The vintage sheet music for "Between the Devil and the Deep Blue Sea" yielded another bit of Art Deco-era lettering perfect for developing into a digital font. This time it wasn't the song title, but rather the name of the show it was from serving as the type inspiration - the Cotton Club's 1931 revue "Rhythm-Mania". Harlem's Cotton Club was an "exclusive, whites only" club; both famous for its talent and shows, yet infamous for hiring black acts but not allowing black patronage. On the sheet music, the show title was hand lettered in a bold, slightly stylized fashion which became the basis for Rhythmic Revue JNL; available in both regular and oblique versions.

Valet is deco moderne the way it was meant to be: Big, bold, classy, flashy, and clean at the seams. Its message is rich, strong, confident and reliable. Valet tells you that it’s used to thorns being part of every rose, that it can handle sharp objects just fine, and that it'd much prefer buying the tuxedo rather than renting it. This font grew out of an uncredited early 1970s all-cap film type called Expression. An appropriate deco lowercase was added, along with small caps, zippy titling caps, and Pan-European language support. With over 9250 glyphs, we bow our heads with the admission that we kind of got carried away with it.

One day my kids asked me: ‘would you rather be healthy and poor or super rich and sick?’ Without a doubt I answered: ‘healthy and poor’. Having money is nice, but it is not what life is about. At least, that is what I believe. Radical Fortune is a font I made after a period in my life that could have ended with a really nice sum of money in my hands - but which I didn’t take. I had to give up too much of myself and that just didn’t feel right. I made Radical Fortune to keep me from thinking too much - and, symbolically, I used a really old and cheap marker pen to draw out the glyphs!

Jagerlay was brought to life to cope with diverse and complex data gathered in presentations, corporate identity and other office documents. Its geometric shape and characteristic endings are reminiscent of classic typography from Sci-Fi Movies from the 80's. The simple design makes Jagerlay outstandingly easy to use for every user. Jagerlay pairs with other typefaces in the blink of an eye – it goes well with display, serif or script fonts. The whole family consists of 9 weights and matching italics. Every style has almost 900 glyphs. Jagerlay has many opentype features such as tabular figures, fractions, superscript and subscript, small caps and arrows. Low contrast makes it easy to read. The rest makes it easy to use.

Introducing, Crescent Slim, A sophisticated ligature serif from us. This typeface has been made carefully to make sure its premium quality and luxury feel. The ligatures makes this typeface unique and stands out rather than the regular serif font, very suitable for logo, headline, tittle, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : numbers and punctuation multilingual ligatures alternates PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.

Introducing, Pandora Emotion, A stylish serif with classy thin lines. This typeface has been made carefully to make sure its premium quality and luxury feel. The ligatures makes this typeface unique and stands out rather than the regular serif font, very suitable for logo, headline, tittle, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : Uppercase & lowercase Numbers and punctuation ALternates & Ligatures Multilingual PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.

The 1930s era French textbook on lettering "100 Alphabets Publicitaires déssinés par M. Moullet" featured a hand lettered chamfered alphabet with slab serifs reminiscent of sports lettering. Although intended for advertising and signage inspiration, only a partial lower case was illustrated along with the capitals and no numbers or other characters existed. These had to be created from scratch. The finished result is not only a bit of classic lettering from the past, but the font also doubles as a typeface with a sports look and feel. A traditional (rather than stylized) M and N are located on the solid bar key and the broken bar key respectively. Old Sport JNL is available in both regular and oblique versions.

Mellnik is a sans serif of humanist style (in a way) that was developed by Oleg Karpinsky and released by ParaType in 2006. The type family contains 9 styles with a number of alternate characters in each ones. For use as a text font in long text passages of advertising booklets, catalogues or magazines, as well as for accident setting. Mellnik may be also applied as a corporate typeface. Giant ink traps (or something like that) produce an original image of the family. Five condensed styles were added in 2007 by the same designer. Mellnik Text in 12 styles (added in 2008) has more narrow proportions and it is rather appropriate for text setting.

I was in a bit of a gloomy mood just before I created this font. I had no inspiration whatsoever (which always affects me in a bad way). I was trying to create a font using broken satay skewers, as using those gives the letters a unique look. I broke about 25 skewers and they all broke ‘the wrong way’. Yes, it’s pathetic, I know, but that’s how it is. I decided to go to the gym and do a little workout, hoping my dark mood would pass. When I came back, I broke one more skewer and lo and behold, it broke exactly the right way! I made this font in one go, using that fantastic skewer and lots of Chinese ink. Darkness Rising comes with all the diacritics you’ll need, plus double letter ligatures and some cool underlined alternates.

