Hickory is the revival of an old unnamed font dating back to 1852 and was sold through a few different type foundries including Bruce, MacKellar Smiths & Jordan and James Conner's Sons. By the year 1900 this font disappeared from the major type foundries, now with the digital age of type we're proud to revive this old classic font that hasn't been used in over one hundred years. The original font was only available as an uppercase with punctuation and an ampersand. Today the character set has been updated to include a new lowercase, numbers and accented characters for Eastern, Central and Western European countries. Three fill fonts have been created for the Hickory font making it easier for you to add different colors, textures and patterns to the letters. You will need an application that works in layers such as Adobe Photoshop or Illustrator in order to use the fill fonts, some fill fonts may look good as a stand alone font, the Hickory fill fonts however do not look good used apart from the Hickory main font. I hope you enjoy this old font as much as I did making it.

Quick Response JNL is a technology-inspired set of novelty letters (A to Z only) emulating the digital "quick response codes" used for storing data retrievable by today's smart phones.

Zeitung is a sans serif family which works equally well on print and web. First of all: Zeitung is a sans serif made according to contemporary standards: 8 weights, romans and italics, all equipped with small caps. Lots of OpenType features, like uppercase punctuation or 5 figure styles to make sure any of your mathematical or financial charts, tables and diagrams look cool. Zeitung’s typographic palette focuses on utility and legibility, but in the farthest corners you’ll discover a rich array of flavours: punchy black weights, fashionable thin styles, carefully hand crafted true italics, distinct small caps. But Zeitung has more to offer. Its optical sizes offer the best style for each size of your text. Zeitung fonts are devided to two optical families: Zeitung Standard and Zeitung Micro. Zeitung Standard works great in most sizes, while Zeitung Micro fonts are specially made for very small sizes in print and web. Zeitung Micro fonts are perfectly legible in web, where the same technical font styles have to survive in many environments, from older browsers to most up to date mobile screens. Next to that: the lightest weights also function as grades, because they share the same metrics. This can be very handy for selecting the optimal weight for your specific situation, especially on screens or when type is printed by a newspaper press. Letters are rendered in many various ways on different screens. Maybe the interface of your next app requires a different grade than your latest website? Zeitung allows you to change the weight of your text without any further consequence for the design. That is a welcome relief during the design process. Zeitung will help to bring your message across in many different circumstances, from large text in print to small type on screens.

Whomp takes its inspiration from the work of an American master in sign painting and alphabet manipulation: Alf Becker . In 1932, Becker began designing a series of alphabets to be published in Signs of the Times magazine at the rate of one alphabet per month. Nine years later, 100 of those alphabets were compiled in one book that became an enormous success among sign painters. In the late 1990s and early 2000s, many Alf Becker alphabets were digitized with blurbs that falsely credit an “Alf Becker typeface”. Alf Becker was not really a typeface kind of guy. He was more of a calligrapher and sign painter. His alphabets were either incomplete or full of variations on different letters, and didn't become typefaces until the digital era. This particular Becker alphabet was quite incomplete. In fact, it wasn't a showing of an alphabet, but words on a poster. Alejandro Paul took the challenge of drawing, digitizing, restructuring, and finally building a complete usable typeface from that partial alphabet. He then extended his pleasure by once again playing with the wonderful possibilities of OpenType. Whomp comes with more than 100 alternates, tons of swashy endings and ligatures, all built into the font and accessible through OpenType palettes in programs that support such features. This is the in-your-face kind of font that stands among other Becker-based alphabets as paying most homage to the vision of this great American artist who saw letters as live ever-changing beings. Whomp is right at home when used on packaging, signage, posters, and entertainment related products.

TCF Colar is the first typeface published by portuguese type designer Joel Vilas Boas. TCF Colar is a labyrinthian, caps only, display typeface with several stylistic alternates and discretionary ligatures, inspired by the late 70s typefaces.

