniques, layouts and several sample alphabets. Modernized Ideal Classic was inspired by one of these demonstration alphabets. Although Classic has its beginnings in art deco, it is very comfortable in any period or style of design. It is most appropriate in headline and display text, poster copy and signs. We've included some nice stylistic alternates and an interesting array of ligatures.

The Teapot Dome scandal was a 1920s bribery scandal involving Secretary of the Interior Albert Bacon Fall. Fall leased Navy petroleum reserves at Teapot Dome in Wyoming [along with some California reserves] at low rates with no competitive bidding. The San Francisco Examiner for Feb. 20, 1924 ran the two line headline “U.S. Senator Named as Oil Stock Speculator; Whitney to Face Quiz Today on Slush Fund”. The headline was set in a condensed, slightly squared sans serif typeface. This is now available as Special Edition JNL in both regular and oblique versions.

Big Jim Roberts was my dad. A dedicated family man who taught us about faith, values and love is missed by our family. Jim just about did it all. He was a military man, a police officer, a power company engineer and a photographer. This typeface (which is comprised of a bold lower-case alphabet) has a 70s retro feel. Jim might have like it. The net profits from my font sales help defer medical expenses for my siblings, who both suffer with Cystic Fibrosis and diabetes. Thank you.

Fine Gothic was developed over several years, and was partly inspired by the blackletter fonts of the great 20th century calligrapher and lettering designer, Rudolf Koch. Although blackletter has many historical and cultural associations with Germany, and has been used in the English-speaking world excessively on the mastheads of newspapers or the facades of antique shops, contemporary designers should not be deterred from adding these vigorous letterforms to their repertoire. Conventional blackletter tends towards the heavier weights, which makes the Light weight of Fine Gothic something of a delight and a rarity.

Designed by Les Usherwood. Argus is a flared serif font family. Its analog form was designed by Les Usherwood (Typsettra) in the 1980’s, and Paul Hickson (P&P Hickson) and Steve Jackaman (ITF) designed the digital version exclusively for the Red Rooster Collection in 1992. Argus is an expressive, graceful typeface that was inspired by Baroque typography. Its diamond-shaped punctuation shares similarities with other glyphic typefaces, such as Arthur Baker’s ‘Baker Signet.’ The font family gives a beautiful gravitas to any project, whether it be packaging, motion picture, or magazines.

Drama Queen is a remake of the very first font I ever made. At the time, I was thirteen years old, and this was my handwriting. This font fully supports the following languages: Bulgarian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Icelandic, Italian, Norwegian, Polish, Portuguese, Romanian, Russian, Serbian, Slovak, Spanish, Swedish, Ukrainian. If your language is not listed, or if I've missed a character in a language I claim to support, please contact me! I will be happy to add characters as needed, and will consider supporting more languages if there is interest.

Ponzastura typeface was inspired by Aldo Novarese's Eurostile, but in this case, monolinear strokes took on contrast and stress. The classical appearance of Ponzastura, whose name is inspired by the Italian city Pontestura where A. Novarese was born, is more of a reaction and interplay. The character set supports most European languages and contains ligatures as well as symbols, figures and alternative characters. Its strength is in a simplicity and format; recommended for use in headlines or short sentences. Ponzastura typeface can fill in a gap of high-contrasted fonts of nowadays.

Gold Spur is a spurred version of the FontMesa Gold Rush set of fonts. Each version includes many extended characters for Western, Central and Eastern European countries. The Gold Spur Trail OpenType version has alternate double letter pairs included in the font and will automatically be substituted when used in Adobe CS products or other software that takes advantage of OpenType features. The $20.67 price of each font reflects the price of an ounce of gold in 1865 which was the year that the original Gold Rush font was created.

MOCKEJOE FONT was born in the modern era which was inspired by the letters found in various print and digital media. Comes with a modern and futuristic style that will rock your great design! It is suitable for you to use in logotype designs, posters, typography, t-shirts, tickets, and other modern designs. The alternative characters in this font were divided into several OpenType features such as Stylistic Alternates, Stylistic Sets, and Ligature. The OpenType features can be accessed by using the OpenType program such as Adobe Illustrator, Adobe Photoshop, and Adobe InDesign.

NO! I don’t have a bearskin rug, nor a fur collar on my jacket. I believe fur should only be worn by its first owner. I have no idea why I called this font Bearskin: maybe I was influenced by one of the Viking novels I am reading - they’re full of Berserkers - but that name was already taken. Anyhoo, Bearskin font is a nice handmade all caps font. A little rough here and there, but with a lot of character as well. Bearskin comes with swashes, so you can have a ball!