»Typewalk 1915« is a vintage and slightly quirky Grotesque branded by history. It is a homage to European sign painter and lettering traditions of the early 20th century. »Typewalk 1915« also speaks in the proto-rational and graphical language of the »Werkbund Objectivity« which was used around 1915. »Typewalk 1915« works great for cultural, editorial and branding purposes. Speaking with its unique voice, it is well-prepared and versatile for all sorts of web and print projects. »Typewalk 1915« has 11 distinct weights from thin to heavy in upright and italic. »Typewalk Mono 1915« is its fitting Monospaced Version.

Typewalk Mono 1915, the vintage typewriter grotesque that is branded by history. It is a tribute to the European sign painter and lettering tradition of the early 20th century. Typewalk Mono 1915 also speaks in the proto-rational and graphical language of the Werkbund Objectivity which was used around 1915. It works great for cultural, editorial and branding purposes. It is versatile in small printing sizes and works great on the web. Speaking with its unique voice. Typewalk Mono 1915 is the debut release by Sven Fuchs and was designed between 2012 and 2016. It has 8 distinctive weights from thin to bold.

Choosing the right display font can make your designs look more attractive and stunning, so that your designs gain more popularity. This is the Strawberry Junkies for you. It is a rather circled display font of which prone circled letters express soft, fun nuances in order that the company becomes more easily recognized by customers and audience. This font’s main characters are the consistent geometry, proportion, and line thickness on every letter to make it legible for big text sizes. In addition, Strawberry Junkies provides an extra clipart as a special bonus. Furthermore, you can enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Strawberry Junkies fits best for various design projects, such as brandings, posters, banners, headings, magazine covers, quotes, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

As the first multi-font family designed for the CounterPoint font library, Plectrum offers designers and font lovers an alternative to the usual display style fonts of CounterPoint with a low key yet elegant sans serif family that can serve a variety of functions. Designed as a humanist style sans serif, the letters have variation in stroke weight. The italic faces have some variation in the letter design making them more of a true italic rather than simple oblique faces. The complete family consist of four weights: Regular, Italic, Bold and Bold Italic which can be purchased separately or as a complete package. The typeface has some unique features which add warmth to the design such as a slanted cross bar on the lowercase e and a large x-height. This is a solid, versatile family. Available in OpenType and contains support for Latin based and Eastern European languages.

A few bold caps drawn by Albert Du Bois for the 1906 Henderson Sign Painter book started me in the direction of looking at how sign painters approached slabs after the industrial revolution. The usual happened from there. My exercise in the early lettering roots of what eventually became the definition of geometric typography ended up having a life of its own. The majuscules led to minuscules, one idiosyncratic bold weight led to six more, and uprights led to italics. What was kind-of-interesting in the early twentieth century persuaded me to make it interesting enough a century later. This of course meant alternates, swashes, the standard baggage that keeps calling my name. Henderson Slab is a family of seven weights plus italics, all full of open features and extended Latin language support. Part of this family’s appeal is its coverage of nearly the entire of the slab serif through the last 100 years — the basis is the manual, humanist origins, the swashed forms come right out of the phototypesetting era, and the alternates and mostly modern constructs of contemporary ideas. The result is a set with the ability to function in modern spaces, from corporate to editorial, in text or display, while both winking and nodding at the roots of what is now considered a geometric endeavor. (Basic version do not include alternates, swashes, etc).

Utily Sans emerges from the question: "What would the world be like if Paul Renner had had greater inclination towards humanism rather than geometry?" Utily Sans glyph proportions and shapes make it suitable for long-form text. This typeface shows geometric simplicity with humanist shapes. It looks like Futura, but has a feel closer to Garamond. Utily Sans is composed of 6 weights with their matching italics, an alternate character set that brings it back to its geometric origin, uppercase discretionary ligatures for expressive titles, as well as small caps, lining figures and old style numbers. These features make the font well-suited for large and small sized compositions, for short or long text. Utily Sans is the first Latinotype font with Cyrillic support, additional to the usual support for over 200 Latin-based languages.

Designed for ParaType in 1999-2004 by Gennady Fridman. The Pushkin type family is based on the autographs of Alexander Pushkin, the eminent Russian poet (1799-1837). Alternative letters typical for Pushkin's hand are included. There are several variants of Pushkin's hand. Pushkin Script in 2 styles was based on the manuscripts of 1815 and covers Western and Russian character sets. Pushkin One was developed on the basis of thoroughly written documents. Pushkin Two imitates small but nevertheless rather legible hand. Pushkin Three in 2 weights was created on the basis of the autographs distinguished by sprawling hand. Pushkin One, Two and Three series covers just the Russian character set. This set of Russian fonts was amended by Pushkin French font that is based on French writings and covers Western character set.

