Along Serif BSC is a elegant font family, which designed by Ryul Davidson of the Brenners Template. It is designed to blend classic delicacy with modern rhythm of glyphs to suit elegant design works. And the waves of the rhythmic stems make funny designers with sharp swords in light-weight styles. These Italic lowercase glyphs are redesigned to get this rhythm and they are shining through the contrast of each style. Enclosed glyphs are often used by professional designers like you. Please Check it out through the glyphs Window of Adobe apps.

Aesop was developed from some book jacket lettering drawn by Michael Harvey for an edition of Aesop’s Fables by a master Japanese Artist. It is based upon a pen-drawn script, and is characterised by a lively sense of movement and grace. Aesop Plus, being an OpenType font, contains many alternative characters and additional ligatures which can be automatically substituted to enhance the liveliness of set text, where the application in which it is used, permits.

No need to explain. This is the best stencil script. Consists of two styles, Clean and Stenciled effected. Including OpenType titling alternates. Please check the instruction in the Galley tab.

From alphabets created for book illustrations in the 1970s to lettering created for a book jacket in the 1990s, the Mentor family of typefaces has developed along its own slow and circuitous path. Always present in its evolution, though, has been the influence of three 20th century design giants: Eric Gill, Reynolds Stone, and Hermann Zapf, as filtered through the meticulous sensibility of Michael Harvey.

Shanghai JNL is loosely based on the title lettering from “Charlie Chan in Shanghai”, one of the long-running series of detective films featuring the Asian sleuth and his “number one son”.

Jeff Levine first designed Sennetarium JNL back in 2004; based on the large drop caps found on intertitle cards from an old Charlie Chaplin film. The font’s name is a nod to Mack Sennett, king of the screwball comedies of the silent film era.

Oak Ridge JNL gives a Westernized treatment to Flivver JNL; which in turn is a serif derivative of Two Reeler JNL. Although all three fonts come from the same root source—inter-title cards from an old Charlie Chaplin movie, they each take on a personality of their own.

Clarinetist Milton ?Mezz? Mezzrow (1899-1972) was a remarkable jazz musician, as becomes evident upon reading his autobiography Really the Blues. His sharp tone and serpentine lines inspired English lettering artist and jazz lover Michael Harvey to create a condensed, oblique display typeface with the look of a chiseled alphabet in the musician's honor. Vertical formats such as book jackets and posters will be invigorated by Mezz as the display face.

Comix Gorilla GABRIEL BAUTISTA is the artist of John JG Roshell's CHARLEY LOVES ROBOTS series. His incredible watercolors graced the pages of ELEPHANTMEN #50. In some circles he is known as "Galvo" or "Gabo" and he has brought his brofu color skills to the pages THE SPIRIT, ALL STAR WESTERN and also illustrated JESUS CHRIST, IN THE NAME OF THE GUN. He is also the creator of comic battling site ENTERVOID.COM and indy press PULPOPRESS.COM. He loves his girl, his dog lulu and his font.

A poster for the 1917 Charlie Chaplin comedy “Easy Street” had Chaplin’s name hand lettered in thick, round cornered block characters. This inspired Silent Comedy JNL, which is available in both regular and oblique versions.

Flivver JNL takes its name from the slang term applied to Model T's in the 1920s, and it's design is a first-cousin to Two Reeler JNL (inspired by lettering on titles from a Charlie Chaplin silent film).

In the 1959 premiere season of “The Untouchables” (based on the book by Eliot Ness and Oscar Fraley) the opening title jumps off of the cover of the book and stretches out into tall, extremely condensed lettering. This inspired the type font Federal Agent JNL, which is available in both regular and oblique versions.

Positive Vibe JNL is a meeting of two eras... The model for this font was Jeff Levine's Two Reeler JNL, modeled after title cards in a Charlie Chaplin movie from the beginning of the 1900s. With a few stroke weight shifts, this versatile font takes on the image of the "Peace and Love" generation of the mid-60s and early 70s.