HERENGRACHT (Patricians' Canal or Lord’s Canal) is the first of the three major canals in the city centre of Amsterdam. The canal is named after the heren regeerders who governed the city in the 16th and 17th century. The most fashionable part is called the Golden Bend, with many double wide mansions, inner gardens and coach houses on Keizersgracht. Former bureau of André Toet (SO)Design was situated there for over 32 years, it was about time to name one of our fonts to: HERENGRACHT. Concept/Art Direction/Design: André Toet © 2017

Thorowgood was originally released by the Stephenson Blake typefoundry in the UK. The types were first cut by the English typefounder Robert Thorne, predecessor of William Thorowgood, and first shown in his specimen books in the early nineteenth century. The fat face was revived in roman (1953) and italic. The S and the C appear to be smaller than the other capitals. Most serifs are flat and thin horizontals. In the italic the main strokes of h, k, m, n, and r are curved inwards at the foot.

Crostini was designed as a fun-filled, vigorous brush script, originally intended for restaurant logos and menus. As it evolved, I realized that it was more versatile than I'd thought - great for feminine, girly media as well as for more “in your face” marketing. While the characters are bold and dramatic, they are also feminine and rounded. Crostini contains all the accented characters used in the major European languages. Use Crostini for invitations, scrap-booking, advertising media, fashion media, restaurant media, food media, greeting cards - it’s great fun!

Our Rum Raisin Pro was inspired by the lettering from a vintage Kellogg's Raisin Bran cereal box, yet is has expanded from what was originally a unicase design to include a lowercase character set. For those seeking to use the original unicase A, you can find it in the Delta character slot. Fun and festive, this font plays the comic clown to perfection. The SmallCaps and extensive figure sets offer a change up to a slightly more serious tone or alternate personality for a wider range of use.

When did it start. One day I was designing some stuff for a fast food café. By style the Café was made as an old Soviet canteen. So I had to do a special accent on this in menu, advertising posters and other print products. I decided to do this by interesting old school font. There are many cool retro fonts on the Internet, but not one of them satisfied me on 100%. The next step was to look at the old posters and find some inspiration. So I found some cool pictures with exact letters that I needed, but there were no typefaces to buy so that I can print some text with this exact letters. That's why I decided to do such typeface for my own. You can use this typeface in the field of nutrition, and it also will suit for cinema posters.

Le Havre is a geometric sans serif inspired by the golden era of the passenger ship, when getting to your destination was a delight in and of itself. Compressed capitals, a low x-height and geometric construction give this art deco inspired sans a unique look that looks to the past for inspiration, but is a new contemporary design usable in a wide range of graphic settings. Le Havre features eighteen art deco titling alternates, ligatures and old style figures. Le Havre is named for the port where many a famous luxury cruise liner was launched in the 1930s. One of the best examples of art deco luxury cruise liner advertising can seen in the famous poster advertising the SS Normandie by the French designer Adolphe Mouron Cassandre. In 2009 the Le Havre series was updated with a new thin weight and Le Havre Rounded.

In 1543 the well-known “De humani corporis fabrica” treatise on anatomy by André Vesale, was printed by Johann Oporinus in Basel (Switzerland). Various typefaces were used for this work, mostly in Latin but including Greek characters. Its Jenson-type font was the one which inspired this font. It is a very elegant one, including the “long s”, a few abbreviation forms and ligatures. As it was a Latin text, there were no accented characters and a few capitals were absent. I had to reconstruct them. A render sheet, in the font file, makes all characters easy to identify on the keyboard. This font may be used as a “modern” one for web-site titles, posters and flier designs, publishing ancient texts... and anything else you want! One of the most elegant types ever cut, it stands up very well to enlargement, remaining as readable as in its original small size.

This family was inspired by the pure Garamond pattern set of fonts used by Egenolff and Berner, German printers in Frankfurt, at the end of the sixteenth century. All the experts said it was the best and most complete set of the time. The italic style used with it was Granjon’s, as in 1543 Humane Jenson. A few fleurons from the same printers have been added. It can be used variously for web-site titles, posters and flyers design, publishing texts looking like ancient ones, or greeting cards, various sorts of presentations, as a very elegant and legible font... This font supports very large sizes as easily as small sizes, remaining very smart, elegant and fine. Its original cap height is about five millimeters. Decorated letters like 1512 Initials, 1550 Arabesques, 1565 Venetian, 1584 Rinceau from GLC Foundry, can be used with this family without anachronism.

Full of texture and regal personality, Bell Martellus was derived from a book published in 1475 by Henricus Martellus entitled “Liber Insularum.” The writing style is based on the Carolingian Script created by the Emperor Charlemagne and his scribe, Alquin of York, in the 9th century A.D. This old world lettering comes with new world OpenType capabilities, including swash caps and small caps. The James Ford Bell Library at the University of Minnesota commissioned Bill Moran to develop this font as a means of introducing their amazing collection of rare books, maps and manuscripts to a wider audience. Once the historic script was fontified by Bill, it was forwarded to Chank Co, where we added some snazzy baubles for the discriminating typographer. Everybody can enjoy the antique genuine nature of Bell Martellus, but advanced OpenType users also get extra features in Adobe CS applications.

