Transylvanian punchcutter Nicholas Kis cut a leading figure in 18th century Amsterdam. Series of his matrices survived at the Ehrhardt typefoundry. From these Chauncey Griffith at Mergenthaler cut the Janson series in 1936. Morison at Monotype followed with Ehrhardt. David Berlow takes full advantage of current techniques to produce these splendid and adventurous display series to complement one of the great oldstyle texts; FB 2007

I love the trends in handwritten calligraphy and wanted to play with playful lettering. I've heard from many of my customers that they don't use Open Type software and feel limited in the cool features of OT scripts because of this, so I've replaced the | (bar key) with a left-sided tail to start the lowercase r and s in words that begin with those letters.

Grate is a simple styled Font, it is best for Logo designing. How much we can cut down a Font till it is possible to reat it? That was the question, and this font is the answer. I think it is so much cut down but Human can read it. It is total simple Kerning inside. You can overlay the glyphs and it is almost readable.

Grayson is a 1940s art deco typeface. The inspiration came from vintage store signs in London, New York, and other major cities. The font is clean, easy to read, and its letterforms are memorable which makes it perfect for branding. You can use this font for a wide variety of projects, possibilities are endless. The downloads comes with OTF and TTF versions of the font. Enjoy!

Fire up the incense and break out the love beads! A 1968 poster for a Doors concert by legendary artist Gary Grimshaw provided the inspiration for this wild, far-out and funky romp through the alphabet. Use it liberally to add a little trippy hippie charm to your next project. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Bo Berndal's handwriting was terrible in his younger days, and he could not even read his own notes. When he started out as an apprentice in a printing shop, he started to copy Garamond italic and formed his own style of writing. Later he was inspired by both Alfred Fairbanks and his reform-writing and by Paul Standard in the U.S.A and created the Boscribe font.

Guanabara is the third release of Plau Type Foundry. It started from the need of a wayfinding typeface that had personality enough to be the brand typeface for a city. The city of Rio de Janeiro, with its never-ending curves and all year long summer weather provided the constraints and requirements of this typeface. From there, it evolved to be a workhorse, with 8 weights from Thin to Black and matching true italics. It just had to have the features that all us designers have grown to love, such as alternate letters (a, g and r for the romans), tabular and proportional figures in lining and oldstyle set-ups as well as small caps, fractions and all that jazz (I mean, samba). And it needed to be recognizable and distinct. For that, design features like tapered R legs, capitals with classic proportions and calligraphic finishes on the terminals proved crucial. And last, but not least, like Rio, it had to welcome many cultures. We came to think of it as the “Typeface from Ipanema”, with a classic, timeless look, swinging elegance and joyful attitude.

A 1940s travel poster for the Florida East Coast Railway (which then carried passengers but is now a freight line) had the railroad’s name hand lettered in a bold Art Deco sans. This inspired Passenger Train JNL, which is available in both regular and oblique versions.

Many years ago, we bought a bunch of proofs that had apparently come from the defunct Van Loey-Nouri foundry in Belgium. Cognac was an incomplete alphabet among them, which we completed. Just a guess, but 1910 seems like a probable date for this art nouveau design.

My teacher used to say my writing looked like ‘hanenpoten’ (“rooster legs”). It is a Dutch expression for a scrawly script. When this script emerged, it had ‘scrawl’ written all over it! Scrawlerz is a messy script font with a lot of joie de vivre. Enjoy!

Letter Gothic font was designed by Roger Roberson for IBM sometime between 1956 and 1962. Inspired by Optima, the typeface originally had flared stems. A monospaced sans serif font designed for use on an IBM Selectric typewriter, Letter Gothic font is a good choice for tabular material.

In a vintage photograph, promotional signage outside an old theater for the 1929 early sound film “The Doctor’s Secret” had lettering in a wide, bold Art Nouveau slab serif design. This was the model for Talking Picture JNL, which is available in both regular and oblique versions.

Monotype Lightline Gothic is a thin sans serif face cut by American Type Founders to work with Franklin Gothic, which had been designed as a bold face. The rather condensed nature of the Monotype Lightline Gothic font has made it popular for advertising display and newspaper work.

The 1957 French publication “La Letra Dans La Peinture et la Publicite” (“The Letter tn the Painting and Advertising”) had an illustration of split-serif letters and numbers with a decidedly Western feel. This is now available as Horse Thief JNL in both regular and oblique versions.