In the late 90’s, there were many German cars coming into Malmö (where I lived at the time). I was blown away by the font on the license plates. So strange, so strong, peculiar – but still macho. I built the uppercase from my own photos. After this I completed the font with my own lowercase, small caps and punctuation.

I must admit that I am not a big fan of the Art Nouveau style. However, I found this particularly beautiful alphabet and decided to use it as the basis for this new font. Very graceful, elegant, and dare I say, organic. Includes some intertwined ligatures. Complete uppercase, numerals, basic punctuation. Supports most Western European languages.

Thawed This is a display font of a narrow specialization, its letters seem to have melted and flowed, but at the same time it retains the shape of the letters and is well read. It is perfect for branding, logos, labels, short display inscriptions and advertising materials from flyers to billboards. This font includes drops of style, they make it possible to make the font more voluminous and give detail.

The Victor Moscoso font is based on the 1960s psychedelic poster lettering of the artist Victor Moscoso. The letterforms are derived from some of his most celebrated Neon Rose posters of the late sixties, in particular the archetypical Moby Grape ‘Neptune’s Notion’ of 1967.

Broad pen script typeface based on late 1960s Turkish signage.

Broad pen script typeface based on late 1960s Turkish signage.

Designed by Dave West and released in 1960, the name Barnum associates this face with the famous nineteenth-century traveling American circus and showman P.T. Barnum. The wood-cut influence of the letter makes the PL Barnum Block font ideal for posters, signage and creative titling and packaging.

Rum Soft Serif is a soft version of Rum Serif with softly rounded outer corners. Rum Soft Serif is a text & display family suitable for any purpose, any media, any size. A humanistic modular Serif in five weights containing small caps, italic, swashes, alternative characters, old style, lining, tabular & proportional figures. Design date: 2011-2023 The complete family consists of Sans Serif & Serif in both sharp and soft version + the display fonts Rum Plakat & Rum Silhouette.

Rum Soft Sans is a soft version of Rum Sans with softly rounded outer corners. Rum Soft Sans is a text & display family suitable for any purpose, any media, any size. A humanistic modular sans serif in five weights containing small caps, italic, swashes, alternative characters, old style, lining, tabular & proportional figures. Design date: 2001-2021 The complete family consists of Sans Serif & Serif in both sharp and soft version + the display fonts Rum Plakat & Rum Silhouette.

Polydot is an experimental Font, built following its own rules. It has interesting letter shapes, making it a perfect choice for creative packaging and magazine design. At the same time it makes a beautiful, neat but vivid text pattern when used in smaller sizes: Use it for children’s books, food and beverage, cosmetics or health topics. Each Glyph is based on at least one dot on the body line, and has up to two more on the lower case level and the ascender level. Since they have the same size and are on the same height on all letters, no matter what weight and shape, these dots give a strong structure to the typeface, allowing for dynamic and easy letter shapes, inspired by brush strokes. It’s not a hand font but it has the dynamics of one. It has no serifs but provides the structure and readability of a roman type. It has an extensive choice of weights, but it’s characteristic dots have the same size and it has the same tracking through all weights. Try it, it’s special.

The font family KK30/45 is available in 3 weights: Light, Regular, and Bold. Type Designer: Kuncho Kunev The name of family - KK30/45 is from the first letters of the designer's name (K)uncho (K)unev and from the main angles of the slanted stems - 30° and 45°. Release date: December, 2001 HermesSOFT Ltd. The design of КК30/45 incorporates a geometric variety of shapes, and have been originally designed in such a way that all slanted stems are 30° and 45°, The very high x-height and low bottom parts allow typesetting with almost 100% leading. КК30/45 is a display face suited best to sizes 16-18 point and above. There are included also all Cyrillic vowels with accents that are really necessary for the professional typesetting in Cyrillic languages. Supported Languages: Western Europe (Greek not included), Central/Eastern Europe, Baltic, Turkish, Romanian, Cyrillic. Supported Code Pages: Macintosh and Windows, any for above languages. Opentype features includes kern, fractions, ordinals, superscripts.