1977 was a good year for soccer. Attendance for the North American Soccer League (NASL) grew 33%, to 13,000 per game. Brazillian soccer legend Pelé played his final match, kicking for both the New York Cosmos and Santos of Brazil. And a soccerboy named Charlie was crowned with the nickname Chanky. In honor of his soccer hero Pelé, Charlie insisted the neighbor kids call him Chelé. They laughed at him and called him Chanky after Spanky from the Little Rascals. As he grew into his manhood, he became Chank the internationally renowned font designer. Chank created this font Soccerboy, as filtered through the artistic eyes of his 1977 childhood. It's a tri-line font, hand-drawn in Chank's signature cartoon whimsy. Soccerboy encourages play with color and alternate characters. Create coloring effects yourself using layers and the magic wand and paint bucket tools in Adobe Photoshop or Illustrator.

Designed by Ryul Davidson, this typeface is a special style for designers who prefer a sense of space and differentiation in the layout system. It applies a design concept that continues the modern and contemporary grotesque lineage. And, It adopts a somewhat low x-height system and has a classic and sophisticated balance. As the height of lowercase letters is lowered, more differentiated and rhythmic typography can be realized, and it showcases a wide range of coverage from offline publishing to display areas. The elaborately optimized kerning system is a good choice for designers who prefer more professional logos and editorial designs.

Farquharson is an all-caps display face, adapted from an early American woodtype, and designed especially for use in the book Charlie Farquharson’s Unyverse. The complete family consists of two fonts: a regular version and a stencil version. Alternate versions with slightly elongated feet are provided for A, H, K, M, N and R. Very eccentric, it is best used in small doses.

In 1916 the Prang company - still famous for their excellent pens and pencils - commissioned Thomas Woods Stevens to hire the best calligraphers of the era to hand letter sample pages with different Prang pens and in a variety of styles. The resulting book is a font maker's dream, a collection of period lettering samples perfect for making new fonts. One of the sample pages shows off the look of the Spoonbill pen with a set of classic art deco style letters by Charles Earley. This sample is the basis for our Spoonbill font, which includes a full character set, plus character variations for nesting and overlapping, and a small selection of decorative border characters in the art deco style.

Tisdall Script is based upon the brush-drawn script lettering of Hans Tisdall, who was the designer of many distinctive lettered book jackets for Jonathan Cape in the 1950s. Michael Harvey, also a designer of lettered book jackets, long admired Tisdall’s style and so, with the blessing of his widow, designed this typographic tribute. The augmented Tisdall Script Plus version, has many alternative characters and ligatures, together with Opentype features, to enable their automatic substitution where the application in which they are used permits.

While watching a 1920s Charlie Chaplin short film, Jeff Levine was taken with the unusually modern looking lettering of the title cards in that silent movie. The lettering was not only right for its time, but could also be adapted to both Art Deco and Techno applications. From this classic film comes the font Two Reeler JNL, a bit of yesterday with an eye toward the future.

The origin of Ruskin was a commission for Michael Harvey to design a signage font for the Dean Gallery in Edinburgh. The style of the letterforms was to complement the period of the building which was originally an orphanage built in 1839. Only uppercase letters were created at first with the lowercase letters—and other characters necessary for a font—added later. With elegant and slightly extended letterforms, Ruskin fulfilled its rôle well as a signage font. It also functioned extremely well as a general display font. It is particularly suited to item descriptions and placards in galleries and museums which are frequently read from an angle, as well as head-on. The fonts have both proportionally and monospaced numerals.

Okay, we admit it! Comicraft's latest offering -- wrenched heavy-handedly from the pages of CHARLEY LOVES ROBOTS – is definitely a little awkward, maybe even loose-limbed and goofy. Those (usually) awfully nice chaps in the Comicraft studio are perhaps best known for their dexterity, their lightness of touch and nimbleness of finger rather than the kind of bungling, graceless, clumsy work evident in their latest digital alphabet. So, yes, MALADROIT is probably the most inept, cack-handed, undiplomatic addition to our catalogue ever submitted by freewheelin' John Roshell (formerly GAUCHE-ell) but might just possibly be the perfectly wrong font choice for your more bungling, inept, incompetent and hamfisted characters.