Paviljoen (meaning Pavilion or Gazebo in Dutch) is an Art Deco typeface which was modeled on cast-iron lettering on some monumental buildings in Amsterdam. I only had a few glyphs to work with, so I designed the remaining ones myself. Paviljoen comes with extensive language support.

Scribner's Magazine was an illustrated periodical published from 1887 to 1939. The 1895 holiday issue “Scribner's for Xmas” had the cover text hand lettered in an Art Nouveau style with spurred serifs. This is now available digitally as Nouveau Style JNL, in both regular and oblique versions.

Letter Gothic font was designed by Roger Roberson for IBM sometime between 1956 and 1962. Inspired by Optima, the typeface originally had flared stems. A monospaced sans serif font designed for use on an IBM Selectric typewriter, Letter Gothic font is a good choice for tabular material.

Sheet music for 1907's "Just A Little Fond Affection" had the song title hand lettered in a simple sans serif design with influences from the then-current Art Nouveau movement. This is now available as Nouveau Titling JNL; available in both regular and oblique versions.

Sunnyside is groovy retro concept typographic come with duo combined, regular and extrude, bring if the old west and the 70s had a lovechild with not a unformal usage, it's the perfect typeface for adding sophisticated playfulness to any design project. fit to logo, brand, apparel, etc

Hebrew Latino was started out of frustration. I could not find a font that looked like Hebrew - actually I found one, but it had only capitals. So I decided to make my own. Strangely enough it looks a little bit Jugendstylish! Here it is. Shalom! Gert Wiescher

The sheet music for "Good Night Angel" from the 1937 motion picture "Radio City Revels", had the movie's title hand lettered in a free form Art Deco sans serif design. This has been recreated digitally as Reveler JNL, which is available in both regular and oblique versions.

The 1913 sheet music for "You’ll Be Welcome When You Get Back Home" had its title hand lettered in a simple, yet attractive Art Nouveau sans serif design which has been preserved as digital type. Basic Nouveau JNL is available in both regular and oblique versions.

Sheet music published in the 1860s for "The Soldier’s Chorus" [from the Gounod opera "Faust"] had the title and the arranger’s name hand lettered in a bold, condensed chamfer font. This was the basis for Condensed Chamfer JNL, which is available in both regular and oblique versions.

This is our name for Antique Tuscan, of which there were many variations. This font came from a large lot purchased around 1970 from an east coast newspaper shop. Subsequently, we acquired several more versions of the face, but this one had lowercase so we used it.

This work is the result of an assignment to digitize and complete a typeface that was used for the intertitles of Kleider machen Leute from 1921. We only had a basic alphabet with some glyphs missing. Sure, Wenzel is not a beaut, but ... what the heck!

A movie poster for the 1952 Dean Martin & Jerry Lewis comedy “Sailor Beware” had the text rendered in a casual style of brush lettering similar to that found on store show cards. This inspired Show Card Brush JNL, which is available in both regular and oblique versions.

Best Choice is a family of next-generation monospaced fonts for developing, programming, coding, and table layout. Some desirable features in monospaced fonts are listed below. 1.Easy to distinguish 2.Easy to identify 3.Easy to read Best Choice has very distinguishing letterforms for confusable letters such as Zero&Oh, One&I, and Two&Z. A lot of ingenuity makes this family very distinguishable. Italics have a very large inclination angle to be distinguished from their Roman. For the same reason, Italics are slightly lighter than Romans. Italic is not cursive Italic. It is near the slanted Roman. This is an intentional design to identify Italic letters. Cursive is not suitable for programming font. Very clean and natural letterform is good for reading. Common curvature for tails and hooks makes harmony and a sense of unity. Best Choice supports almost all Latin including Vietnamese and Cyrillic. Try this all-new experiment.

Gojali is a sleek and modern geometric sans serif font family. It offers a range of 5 weights, from Thin to Thick, combining contemporary style with its distinct softness. The design of Gojali is characterized by its minimalistic, elegant, and versatile nature, providing a unique feel and ensuring ease of reading. Gojali was specifically created to deliver an easy-to-read text display. It is suitable for both text and display purposes, making it a perfect choice for headers, titles, posters, websites, branding, apps, and a wide range of other creative designs or projects. Gojali features various OpenType functionalities, including standard ligatures and number variations such as old-style numerals, fractions, numerators, and denominators. It also offers extensive support for the Latin language. With Gojali, you can effortlessly create captivating text displays with a special touch. Its soft yet strong design makes it an ideal option for crafting extraordinary and charming designs.