Vintage sheet music for a song from the Broadway Musical “Kiss Me Kate” is the inspiration for Katydid JNL. The play’s name was written in a ball-and-line type of lettering which somewhat resembles either 'Tinker Toys' or celestial mapping.

Based on the type style used for the Superior Sign and Chart Printer No. 929, this simple and clean sans serif font was perfectly suited for use by teachers in the classroom and for businesses and organizations that needed to make signs, price cards, charts and notices. Digitally redrawn as Schoolroom JNL, it is available in both regular and oblique versions. The Superior Marking Equipment Company [formerly of Chicago] was not only a major supplier of materials for the rubber stamp industry, but for most of its existence manufactured date and numbering stamps, sign and chart printers (such as the one used for this font), and a line of children’s printing toys (amongst other items).

Natuna is named after the ocean which is rich in marine ecosystems and the region where I live in Indonesia. For this font, I retained my handwriting style, but I combine it with a touch of modern calligraphy. It is seen with the tail of each letter the same length. The upper and lower case letters all have the same tail. This font is perfect for many creative needs and can be for marriage invitations, greetings, business cards, and more.

Nightspot JNL was modeled from one of many display alphabets created by the late sign painter and lettering expert Alf Becker. His work has graced the pages of Signs of the Times® magazine for decades. Special thanks to Tod Swormstedt of the American Sign Museum and ST Publications, Inc. in Cincinnati, Ohio for providing the source material for this typeface.

Many current poster artists like to reference the graphic type styles that were popular in the ’60s and ’70s. Zaftig is a contemporary font that takes the geometric and blocky inspiration from that era but then steps off in a modern direction. At first glance, it may appear that the capitals of Zaftig all take up the same amount of space, but certain letters have been designed proportionally for a better flow. However, if the designer would prefer to stack the capital letters in even columns, like blocks, then one can use the Titling Alternates feature. In this feature the metrics of all the capital letters are the same, and certain letters have been designed narrower, allowing for seamless stacking. The space, bullet, asterisk have also been given the same monospaced metrics in this feature to make stacking easy. The Small Caps feature in Zaftig is designed so that the small cap glyphs are the same height as the lowercase. This allows the graphic designer not only the option of small caps, but also the ability to mix and match both kinds of letters to create a distinctive style. There are also alternate numerals in the Small Caps feature that match the height of the small caps. In Stylistic Alternates 1 you will find alternate designs for the Q, A, I, J, L, n, and u glyphs. Or you can find alternates in the Glyph Pallet of your favorite OpenType savvy application. Zaftig is more than it appears on the surface. This OpenType font contains over 1200 glyphs and language support. That makes it an international font which contains letters for most languages that use Latin, Central European, Cyrillic, and Greek scripts.

Grafista is an extrapolation on what fonts are used for: in spite of the possibility to use it for setting text, Grafista strives when used as a texture library, the same way that one would set up tiles. Thus, Grafista was built as two different things compiled in the same font: the letterforms (for setting text) and the texture library. Both of the sets are monospaced (with every glyph having the same width), but the letterforms are half of the texture tiles' width. On the tech side, the letterforms are 500/1000 UPMs, while the tiles are 1000/1000 UPMs.

This font was inspired by the Cancellaresca pattern (look at our 1491 Cancellaresca and 1610 Cancellaresca), in particular Spanish one, from Francisco Lucas, who was working in the late 1500s. It is a modern variation, including West European accented characters and a lot of initial and final alternates (not in the Mac TT version for technical reasons).

