Based on sketches of an alphabet from examples of South Western cattle brand marks. I always liked the idea of these brands for a font. A few years later a basic font - just the capitals - was used for some logo designs.

County Clerk JNL was modeled after the vintage Hamilton wood type design Gothic Special, and is available in both regular and oblique versions. An early grotesk font, this condensed sans serif lends itself well to short headlines and brief body copy.

Italian Typewriter was designed by Leonardo Di Lena studying some Italian typewriters of the thirties and forties. Italian Typewriter is a monospaced font that can be used for any work that requires an old-fashioned look or an old-tech look.

This Bodoni caps only font was an experiment from Dave Farey how tall such a Bodoni could be elongated in its design. It reminds to the look of a fence, but in large sizes it may fit on a narrow window.

The Tecn@ Standard family was designed so that its characters are legible and easy to interpret in any writing; among them, the descriptive memory of plans for example. Tecn@ Standard complements the Tecn@ Background Light and Dark Square Triangle font family.

‘Forgetmenot’ is a feminine handwritten font. It has a small x-height, and long descender. It was designed with applications such as advertising and packaging, editorial and publishing, logo, branding and creative industries, poster and social media, and marketing in mind.

The Torino font family was designed by Alessandro Butti in 1908 for the Nebiolo foundry in Turin. Torino is a narrow face in the Bold weight; the condensed weight is so narrow that it should be used in over 14pt.

Nikaia started as an experimental typeface (the script weights) and was then expanded to its logical conclusions (italic & regular), producing the fastest look typeface in the world. Nikaia looks clean and sharp at any size, with 5 weights for contrast.

Originally designed in 1996, Mrs Eaves was Zuzana Licko’s first attempt at the design of a traditional typeface. It was styled after Baskerville, the famous transitional serif typeface designed in 1757 by John Baskerville in Birmingham, England. Mrs Eaves was named after Baskerville’s live in housekeeper, Sarah Eaves, whom he later married. One of Baskerville’s intents was to develop typefaces that pushed the contrast between thick and thin strokes, partially to show off the new printing and paper making techniques of his time. As a result his types were often criticized for being too perfect, stark, and difficult to read. Licko noticed that subsequent interpretations and revivals of Baskerville had continued along the same path of perfection, using as a model the qualities of the lead type itself, not the printed specimens. Upon studying books printed by Baskerville at the Bancroft Library in Berkeley, Licko decided to base her design on the printed samples which were heavier and had more character due to the imprint of lead type into paper and the resulting ink spread. She reduced the contrast while retaining the overall openness and lightness of Baskerville by giving the lower case characters a wider proportion. She then reduced the x-height relative to the cap height to avoid increasing the set width. There is something unique about Mrs Eaves and it’s difficult to define. Its individual characters are at times awkward looking—the W being narrow, the L uncommonly wide, the flare of the strokes leading into the serifs unusually pronounced. Taken individually, at first sight some of the characters don’t seem to fit together. The spacing is generally too loose for large bodies of text, it sort of rambles along. Yet when used in the right circumstance it imparts a very particular feel that sets it clearly apart from many likeminded types. It has an undefined quality that resonates with people. This paradox (imperfect yet pleasing) is perhaps best illustrated by design critic and historian Robin Kinross who has pointed out the limitation of the “loose” spacing that Licko employed, among other things, yet simultaneously designated the Mrs Eaves type specimen with an honorable mention in the 1999 American Center for Design competition. Proof, perhaps, that type is best judged in the context of its usage. Even with all its shortcomings, Mrs Eaves has outsold all Emigre fonts by twofold. On MyFonts, one of the largest on-line type sellers, Mrs Eaves has been among the 20 best selling types for years, listed among such classics as Helvetica, Univers, Bodoni and Franklin Gothic. Due to its commercial and popular success it has come to define the Emigre type foundry. While Licko initially set out to design a traditional text face, we never specified how Mrs Eaves could be best used. Typefaces will find their own way. But if there’s one particular common usage that stands out, it must be literary—Mrs Eaves loves to adorn book covers and relishes short blurbs on the flaps and backs of dust covers. Trips to bookstores are always a treat for us as we find our Mrs Eaves staring out at us from dozens of book covers in the most elegant compositions, each time surprising us with her many talents. And Mrs Eaves feels just as comfortable in a wide variety of other locales such as CD covers (Radiohead’s Hail to the Thief being our favorite), restaurant menus, logos, and poetry books, where it gives elegant presence to short texts. One area where Mrs Eaves seems less comfortable is in the setting of long texts, particularly in environments such as the interiors of books, magazines, and newspapers. It seems to handle long texts well only if there is ample space. A good example is the book /CD/DVD release The Band: A Musical History published by Capitol Records. Here, Mrs Eaves was given appropriate set width and generous line spacing. In such cases its wide proportions provide a luxurious feel which invites reading. Economy of space was not one of the goals behind the original Mrs Eaves design. With the introduction of Mrs Eaves XL, Licko addresses this issue. Since Mrs Eaves is one of our most popular typefaces, it’s not surprising that over the years we've received many suggestions for additions to the family. The predominant top three wishes are: greater space economy; the addition of a bold italic style; and the desire to pair it with a sans design. The XL series answers these requests with a comprehensive set of new fonts including a narrow, and a companion series of Mrs Eaves Sans styles to be released soon. The main distinguishing features of Mrs Eaves XL are its larger x-height with shorter ascenders and descenders and overall tighter spacing. These additional fonts expand the Mrs Eaves family for a larger variety of uses, specifically those requiring space economy. The larger x-height also allows a smaller point size to be used while maintaining readability. Mrs Eaves XL also has a narrow counterpart to the regular, with a set width of about 92 percent which fulfills even more compact uses. At first, this may not seem particularly narrow, but the goal was to provide an alternative to the regular that would work well as a compact text face while maintaining the full characteristics of the regular, rather than an extreme narrow which would be more suitable for headline use. Four years in the making, we're excited to finally let Mrs Eaves XL find its way into the world and see where and how it will pop up next.