The concept of Biscotti rised from a personal research into a system of styles that we commonly consider “vintage”. One above all, the Victorian typography that has been rediscovered and widely re-studied during the 70s. Today, thanks to the technology innovation in digital typography fields, Biscotti is certainly an interesting subject which expresses an appassionate and nostalgic homage to a vintage font, seen from the perspective of a technical inspiration. Biscotti is composed of two styles: the “default” and the alternative one. The first is of course more conservative and formal, while the alternative formally chooses a change of the diagonal lines into curves, so it creates a much more friendlier reading. Biscotti consists of 4 styles that can be combined by layers in order to form different ways of reading. This renewed effect increases exponentially the potential use range of this typography. Biscotti has 517 characters; and are composed for 220 latin languages.

The inspiration source for MFC Enschede Borders is a collection of floral border treatments from the 1904 “Ornamenten Hoofdlijsten en Sluitstukken” by Joh. Enschedé & Zonen, Haarlem. For the first time, this decorative border collection is available digitally. You can start with a new document or work on a new layer within an existing document. Select MFC Enschede Borders from the font menu. (Some users may have font previewing enabled in the font menu which will cause the font name to appear as border elements, disable this option in order to choose the name) Make certain that the point size of the font is the same as the leading being applied to the font so the borders will meet up properly. While we’ve adjusted this within the font, your program may override these settings. For instance a 12 point font should have 12 points of leading. Download and view the MFC Enschede Borders Guidebook if you would like to learn a little more.

Basmala - An Arabic Style Typeface NEW Ramadhan and Islamic font, Basmala, is an Arabic-styled display typeface. This Islamic Ramadhan Arabic font is perfect for any graphic design related to the Islamic style. You will get an Arabic feel to every text you type using this font. Made with Latin characters so that it can be read internationally which does not have to be able to read Arabic characters This Islamic font is suitable for branding, product packaging, quotes, flyers, posters, logotype, apparel, T-shirt, Hoodie, book covers, movie title, advertising, and more. Features; - Uppercase, Lowercase, Number, and Punctuation - Special Alternates and ligatures - Works on PC & Mac - Simple installations - Accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word - Fully accessible without additional design software. - Mültîlíñgúãl Sùppört for; ä ö ü Ä Ö Ü ß ¿ ¡ Hope you enjoy our font and this font is useful font for your projects!

OCR A and OCR B are standardized, monospaced fonts designed for Optical Character Recognition" on electronic devices. OCR A was developed to meet the standards set by the American National Standards Institute in 1966 for the processing of documents by banks, credit card companies and similar businesses. This font was intended to be "read" by scanning devices, and not necessarily by humans. However, because of its "techno" look, it has been re-discovered for advertising and display graphics. OCR B was designed in 1968 by Adrian Frutiger to meet the standards of the European Computer Manufacturer's Association. It was intended for use on products that were to be scanned by electronic devices as well as read by humans. OCR B was made a world standard in 1973, and is more legible to human eyes than most other OCR fonts. Though less appealingly geeky than OCR A, the OCR B version also has a distinctive technical appearance that makes it a hit with graphic designers.

Beorcana can be classified as a serifless roman, a stressed sans, a glyphic sans, or calligraphic sans. However it is classified, Beorcana derives not only from other stressed sans designs like Lydian, Amerigo and Optima, but also utilizes classic Renaissance proportions in both Roman and Italic, which facilitate extended reading. Beorcana is available in Display, regular Text and Micro styles. Beorcana’s Text styles offer comfort and liveliness in books, dictionaries, magazines and other reading-intensive settings. Display styles offer a stately and organic flavor for any application. Micro styles perform in tight and dense settings like dictionaries, bibles, maps and fine print. The name Beorcana is a variant of the Icelandic word for the Birch tree, and the related words for the Icelandic rune. Many variant spellings are used for the tree and the rune: Beorc, Berkanan, Birkana, Bercano, Bjork, Bjarka. The Birch was revered as a symbol of renewal, due to its role as a pioneer species in burned, boggy or otherwise unforested areas.