Modesto is a loose-knit family based on a signpainters lettering style popular in the late-19th and early-20th centuries. It evolved from the lettering I used for the Ringling Bros. and Barnum & Bailey Circus Logo. The Modesto family was not planned. It just happened, a few fonts at a time over about fifteen years. In 2014 four new Italic fonts were added. There is a downloadable MODESTO USER MANUAL PDF in the Gallery section for this family.

Teaspoon was originally designed by Haley Fiege as a project-specific font in 2007, then completed and produced by Canada Type for commercial viability in 2008. With a personality that can only be described as “ironic cute”, it serves as a much needed alternative for the old overused poster faces, such as Cooper Black and Gill Sans Extra Bold. Words that look good set in Teaspoon include puppies, rainbows, salmonella poisoning and Tom Cruise. Teaspoon is available in all popular formats, comes with plenty of alternate characters, and supports a wider than normal range of Latin-based languages, as well as Cyrillic and Greek.

From 1958 to 1964, one of ABC-TV’s popular shows was the detective series “77 Sunset Strip”. Based in Los Angeles, the fictional detective agency was located next door to Dino’s Lodge, (partly owned by Dean Martin and actually located at 8532 Sunset). It was originally known as the Alpine Lodge. The adjacent building where Stuart Bailey and Jeff Spencer’s private detective service was located in fact housed a popular modeling agency. The ‘77’ address did not exist outside of the realm of the series. However, a wonderful sign with Art Deco-influenced lettering graced the set (on the wall of the office foyer) saying “Bailey & Spencer Private Investigators Suites 101-102”. A screen capture of this sign served as the working model for Private Eye JNL, which is available in both regular and oblique versions.

The origin of this font was a frieze in the RAF Chapel in Westminster Abbey which Michael Harvey was commissioned to design and create. It was comprised of the names of the top brass in wartime Bomber Command, namely Dowding, Harris, Newall, Tedder, Portal and Douglas. The Brief was to cut the letters in bronze and gild them. Instead, they were cut in perspex and gilded. To sit comfortably within the long and narrow vertical space available beneath the chapel’s stained glass window, extended letterforms were used with many vertical serifs omitted and with lengthened horizontal serifs. Some twenty years later, the missing upper-case letters were drawn together with the lowercase letters and Frieze, the font, was born. Subsequently, additional weights and styles were added to create a font family of six styles.

Bisco Condensed is a small capital design inspired by hand lettered memorial wall art from the Harlem section of New York City. As a memorial, this design is dedicated to a type design colleague who lost his long battle with cancer. This font is a tribute to his strength and his liveliness. The original idea for Bisco Condensed was to capture the energy of those unique "streetforms" in a text/display design and encapsulate them into a lively & fluid type design with a high level of readability at all point sizes. Bisco Condensed is an excellent type for expressive display layouts. It works well as an independent design or a long with contemporary sans serifs that complement Bisco's irregular contours, weighting and bounce.

Songlines is based upon a pen-drawn script drawn by Michael Harvey to illustrate a poem by Johannes Thurman. The expressive and rough-edged letterforms of Songlines do not have any lowercase characters. Instead, alternative uppercase characters occupy their positions. By using a mixture of upper-case and lowercase characters, text can be given a very lively and vigorous character. For example, the two versions of L are designed to overlap and interact whichever way round they are used. The augmented Songlines Plus version, has many alternative characters and ligatures added together with Opentype features to enable their automatic substitution where the application in which they are used permits.

Fat, bold, and comfortably bulbous; that's ITC Liverpool, designed by Kevin Bailey. The letterforms are soft and mildly eccentric, characterized by tiny counters that shift around from letter to letter like the highlights on cartoon eyeballs. Some of Liverpool's letters are reminiscent of display lettering from the '30s, yet this exuberant face would also be right at home in the '60s. Not for the typographically timid.