Present to you for New Modern Serif, Stract! Stract is a sophisticated ligature and alternate serif from us. This typeface has been made carefully to make sure its premium quality and luxury feel. The ligatures and alternates makes this typeface unique and stands out rather than the regular serif font. This font is very suitable for logo, headline, tittle, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : - Ligatures & Alternates - Letters, numbers, symbols, and punctuation - No special software is required to use this typeface even work in Canva - Multilingual Support Please contact us if you have any questions. Enjoy crafting and thanks for supporting us! Thank you.

Here's a flashback to the sixties, which originally went by the rather unimaginative name of Triline. It's available in two versions: regular and swash caps. In the swash version, the uppercase Q is a "Qu" ligature; a plain Q is located in the ASCII circumflex position (SHIFT+6 on PC or Mac). Named for the heroine of a medieval romance. The Postscript and Truetype versions contain a complete Latin language character set (Unicode 1252); in addition, the Opentype version supports Unicode 1250 (Central European) languages as well.

Frans Masereel wrote or should I rather say cut some "novels in pictures" around 1927. They are written in powerful black and white woodcuts and were apparently printed from the original cuttings, at least that what it looks like. On the cover he cut the titles in rough wooden letters. Those letters inspired me to produce Woody. Maybe some day I will add a second weight, wich will be an extended cut. But for the time being this is enough woodwork. Your woodcutter Gert Wiescher

Meet Tilson, a versatile workhorse family for both texts and headlines based on a geometric and straight-lined design. It will give your apps, websites, logos, posters and so much more a techy and masculine look and feel. However, some friendly rounded details, such as the i-dot, add a rather pleasant personality to this family. With more than 200 languages covered, many opentype features on board, obliques, and weights ranging from Thin to Black, Tilson is a truly versatile companion for your next design project.

An old book found at a Paris bouquiniste contained samples of the typeface “Caractère de finance,” a bâtarde design by 18th century typefounder Pierre Simon Fournier. Rather than revive the type, Kanna Aoki decided to reinvent it, using a felt pen to achieve a rustic, handwritten quality, departing from the 18th century model as she saw fit. MVB Chanson d'Amour conveys a soulful elegance that stops short of the ostentatious, overwrought found in many formal scripts. It is lovely and sweet, but never saccharine.

Miramonte Pro was designed by Steve Matteson in 2006 as a friendly sans serif design suitable for user-interface design, corporate branding and publishing. The name means 'behold the mountains' in Spanish, suggesting the rustic, unrefined type design. Miramonte is based on Stanislav Marso's humanist sans serif released by Grafotechna in 1960. This revival includes a cursive style italic rather than a sloped roman. Miramonte Pro includes an extensive character set for publishing Central and Eastern European languages. Its OpenType features include proportional figures, and tabular figures.

Liebling (in English: Sweetheart) was developed according to the sans serif font Mein Schatz with the purpose of having two typefaces which match perfectly. The contrast between thicks and thins was set very low. Just enough to contrast with same-weight Mein Schatz. One of the typeface’s characteristic features, also like its partner, is the availability of ligatures within an expert set. Liebling offers the characters sh, sp, st, ty among others and alternative letters for v and w. The majuscules of the expert set have curved elements allowing the designer to put the typeface to a highly individualistic use for displays and headlines. Another feature of the typeface are two different figure systems. In addition to the old style figures for use in continuous text, Liebling offers regular table figures within the expert set.

Hela is a high contrast rounded font with interpolation twist. I have a personal saying that fits this font: So long you drive around nice lettering, until you digitize it. Hela comes from lettering of an old Czech textile company called Helana, which does not exist anymore, but the signage is still on the building. The weird thing on this font is that it does not add weight on every stem from Light to Black as usual, but rather adds more and more black stems to the light skeleton. Another nice thing about this font is that it does not include unnecessary glyphs. So there are just 10 figures - you don't have to think which one is the correct figure kind for you. There is just one kind. No alternates, no italics, no opentype features - even no lowercase. Well, who would use it anyway, it is a display font! Try it yourself with Basic character set for free.