I present to you an elegant, playful and very harmonious duo of serif fonts "Favio", inspired by ancient printed texts. It looks great on its own as part of a minimalist design. Play with letters to get different effects. The font "Favio" is guaranteed to give your text an individual and very attractive look. Great for branding, wedding invitations, packaging, quotes and labels. And it is also a bold choice of typography for the design of logos, album covers, illustrations, children's books, posters and much more. Font Features: - A-Z; a-z character set; - 1 language (English); - numbers and punctuation marks, symbols. Fonts can be opened and used in any software that can read standard fonts, even in MS Word. No special software is required to get started. It is recommended to use it in Adobe Illustrator or Adobe Photoshop. Made with love and magic ♡ Thank you for reading it, and do not hesitate to send me a message if you have any questions! ~ Anastasia

Saleha - An Arabic Style Typeface NEW Ramadan and Islamic font, Saleha, is an Arabic-styled display typeface. This Islamic Ramadhan Arabic font is perfect for any graphic design related to the Islamic or Arabic style. You will get an Arabic feel to every text you type using this font. Made with Latin characters so that it can be read internationally which does not have to be able to read Arabic characters This Islamic font is suitable for branding, product packaging, quotes, flyers, posters, logotype, apparel, T-shirt, Hoodie, book covers, movie title, advertising, and more. Features; - Uppercase, Lowercase, Number, and Punctuation - Special Alternates and ligatures - Works on PC & Mac - Simple installations - Accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word - Fully accessible without additional design software. - Mültîlíñgúãl Sùppört for; ä ö ü Ä Ö Ü ß ¿ ¡ Hope you enjoy our font and this font is useful font for your projects!

CT Ausetan is a typeface designed for perfect reading in continuous text. With humanist proportions and calligraphic details but actual, both in appearance and in function. Its asymmetric serifs and slightly curved stems recall the warmth, dynamism and character of the first humanist typefaces built according to the logic of the flat pen. It has a high x-height and its moderate contrast make reading in small bodies comfortable. The many OpenType features make it a versatile typeface that fits into any publishing project. To cover present-day needs, CT Ausetan consists of six weights and their corresponding italics. Each font includes small caps, ligatures, old-style, lining, proportional and tabular figures, superscript, subscript, numerators, denominators, and fractions as well as various geometric figures and stylistic sets. With an extensive Latin character set, CT Ausetan covers a large number of Latin-based languages. Initially designed for small texts, below 14 pt, its calligraphic details accentuate its personality when used in larger bodies such as headlines.

OCR A and OCR B are standardized, monospaced fonts designed for Optical Character Recognition" on electronic devices. OCR A was developed to meet the standards set by the American National Standards Institute in 1966 for the processing of documents by banks, credit card companies and similar businesses. This font was intended to be "read" by scanning devices, and not necessarily by humans. However, because of its "techno" look, it has been re-discovered for advertising and display graphics. OCR B was designed in 1968 by Adrian Frutiger to meet the standards of the European Computer Manufacturer's Association. It was intended for use on products that were to be scanned by electronic devices as well as read by humans. OCR B was made a world standard in 1973, and is more legible to human eyes than most other OCR fonts. Though less appealingly geeky than OCR A, the OCR B version also has a distinctive technical appearance that makes it a hit with graphic designers.

Lemony is a serif font family in 8 different volume options expressing formality and elegance in your designs. Its family character is that it has small lines in horizontal or vertical forms on the letter body, easing readers to read the letter as the lines guide readers’ attention to the reading directions. As a result, you may use this font on any text sizes. In addition to the font weight variations, you will have freedom of how and where you should use the font. Enjoy the available features here. Features: Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Lemony fits for various design projects, such as posters, banners, logos, magazine covers, quotes, invitations, greeting cards, merchandise social media, etc. Find out more ways to use this font by taking a look at the font preview. Hopefully, you have a great experience using our font. Feel free to contact us if you require more information when you are dealing with a problem. Thank you. Happy designing.

Introducing Hunsleitta! It is a typeface easy to read and so comfortable to wear. Hunsleitta is perfect for branding projects, homeware designs, and product packaging. You can use it in a logo, badge, insignia, packaging, headline, poster, t-shirt/apparel, greeting card, business card, and wedding invitation, or simply as a stylish text overlay to any background image and more. The flowing characters are ideal to make an attractive messages to your taste. Ligatures are also available for several lowercase characters (double-letters which flow more naturally). These are only accessible via software with OpenType capability or a glyphs panel, e.g. Photoshop/Illustrator. That's it! I really hope you enjoy it - please do let me know what you think, feedback is always hugely welcomed and appreciated. More importantly, please don't hesitate to drop me a message if you have any issues or queries. Now enough of reading this, get out there and make it happen :)