Chianti was designed at Bitstream by senior designer Dennis Pasternak in 1991 and initially released in 1995. The intent behind the design was to provide a humanist sanserif of high readability at a wide range of sizes and weights. Humanist sanserifs (others that fall into this category are Linotype’s Frutiger and Optima, and Monotype’s Gill Sans) are an attempt to improve the readability of sanserifs by applying classical roman structure to the letterforms. To enhance its versatility, Mr. Pasternak designed a wide variety of alternate characters, rare ligatures, ornaments and swashes. Chianti is a friendly sanserif useful for a broad range of typographic needs.

Prototype is a typeface with a very contemporary identity crisis—is it old or new? uppercase or lowercase? serif or sans-serif? Prototype tries to be all things to all people. There have been many attempts at creating a universal typeface, one that rationalises the alphabet and removes the inconsistencies of upper and lower case, applying an unreasonable logic to something that has grown organically ...and is already perfectly usable! Prototype was the same experiment carried out at a time when design was experiencing an identity crisis of its own—letterforms that try to be all things to all people but end up being something else entirely.

Fungis is a somewhat �brother� of Fungia. These two typefaces were conceived simultaneously as an experiment on designing typeface based on natural shapes. In both cases it was mushrooms. Of course the main theme of these typefaces is not mushrooms itself (it was just a start point) but the interaction between form and counterform. In spite of unquestioning individuality the font has some associations with wood typefaces from wild west, typefaces from circus posters of 19th century and even slight feeling of gothic. The font can be useful in different cases: posters, titles, book covers, billboards, street signs, magazine spreads and all situations that demand expressive typography.

The original sketch of Joker was drawn by Viktor Kharyk in 1978 as experiment on creation type by a method of subtraction. In 2000 the font was digitized, modified and Hebrew, Greek, Georgian, Armenian and Arabi? alphabets and outline style were added. As a display face, Joker allows the creation of decorative compositions, easily combining a vertical and horizontal arrangement of words. Its characters are easy for filling with images. In line the face creates ornamental effect very appropriate for logotype design. The font is good to set small expressive advertising texts also. Joker type family received the third prize at TypeArt 2001 Cyrillic type design competition in Moscow.

The original plan for Atlantic was to design a typeface in the Venetian syle of the Renaissance, with handwriting character and large ascenders. There is a wave-rolling unevenness in both the x- and cap-height caused by the strong ductus pointing to the upper right, together with heavily curved serifs, resulting in a very lively image of text on a page. Atlantic – its name reflects the ocean, ships, carriers and loads, tourism and so on. These are the themes Atlantic is best suited for. The extended family includes a serif, a sans, and a special variant – a SeaWashed. Atlantic was designed for the URW++ SelecType collection.