Facit is a contemporary sans serif text face. It is designed to be a highly legible and flexible font that does not draw the attention to itself. Instead of being original by itself it is the result of a careful examination of ancient as well as modern formal concepts. “It is by definition impossible to design an un-conventional typeface. Type is pure convention, this is why we can read each other’s written words”, says its designer Tim Ahrens. However, rather than generating an average, existing principles were consciously combined into a unique design solution: The word ‘Facit’, in its German version, means ‘conclusion’. The fonts are provided in OpenType format. Each font contains 720 glyphs. Technically, they follow the Adobe Pro fonts and provide the same glyph set and OpenType functionality. OpenType features include ligatures, true small capitals, superiors, inferiors, numerators and denominators. Every font contains old style and lining figures, both in a proportional and a tabular design. For some letters there alternate characters.

Binomic is a sort of monospaced font family. "Sort of" because it was not designed with the sole purpose of being used as a coding font, but rather as a nice alternative to monospaced fonts in graphic design projects. It's a friendly mix between your average fixed-width font and a more geometric, wider sans, thus more of a display font than a text one. The Binomic family has both upright and slanted versions, each in four convenient weights. The family is equipped with 480+ glyphs, has Latin Extended and Cyrillic support (both Russian and Bulgarian), oldstyle figures, as well as a set of cute technical characters, alternates and symbols. The Binomic family is clean, amiable and really versatile, so it will fit most design applications - from greeting cards, menus, merchandise, book covers and packaging materials to websites and apps. It is legible and modern, kind of sleek but without any pretensions.

Introducing “Khakoy Font” – Unleash Playful Creativity! Dive into a world of limitless imagination with Khakoy Font, your ultimate tool for injecting a playful spirit into your designs. Khakoy Font is the embodiment of joy and whimsy in typography. Crafted to spark delight, it’s your go-to choice for projects that demand a dash of fun and a pinch of mischief. With its lively and distinct characters, Khakoy Font invites you to explore the playful side of design. It’s a font that ensures your message is conveyed with a contagious sense of playfulness, captivating your audience instantly. Designed to ignite creativity, Khakoy Font adds a touch of amusement to your projects. From cheerful posters to charming children’s books, this font is your partner in crafting designs that leave a lasting, joyful impression. Let your designs break free from the ordinary and embrace the vibrant spirit of Khakoy Font. Elevate your creative game, infuse humor and light-heartedness into your work, and watch your designs come alive with this delightful typeface. Discover the magic of Khakoy Font today! – PUA Encoded Characters – Fully accessible without additional design software.

NEW UPDATES MORE THAN 80 CHARACTER SWASH & CONTEXTUAL ALTERNATES Hi ... Introducing the latest styles Malisia Script with the kind of modern hand scratches, I hope you are interested in this font, if you want to use for your work this font can be used easily and simply because there are a lot of features in it to contain a complete set of letters lower and uppercase letters, assorted punctuation, numbers, and multilingual support. font also contains several ligatures and alternate style Stylistic Sets for those of you who have software that is able to work OpenType (Photoshop / Illustrator / InDesign). Malisia Script is suitable use for market design developed at this time, this font has a model Trendy, natural and gentle, with this font you can take advantage of the opportunity in every moment of one wonderful way to highlight the celebration of the feast of your best, because this font will be advocates for purposes such as wedding invitations, party, graduation, birthday, gathering, etc. This Font has given PUA unicode (specially coded fonts). if you have a problem? Contact me: genesislabstudio@gmail.com

Hello everyone, I would like to introduce my newest font Merry Bright Script is a beautiful modern calligraphy typeface, I hope you will be interested in this font, if you want to use it for your work. This font can be used easily and simply because there are many features in it. contains a full set of lowercase and uppercase letters, a wide variety of punctuation marks, numbers, and multilingual support. font also contains a lot ligatures and contains many alternative Style Sets such as the stroke alternative of the heart to combine with two words, for example: Ashley-Haston. You can see an example in the image above. Merry Bright is perfect for today's emerging market design, this font has a stylish, trendy, natural and soft font, with this font you can take advantage of any opportunity is a great way to highlight the celebration the best of parties, because this font will be an advocate for the cause such as wedding invitations, branding, parties, graduations, birthdays, gatherings, etc. Thank You, Romie Creative