This font was inspired from the so called "Insular Style" Latin script used in Celtic monasteries (Ireland, Scotland—with the well known Book of Kells—and England) from the late 6th to 9th, before the Carolingian "Caroline" (look at our 825 Karolus). It was a regular script, rounded, written slowly, used mainly for specially meticulous books, with a very few ligatures. The rarely-used capitals consisted of enlarged lowercases, but, on the other hand, there was numerous historical initials. The Titling style in this familly allows to two-color decorated letters to be created, using OTF Titling feature or copy and paste technique. We have created the font as to be adapted for contemporary users, differentiating between U and V, I and J, which has not any relevance for ancient Latin scribes, and naturally with Thorn, Oslash, Lslash, K,W... The specific Celtic "y" is added as an historical alternate.

Up until the late 1920s, it was a popular habit in American songwriting to use African Americans as the topic of compositions using denigrating themes, words and even exaggerated character illustrations on the covers of the published sheet music. One such example of what was considered "entertainment" for its time was a piece entitled "Little Black Me". While this now socially and morally unacceptable piece of forgettable tripe is collected by some only for the historical documentation of the times they reflected, one good "positive" came out of this negative chapter of our country's musical heritage: The beautiful floral ornamented letters in the song's title has yielded Fancy Free JNL. Originally hand-lettered on an arc, these spurred Roman letters have been re-drawn, and are offered in both the regular design and a companion version with the ornamentation removed for lettering that is less ornate.

P22 Graciosa is a five font family based upon designs for a metal type by Carlos Winkow (1882–1952), a German type designer who lived and worked in Spain in the early 20th Century. Graciosa is a sort of hybrid blackletter/text font, with simplified blackletter caps and a serifed lowercase with subtle script flare. There is a Regular, Black, an open version called White, and an engraved version called Gris. The version called Multi serves as a fill font to allow for multi-colored layering options. A revival of these designs was initiated by Matthias Beck in 2015. The character set was expanded for use in 21 languages (OpenType Standard). The digitization and reintroduction of these old fonts—created in Spain and practically forgotten—makes them regain a new life. This project was subsidized by the Spanish Ministry of Education, Culture and Sport.

A set of original ornamental symbols was designed by Viktor Kharyk and licensed to ParaType in 2007. The name was inspired by the famous book “Champ Fleury” by Geoffroy Tory (1529) but the theme of blooming meadow was embodied much more literally. Each ornamental motive has a real prototype in flora. Mainly there are plants raising on Ukrainian wooded steppe. Plants were chosen for their Ukrainian and Latin names begin of proper letters from Ukrainian and Latin alphabets. The font is consisted of two styles: Day for normal and Night for reversed that reminds night lighting by its unexpected distribution of black and white areas. Fleurons may be used for creation of ornamental surfaces, composed borders and corners, decoration of any materials, and even as botanical illustrations. Blooming Meadow Day have been adjudged Award of Excellence in Type Design at TypeArt’05 international type design contest

This is not just a typeface inspired by a kid’s first attempts to write. This is in fact how exactly a kid writes. Alexandros Papalexis was born again kid when he became a father. This series came about while designing his daughter’s birthday invitations. Since its first release, it has been constantly on our most wanted list. You step into a supermarket, a bookstore or a clothing store and you see tens of products using this typeface. Anything from baby products, food, clothing, children’s books and magazines, print and TV campaigns, you name it. But don't just stick to the name. Every single weight serves the right purpose. This is why this typeface has also been used extensively for grown-up market. Recently, it was upgraded to include Latin, Greek and Cyrillic. Furthermore, the accompanied series of pictograms was completed and loaded with 125 western and eastern European pieces.

Ondine is one of the early typefaces of Adrian Frutiger. It looks as though it were written with a broad tipped pen, however, Frutiger actually cut the forms out of a piece of paper with scissors. The forms of Ondine are reminiscent of the humanist period, the high point of the Italian Renaissance text typefaces of the 15th century. This movement was centered in Florence, the base of the Humanist movement overall, and the home of a famous type school of the time. The main goal of the educated writers was to faithfully recreate the writing of the admired literary works, whose aesthetic was as important as their content. Ondine displays a regular and open character. Texts set in this typeface give the impression of being hundreds of years old. Ondine should be used in point sizes of 12 and larger and is best for short texts and headlines.

Before the original sketches, I had imagined and dreamed this font was used for side characters of retro robot animations such as Gundam and Ideon. But the sketches were put in a PENDING folder. It was a few years ago. In the begining of 2011, I restarted working with the sketches to complete as a font file. Detail and some shape were improved retaining the original concept and they were completed, then named ‘Space Colony’. Just as the name implies, this wide and geometric font family consisting of six weights was designed targeting at use for futuristic product of game, movie, logo and so on. Not only that but the rounded shape makes a lovely, cute and soft impressions so this font is also suited for cartoons, animations and character merchandise too. We released 4 big Sci-Fi families in 2013. Check it out! Clonoid Controller Geom Graphic Space Colony