Film P3 - Ultra Condensed sans-serif typeface. It refers to characteristic typefaces such as Film Poster or Film P2 (which were inspired by futuristic movie posters). Film P3 is deliberately more versatile and designed to be used successfully in a huge variety of projects. In addition, the letters retain their unique and distinctive style, which allows them to stand out from the crowd. The Film P3 family has 9 members that are complementary and allow the expression of the projects to be very varied and adapted for appropriate use. They look good in many sizes, single words, slogans, titles, sentences as well as longer texts. Fonts include multilingual support, numerals, and a large range of special characters. Film P3 typeface offers many creative possibilities in graphic design and digital art. For print, brand identity, web design, and much more.

Film-P2 is an Ultra Condensed sans serif display typeface designed by Bartosz Panek. It is the follower of the geometric 'Film Poster' (https://www.myfonts.com/fonts/fontsphere/film-poster/) which was inspired by futuristic movie posters. In Film-P2, the letter design is more neutral, the font is more versatile, but no less expressive, which was one of the assumptions of the project. This allows many different application possibilities. In titles, headings, longer text compositions, bold and custom juxtapositions, and in many different formats. The differences in the width of the letters in the narrow, regular, wide versions are not significant, they are fairly balanced, but they give a lot of variation depending on the method of application and design characteristics, e.g. text size, background type, etc. The entire Film-P2 family offers many creative possibilities in graphic design, branding, printing and website design. Each font include multilingual support, numerals and a large range of special characters.

Film Poster is an ultra condensed sans serif display typeface with geometric forms. It can be used in many creative ways, all kinds of graphics, posters, advertising materials, text composition. It fits perfectly for the film industry as well as many other fields. Font include multilingual support (Latin-1), uppercase and lowercase letters, numerals and a large range of punctuation.

Short Films is an all-new-styled family, which kind of looks like Art Deco Style. Wide opened counters and softly rounded bowls create a new feeling – Retro but futuristic, geometric but humanistic. Exquisite contrast between thin and bold parts of glyphs make mixed feeling – Pop and feminine, formal and casual, strong and soft. The most distinctive feature is a coexistence of decorativeness and Readability. This coexistence expands the range of font usage. You can use this font for not only titling but also body-text. Short Films consists of 6 weights and their matching Italics for a wide range of usages. Further, Short Films supports international Latin languages and basic Cyrillic languages including Basic Latin, Western Europe, Central and South-Eastern Europe. Also, Short Films covers Mac Roman, Windows1252, Adobe1 to 3. This wide range of international characters expands the capability of your works.

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times™, Times™ Europa, and Times New Roman™ are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times™ is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times™ Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times™ Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer. Times™ Europa is the Walter Tracy re-design of 1972, its sturdier characters and open counterspaces maintain readability in rougher printing conditions. Times New Roman™ is the historic font version first drawn by Victor Lardent and Stanley Morison for the Monotype hot metal caster."

Filk is a super bold, all-lowercase script font with gorgeous curves and thick downstrokes. Filk is perfect for branding and editorial projects and dreams of being used on billboards, in magazines, and in movie titles. Filk includes approximately 540 glyphs, including 39 standard and discretionary ligatures. OpenType features include a a stylistic set, a bunch of character variants, initial and final forms for letters that need them, and multilingual support (including multiple currency symbols). The OpenType features can be very easily accessed by using OpenType-savvy programs such as Adobe Illustrator and Adobe InDesign.

Firm is a black sans serif display font. Perfectly attracts attention due to its shapes. With it, you can highlight important information in your text, and it is also perfect for creating a logo.This font contains alternates lowercase, ampersand and ligatures, math symbols, arrows, fractions, and multilingual support.

Firme is a very personal take on the geometric typefaces, and it’s specially suited for corporate and editorial projects, with several stylistic alternates and discretionary ligatures, for improved typographic flexibility.

Film Noir JNL is a classic Art Deco Alphabet from the brush of the late master sign painter Alf R. Becker, and appeared in Signs of the Times Magazine. Thanks to Tod Swormstedt of ST Media and the American Sign Museum for providing the reference material to make this font.

The August 11, 1929 issue of “The Film Daily” carried an ad for Tiffany-Stahl Productions’ presentation of a special film release featuring a wrestling match between “Strangler” Lewis and Gus Sonnenburg. The hand lettering for the ad was rendered in an Art Deco sans serif style, and is now available digitally as Film Event JNL in both regular and oblique versions.