Hello everyone, I would like to introduce my newest font Hey Magnolia Script is a beautiful modern calligraphy typeface, I hope you will be interested in this font, if you want to use it for your work. This font can be used easily and simply because there are many features in it. contains a complete set of lowercase and uppercase letters, assorted punctuation, numbers, and multilingual support. font also contains multiple ligatures and many contain alternative Style Stylistic Sets such as a heart swash alternative to combine with two words, for example: Ashley-Haston. You can see an example in the image above. Hey Magnolia is very suitable for market designs being developed today, this font has a stylish, trendy, natural and soft font, with this font you can take advantage of opportunities every moment is a great way to highlight the celebration of the best of the party, because this font will be an advocate for the purposes such as wedding invitations, branding, parties, graduations, birthdays, gatherings, etc. Thank you, Mytha Studio

The starting point for CA Slalom was the aspiration to create a contemporary interpretation of classics like Gill and Antique Olive in terms of aesthetics, flexibility and usefulness. The outstanding S soon became the visual hook and starting from the extra bold extended weight, CA Slalom evolved into a huge family with four widths. It’s rather round instead of squarely with stroke-ends pulled deep and a relatively low x-height. This gives CA Slalom a taste of its own, and although it is clearly contemporary, it has the potential to become a classic.

The starting point for CA Slalom was the aspiration to create a contemporary interpretation of classics like Gill and Antique Olive in terms of aesthetics, flexibility and usefulness. The outstanding S soon became the visual hook and starting from the extra bold extended weight, CA Slalom evolved into a huge family with four widths. It’s rather round instead of squarely with stroke-ends pulled deep and a relatively low x-height. This gives CA Slalom a taste of its own, and although it is clearly contemporary, it has the potential to become a classic.

Verge exploratory information transmitter Verge type family operates at the very edge of art and technology in the typographic constellation. Its fairing is designed with a new technique that adds better stability to the curvature. It is prepared for all environments and communicates with minimized latency. The letters of this contemporary slab serif are compact, clear and rather simple. It is suitable for branding, longer texts, information graphics and signalization. The typeface’s x-height is a little above 70% of its capitals. The italics are designed at a 7° angle.

Josef Albers drew a stencil sanserif form at the Bauhaus in 1923 (published in 1926); Paul Renner and the Bauer design office made a similar design into a typeface in 1929, and rather confusingly included it in the Futura series. Many websites erroneously attribute the stencil design to Josef Albers, but there is no evidence that the two met or collaborated on Futura Black. In 1929 Josef Albers and Jan Tschichold corresponded on the “Transito” typeface (another very similar stencil typeface, while Paul Renner was working with Jan Tschichold.

LOGX-30 is a geometric, all-caps, display typeface. As a brother of LOGX-10 and LOGX-20 , this is the most narrow version in a series of three related typefaces. LOGX-30 is designed, like other LOGX versions, for a wide range of graphic designs and visual identifications. I think that it works best in works with a technical, geometric style, and rather striving for minimalism. Both the normal and the italic version can be used together to compose graphics, photos, large and small text in an interesting way.

The starting point for CA Slalom was the aspiration to create a contemporary interpretation of classics like Gill and Antique Olive in terms of aesthetics, flexibility and usefulness. The outstanding S soon became the visual hook and starting from the extra bold extended weight, CA Slalom evolved into a huge family with four widths. It’s rather round instead of squarely with stroke-ends pulled deep and a relatively low x-height. This gives CA Slalom a taste of its own, and although it is clearly contemporary, it has the potential to become a classic.

Nazhdak is a handwriting sans serif of three styles sketched with a felted pen and digitized afterwards. Designed in 2001 under the impression of Erik van Blockland's FF Kosmik typeface. Nazhdak is searching and investigating boundaries between regular and irregular typefaces. In spite of ragged letterforms and general laxity the face is rather good for small sizes, and in large sizes it completely shows its crude fascination. The main destinations are small informal text compositions and display typography. Nazhdak was designed by Zakhar Yaschin and released by ParaType in 2009.

The starting point for CA Slalom was the aspiration to create a contemporary interpretation of classics like Gill and Antique Olive in terms of aesthetics, flexibility and usefulness. The outstanding S soon became the visual hook and starting from the extra bold extended weight, CA Slalom evolved into a huge family with four widths. It’s rather round instead of squarely with stroke-ends pulled deep and a relatively low x-height. This gives CA Slalom a taste of its own, and although it is clearly contemporary, it has the potential to become a classic.

A rather narrow and compact design, Monotype Clearface combines both old style and antique characteristics. The lowercase letters are tall, the ascenders and descenders quite short. The intention was to produce a typeface that was easy to read in small sizes, hence the name. Monotype Clearface Bold was first cut for mechanical composition in 1922, and was based on the Clearface Gothic design created by Morris Fuller Benton for ATF in 1910. Although designed as a text face, Monotype Clearface is now more commonly used in advertising and display work.