Afronaut PRO (New version of typeface published in 2019) was inspired by vernacular Latin & Arabic typography in St. Louis (on Senegal-Mauretania Border, Africa). Geometric forms working well and contrasting with smooth, round elements. After reading "Afronautics – from Zambia to the Moon" by Bartek Sabela (about Zambian conquest of space) a breif was set to create typeface that looks like mix between: vernacular Arabic script, futuristic typography and some special lettering that I found in Africa during my travels to Guinée, Bissau, Gambia, Senegal, Mauritania and West Sahara. Afronaut has seven weights, also many letters have 3 different forms. Afronaut PRO can work as regular version of my Yalla Typeface.

Barceloneta is a simple sans-serif font, with heavy bold and very characteristic soaring accents, referring to the shape of sharp towers in the building standing in the very center of Barcelona, designed by Gaudí - the Sagrada Familia. Most of the design work on the font also took place during the stay in the aforementioned city. As a result, a typeface with very different thicknesses was created, containing 364 glyphs, characteristic - in eight varieties, which, thanks to its diversity, can be used both as a headline typeface, but also one used for the composition of continuous text (which was not present in the initial assumptions).

Polynesiac was discovered deep in the jungle on a cave wall on Gilligan's Island. "I was looking for ancient pictographs, and I find this crap instead!" says designer Wesley Poole. "But, the more I looked at it, the more I appreciated its charms." Sort of tropical, but not strictly Polynesian, this sans serif face never stoops to caricature, and achieves instead, a mysterious new flavor of the South Pacific Islands. Fun as it is, there's a certain dignity to it. "Living in Hawaii you just absorb this stuff. This is a fun loving culture. I hope I captured that, along with some Island Aloha."

Xaloc was designed for editorial use in books, magazines and newspapers. This typeface family contains different font versions for different optical sizes; Caption, Text, Subhead and Display, all of them with different x-height proportions and contrast. Its serifs are asymmetrical and its letterforms have geometric modulated strokes that emulate the calligraphic variations. Its design approach enhances text flow and continuous reading. Xaloc was based on Ricado Santos’ Tramuntana, which has the same skeleton, proportions and serifs with a more mechanical design. Xaloc is the Catalonian name from the Mediterranean wind that comes from the Sahara and reaches hurricane speeds in North Africa and Southern Europe.

Patsy is a quirky sans-serif font inspired by the titling sequence from the 1964 film, "The Patsy", starring Jerry Lewis. Heavyweight, yet fun and full of personality, it was a lettering styles that was so much fun to flesh out and make into a typeface. I've opened up the letter spacing lightly from the original film poster design for better readability at a range of sizes. With an alternating all-caps character set, and offbeat letter weighting, Patsy is fun to typeset with as the font auto-switches between Capitals and Lowercase (alternate capitals) no matter if you type all caps or all lowercase.

NewYorkerType was one of the first typefaces I tried my hand at in 1985. I meant it as a revival of the typeface used by the New Yorker magazine. I did not scan it in, I just looked at the type and redrew it completely by hand. So it is not just a copy, but rather a redesign. Only much later did I come to know, that there is a bundle of similar typefaces of that period. Rea Irvin's design for New-Yorker magazine was just one of them, but the best. Yours, sincerely honoring Rea Irvin a great type- and magazine-designer Gert Wiescher

Trithemius, a 15th century Abbott, and influential counselor to Emperor Maximilian I, was also an author who wrote both histories and the first printed work on cryptography which gained him much adverse notoriety. He has been long regarded as a mystic and some of his works were therefore banned. However, it may have been his intention to cloak his cryptology essays in mystical writing to keep people from easily grasping the subject matter, which it has been recently demonstrated, at heart was really cryptological methodology. This font is based on a printed version of the Polygraphiae a text that included many methods of encryption.

Replay is a pure hymn to the classic typeface Caslon originally made by William Caslon (1692–1766). The typeface that bears his name, was made between 1720 and 1726. In 1739 he founded the Caslon Foundry which later become a property of Stephenson, Blake & Co., but remained an independent foundry until 1937. The typeface have been popular ever since it was made and still stand proud as a classic text face. MRF made detailed research, including versions from Adobe and Justin Howes. The end result is leaning more towards the original. Some minor »imperfections« are also incorporated in order to make the typeface more lively and old fashioned.

Linotype CoolWool is part of the Take Type Library, featuring winners of Linotype’s International Digital Type Design Contest. This font was designed by A. Leonardi and P. Wollein, who took their inspiration from clothing labels and care instructions. CoolWool is designed to look like it was stitched, a style of typeface which goes back to the hand embroidery of the time of Biedermeier. CoolWool, however, is a distinctly modern font with a technical feel. The font is not suited for longer texts, but CoolWool is good for shorter texts and headlines, especially because of the possibilities allowed by its three different styles, regular, stone washed (bold) and Cotton Club (outline).