Built in 1928 in Wichita, Kansas, the Uptown Theater started out as a movie house, but today still exists as a dinner theater. Online images of this vintage venue’s perpendicular wall sign show the theater’s name in an Art Nouveau influenced angular style with rounded terminals – similar to that of pen drawn sign lettering of the era. Adapted as a digital type font, Silent Film JNL is available in both regular and oblique versions.

A World War II training film had its opening title card “First Aid” hand lettered in a casual, Art Deco sans serif design. This is now available digitally as Film Title JNL, in both regular and oblique versions.

In a World War II training film from the U.S. Signal Corps, the opening title card saying “First Aid” was hand lettered in an extra bold, Art Deco inline style. Those two words (with seven available letters) used as a work model has inspired Film Reel JNL, which is available in both regular and oblique versions.

The title card “Airplane Hydraulic Brakes” in the beginning of a WWII armed services training film had the words "hydraulic brakes" hand lettered in an Art Deco slab serif style. This served as the model for Training Film JNL, which is available in both regular and oblique versions.

It's not a new idea, but it's always a fun one... a typeface comprised of 35mm film frames. Film Crew JNL is Jeff Levine's version, utilizing his Koehler Sans JNL as the lettering inside the frames. The lesser and greater keys have solid black frames for end caps or word spacing, and there's an alternate pair of frames with clear centers on the brace keys.

The Art Deco hand lettered opening credits for the 1936 French drama “La Belle Équipe” [English title: “They Were Five”] provided the inspiration for Foreign Film JNL, which is available in both regular and oblique versions. According to Wikipedia, the film “…tells the story of five unemployed workers who win the jackpot in the national lottery but their solidarity then proves fragile.”

Hand lettering found in the September, 1936 issue of the French film publication “La Cinématographie Française” is rendered in a lovely Art Nouveau serif type style. This is now available digitally as French Film JNL, in both regular and oblique versions.

In most cases, motion pictures with a Western theme have their titles and credits lettered in type styles that reflect the period of the Old West. In 1966, the titles and credits for “Texas Across the River” used casual sans serif lettering more suited to the 1960s than a Western taking place in the 1800s. Nonetheless, the lettering inspired a digital font entitled Adventure Film JNL and it is available in both regular and oblique versions.

An Oct. 7, 1931 advertisement in a British trade paper for the film industry carried the unusual title “The Bioscope Peaks of National Approval”. Just as unusual was the hand lettering for this ad – a quirky, casual bit of novelty typography that inspired Film Preview JNL; available in both regular and oblique versions.

An ongoing movie review column known as the "Critic's Forum" (such as was found in the May 23, 1936 issue of The Film Daily) had a simple Art Deco monoline hand lettering of the column's name. Redrawn digitally as Film Critic JNL, this typeface is now available in both regular and oblique versions.

Introducing Good Times, the techno-inspired typeface that will take your designs to the next level. With its wide, capsule-shaped design, Good Times is perfect for high-tech, sports, and scientific themes. The letterforms were inspired by the lettering used on Pontiac cars from 1989-1994 and is designed with straight lines, simple forms, and unconnected strokes. Whether you’re designing for a futuristic tech company or a cutting-edge sports brand, Good Times has you covered. The font comes in seven different weights, including oblique styles, so you can choose the perfect weight for your project. For a more edgy look, check out Good Times Bad Times, a rusty texture variant that adds a rugged feel to your designs. And with OpenType technology, you can automatically substitute common letter pairings with customized ones for a genuine chipped metal aesthetic. But that’s not all. If you’re looking for lowercase letters, be sure to check out Good Timing, the follow-up to Good Times. With its sleek, modern look, Good Timing is the perfect complement to Good Times, offering even more design possibilities. So whether you’re creating a high-tech ad campaign or a scientific presentation, Good Times is the font that will make your design stand out. With its distinctive capsule-shaped design and versatile weights, you can create designs that are both bold and sophisticated. So why wait? Try Good Times today and see the difference for yourself! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Medieval Times is a digital revival of an illuminated alphabet dating back to a text from the medieval period. Each letter is made up of several different human or mythological animal figures engaged in activities that reflect the beliefs and myths of that enchanted era. Some examples of the beings that you will find in this font are: griffins, dragons, chimeras, lions, gargoyles, unknown mythical winged creatures, peasants, priests, saints, and warriors battling with spears. Comes with a full set of accented letters.