Modesto Open is now a Chromatic Font Family. The old font Modesto Open has been improved, renamed Modesto Open Primary and joined by four new fonts that ornament and augment the Primary font in many different ways. All Caps. Modesto is a loose-knit group of Font Families based on a signpainting lettering style popular in the late-19th and early-20th centuries. It evolved from the lettering I used for the Ringling Bros. and Barnum & Bailey Circus Logo. The Modesto family was not planned. It just happened, a few fonts at a time over about fifteen years. In 2014 seven new Italic fonts and two Chromatic families were added.

Cover art for the 1933 sheet music of Harold Arlen and Ted Koehler's "Stormy Weather" (from the musical production "Cotton Club Parade") listed the cast of the show in a condensed hand lettered sans that typified the 1930s and the Art Deco era. This served as the inspiration for Uptown Review JNL; available in both regular and oblique versions. The Cotton Club was a whites-only night club which showcased black acts, and was originally located on 145th Street in Harlem from 1923 to 1935, then existed for a short time in the New York theater district from 1936 to 1940. After the Broadway incarnation of the club closed, its space was taken over by the Latin Quarter.

Patches is a multi-faceted, victorian-era serif typeface for when you need something more than plain text. Get that extra attention while adding a genuine, original appearance to your message. Patches was designed from scratch to give a sense quality and depth. Its designer Mans Greback has created a typeface with a complex structure, yet one that will be easy to master. This work will suit every style, taste and skill level. It is a decorative and completely hand-drawn design in vintage lettering, with the perks and flexibility of present-day technology, which is exactly what you'd expect from a modern typeface. Whether you are making a decorative floral headline, drawing a cowboy logo, or creating a unique design based on this ornamental font, the hopes are that Patches can give you a set of tools and inspiration to bring out the best of your artistry. Standing on the shoulders of giants, it was inspired by a wide range of works, and will hopefully be able to continue to teach and inspire future artists. Or at least help you become a better designer when you're designing an elegant and classic headline. Set the coloring of Patches to light gold and cream tones to apply a luxurious look, or in dark tones for a more rugged impression. Bold, bright colors will make it appear In the mid-1800s, decorative design flourished in the Western major cities. Victorian style thrived and encouraged techniques such as enamelling, embroidery and calligraphy. From the 1880s onwards, there were a series of reactions to higher Victorian tastes, with Art Deco reaching the heights of the 20th century. However, the Victorian art persisted popularity, as it changed to more sophisticated designs which made it more attractive to specific professions and groups. The evolution of the Victorian style in the mid-20th century was a key factor in the succession of the movement. Classic shops and salons, sport designs and traditional festivals, and later Rock'n'Roll and Harley Davidson-themed graphics ​inspired the continued development of the art. Aspiring to carry on this tradition, this typeface family consists twelve different high-quality variations. The main ones are Patched and Patched In – an outlined variation – and each one provided in five weights: Thin, Light, Medium, Bold and Black. Additionally, the two rough fonts Hangaround and Prospects, that tries to grasp the rough, earthy atmosphere of a shady motorcycle club. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from North Europa to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

The lettering found on an 1878 Salt Lake City advertisement for the Forepaugh’s Circus inspired Faux Pas JNL, which is a bit of a pun on the circus’ name and also a commentary on how this unusual lettering style seems to break all of the rules on stroke width and balance. According to Wikipedia: “Adam John Forepaugh (February 28, 1831 - January 22, 1890) was an American entrepreneur, businessman, and circus owner. Forepaugh owned and operated a circus from 1865 through 1890 under various names including Forepaugh's Circus, The Great Forepaugh Show, The Adam Forepaugh Circus, and Forepaugh & The Wild West. In 1889, Forepaugh sold his circus acts to James Anthony Bailey and James E. Cooper and he sold his railroad cars to the Ringling Brothers. The Ringlings used the equipment to transform their circus from a small animal-powered production to a huge rail-powered behemoth, which later purchased the Barnum & Bailey Circus. Thus, in liquidating his circus assets, he indirectly contributed to the demise of his arch-rival.” Faux Pas JNL is available in both regular and oblique versions.