Sticks was originally designed as a custom logo for a sour gummy candy. It was then expanded to a full font, with numbers, symbols, foreign accents, and even a few ligatures. An all caps font, the capital letters are even more capital than the lower case capital letters. As a bold font, it's ideal for parties, flyers, greeting cards, posters, headlines, and snipes. It doesn't take itself too seriously, so it's well suited for comic, cartoony uses. The S is taller than the other letters and gives it it's unique quirky Stick-like personality. Use it with words and phrases that contain lots of S's!

This is my first fontrelease in 2021, and it's one of those "things will get better soon" kinda fonts (Here I am thinking about 2020, which was a year I am glad we just left!) Anyway, the first thing I ate in 2021 (not counting the "kransekage" after midnight) was a delicious and lovely tuna sandwich - or as I called it: Party Toast! Heh-heh! :) Well, it is a playful font with it's jumpy and slightly quirky letters. I've added 5 different versions of each letter and they automatically cycles as you type. I cross my fingers for a 2021 where everything gets back to normal!

This elegant typeface came out of a quick, back-of-the-napkin, sketch I did for a different typeface. After toiling on that typeface I looked back at the sketch and realized that I had lost some of the elegance and playful character of my original sketch. So, it was back to the drawing board and Lilette was born. Lilette is fun but also serious. Playful but elegant. Personal yet also industrial. That’s the power of a slab serif. Perfect for magazine headlines, wedding invitations, signs, posters, slides, promotions, product design, branding, logos, and so much more. Make this versatile typeface with 10 styles yours.

Blacketor came about from hand lettering I had done for my own personal use several years ago. It remained unfinished until now. I was going for a more traditional serif font but in the process of play various versions came about while playing with the serifs, in an attempt to be slightly different. Many versions fell to the wayside as I learned more about what didn’t work than what did. What came about was a clean font with large open counters and short ascenders for an easy read. All caps works well for a bold but not shouty statement. A good font for Headlines and callouts as well as logotypes.

Garagin Rock was developed from the studies for the title of a publication called Garagin in 1999. Its use is indicated for the titles on posters and stuff like that, but feel free to dare. Anyway, it really was not made ​​for small sizes and is not a WebFont obviously, but again, feel free to dare. May you notice something odd in the baseline position, this is to keep leading with a defined size. But of course you can change it in any editing program. Being a heavy typeface, use in moderation... or not! Garagin Rock Lite is a version with a limited set of characters.

Lalola (whose early version was released as ‘Lola’ by the spanish foundry Type-Ø-Tones in 1997) is a display typeface with strong attitude. It was inspired by a lettering model by Eugen Nerdinger and Lisa Beck. From a few letters of that model, Lalola became an original design and a single font, comprising all the necessary characters for languages based on the Latin alphabet. You can ‘say it loud’ with Lalola, either in lower or uppercase, yet with wit and a unique, distinctive friendly voice. Lalola received already two mentions, the Typefacts’ Best Typefaces of 2013 and the prestigious TDC 2014 Certificate of Excellence.

This new script font was based on our previous font ‘Rachele’. Mentha is a very flexible script with a big set of swashes, condensed, strong and with nice loops at the end of some letter shapes. This font script was designed using small brush pens and playing with pressure and release methods. Mentha Medium has a tiny extra stroke, that helps to make this font a bit stronger and solid, specially if you need to use in a very small scale. Mentha is fresh! If you are looking for a new and original script Mentha suits your needs! We recommend to combine Mentha with Turquoise

Cord (Zsinór in Hungarian) was originally a commissioned work for a tablecloth pattern with a thread like frame decoration that is actually consist of letters. The lettershapes were being created based on Rovas characters, which were reinterpreted without decreasing legibility. Therefore, the Rovas alphabet was designed in the first place followed by its matching Latin company. The full character set contains: Western, Central and South Eastern European Latin characters basic symbols and punctuation Rovas alphabet Rovas number symbols and punctuation Display font, best fit in larger sizes for souvenirs, folk art theme, embroidery, ribbon like decorative texts and signages. Good luck and Happy Creating! Roland

Forte was designed by the Austrian commercial artist by Carl Reissberger who was trained as a compositor and later taught typography and drawing in Vienna. The idea for the Forte script font came from the study of plants, individual letter forms being inspired by the long stems and furry heads of the reed. Slightly inclined, it gives the impression of having been made with a bold brush or marker, and can therefore be used in work that requires an informal appearance. Forte is a strong design which contrasts well with sans serif faces and classical modern types. Use the Forte font in advertising, flyers and labels.

We use an old hand juicer at home: a cheap plastic one that we bought a long time ago at a Swedish home appliances and furniture giant. We haven never considered upgrading to an electronic one, as it still works, it doesn’t use electricity and we don’t really use it that often. This font is called Juicer. It was not named after our manual juicer, or any juicer in particular. It was just a word that seemed to fit the font nicely. Juicer font is a handwritten, script-ish kinda font that comes in two great styles and contains a set of double letter ligatures.

I created this font to capture the innocence and playfulness of doodle lettering that is created in schools everywhere. Typographic rules are non-existent and the characters are sometimes oddly and incorrectly shaped but that's exactly what gives it charm. What really got me started was Napoleon Dynamite, his drawings and "typography". This font does not mimic what you see in the movie at all, but it attempts to capture the same spirit of high school "doodle typography". My favorite line: "I am pretty much the best artist I know". The font was named after Boondoggle keychains, the other craft most scholars acquire at some point in their school careers.

The Sword has been Drawn! The Quest for the Holy Grail has begun! When Arthur took the mighty sword of Excalibur from the Lady of the Lake, little did he know of the stories that would be spun, the myths that would be built around him, the Legend of Camelot and the Knights of the Round Table! And The Font. Merlin might have been King Arthur’s sage advisor, a font of wisdom and magicks, but never was Merlin available in postscript, truetype and opentype formats, nor was Lancelot, Arthur’s First Knight suitable for Celtic Display Lettering! See the families related to Excalibur Sword: Excalibur Stone.

The design for Aurelia is based on the forms of Jenson, an Old Style typeface developed by Nicolas Jenson in 1470 which still influences type design today. Zapf gave Aurelia a bit of his own personal style and adapted it to the demands of modern technology. The family of typefaces was originally designed for use with the typesetting machines produced by the German company Dr.-Ing Rudolf Hell GmbH which was later merged with Linotype. The name Aurelia is a nod to the Roman emperor Aurelianus (214–275), who built the Via Aurelia in Italy. Aurelia is a robust and classic font, suitable for both text and headlines.

This font is a collection made with the largest part of the ornaments contained in the GLC foundry medieval and renaissance period fonts. It was made for the use of customers who wish to embellish their works without buying our complete catalog! It is used to embellish and animate as variously as web-site titles, posters and fliers design or greeting cards, all various sorts of presentations, menus, certificates, letters. It was specially drawn to accompany our medieval and renaissance fonts, like 1462 Bamberg, 1509 Leyden, 1538 Schwabacher, 1543 Humane Jenson, 1557 Italique, 1589 Humane Bordeaux, 1592 GLC Garamond and others, giving them an historical additional genuine touch...

Fossa is an unconventional serif designed primarily as a display typeface. Its splayed, pinched vertical strokes and pointy wedge serifs give it a distinct flavour. The style for Fossa was initially conceived while studying the forms of Optima – in particular, the subtle taper towards the midpoint of the stems and strokes. Taking the idea of vertical strokes with a nipped waist to the extreme, Fossa was born. The sharper style created by these vertical strokes is echoed within the serifs, resulting in a contemporary wedge serif with an elegant but dramatic character. Available in five weights: ExtraLight, Light, Regular, Medium and Bold. OpenType features including ligatures and fractions.

An ad for the annual Variety Club Convention appeared in the March 18, 1940 issue of "The Film Daily. The main headline was hand lettered in a classic Art Deco "solid" style of sans serif - ultra bold and with no counters - but had one additional feature: 'engraved' lines to the left of each character. This has now been expanded into the digital typeface Trade Convention JNL, which is available in both regular and oblique versions. Variety Clubs (now know as Variety - The Children's Charity) was founded in Pittsburgh, Pennsylvania in 1928 by entertainers specifically to aid children. Their history can be found at https://variety.org/who-we-are/history

Jure Stojan first created JY Klin for a student magazine in Ljubljana, Slovenia. ‘It was borne out of my frustration with layout [programs] and their taste for messing with decent fonts (making the headline occupy the entire column width at any cost, for instance). Therefore, I designed a “heavy duty” display font—it can be extended up to 120 per cent without any loss in quality (it is fairly condensed, so no one could think of squeezing it any further). I even used the font, stretched by the very 120 per cent, for 10 point text and the result was surprisingly legible (given some peculiar details prominent at display size).’