Anggie Display is an elegant script with a creative mood and perfect form, inspired by today's beautiful serif Display. thick, balanced and varied, born for luxury and beauty. In my example I show how this script can be used. It's great for logotypes, branding, wedding invitations, romantic cards, alcohol labels, packaging, name spelling and more. Anggie Displaycomes with beautiful uppercase and lowercase letters, numbers, and punctuation. In addition to the main character set, there are many alternative characters, early and late sweeps. Available Fonts: . Multilingual. . Ligature. . Swash. . Stylistic Set. If you have any questions don't hesitate to contact me! Thank you,

Uninhibited by typographic demands, this artistic font freely expresses individual creativity. The use of line in conjunction with deceptively simple patterns of squares or dots and the occasional solid infilling gives the letters a lively vigor lacking in many modern designs. The joins between the letters' uprights and curves and the balance between thin and thick strokes are executed with impressive simplicity. The alphabet letters were inspired by Swiss art from 1939. The numbers were patterned after a design cut in stone dating back to the year 1692, while the punctuation and mathematical characters are a simple and modern typeface that is both pleasing to the eye and a whimsical contrast to the other characters.

The typeface Rough Stamp Times is designed from 2016–2022 for the font foundry Typo Graphic Design by Manuel Viergutz. The display font based on the original rubber stamps from flea market. The font started from 50+ stamps (analog) and was finally digitalize and extended to 600+ glyphs (digital). 4 font-styles (Rough, Clean, Misprint, Impact) with 601 glyphs incl. decorative extras like icons, arrows, dingbats, emojis, symbols, geometric shapes (type the word #LOVE for ♥︎ or #SMILE for ☺ as OpenType-Feature dlig) and stylistic alternates (9 stylistic sets). For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! Font Spe­ci­fi­ca­ti­ons ■ Font Name: Rough Stamp Times ■ Font Styles: 4 (Rough, Clean, Misprint, Impact) + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play for head­line size ■ Font For­mat:.otf (Mac + Win, for Print) + .woff (for Web) ■ Glyph Set: 601 glyphs incl. extras like icons (decorative extras like arrows, dingbats, emojis, symbols) ■ Design Date: 2016–2022 ■ Type Desi­gner: Manuel Viergutz

The typeface Anti Atom is designed from 2021 for the font foundry Typo Graphic Design by Manuel Viergutz as a political statement #antiatom #atomkraftneindanke The display font based on the original Anti Atom Sonne from Anne Lund. Thanks to Stefan Bergmeier for the Input. 4 font-styles (Sun, Cap, Mirror, Outline) with 375 glyphs (Adobe Latin 2) incl. 100+ decorative extras like icons, arrows, dingbats, emojis, symbols, geometric shapes (type the word #LOVE for or #SMILE for as OpenType-Feature dlig) and stylistic alternates (3 stylistic sets). For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! Font Spe­ci­fi­ca­ti­ons ■ Font Name: Anti Atom ■ Font Styles: 4 (Sun, Cap, Mirror, Outline) + Icons + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play for head­line size ■ Glyph Set: 374 glyphs (Adobe Latin 2) incl. 100+ icons (decorative extras like arrows, dingbats, emojis, symbols) ■ Design Date: 2021 ■ Type Desi­gner: Manuel Viergutz

The typeface “Icons Dingbats Smybols Set” is designed at 2019 for the font foundry Typo Graphic Design by Manuel Viergutz. The Basic Icons Set is a display typeface that inspired by the here and now. 426 glyphs / icons / decorative extras like icons, arrows, dingbats, emojis, symbols, ornaments, social media icons, sign of the zodiac, geometric shapes, catchwords, decorative ligatures (type the word #LOVE for or #SMILE for as OpenType-Feature dlig) and stylistic alternates (8 stylistic sets). For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! ■ Font Name: Icons Dingbats Smybols Set ■ Font Weights: Reg + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play for head­line size ■ Font For­mat: .otf (Open­Type Font for Mac + Win) ■ Glyph Set: 436 glyphs / decorative extras like icons ■ Spe­cials: Alter­na­tive let­ters, sty­listic sets, automatic con­text­ual alter­nates via Open­Type Fea­ture. Dingbats & Symbols, arrows, hearts, emojis/smileys, stars, further numbers, lines & geometric shapes ■ Design Date: 2019 ■ Type Desi­gner: Manuel Viergutz

Looking back on my production to date, neither so little nor so large, it does not come as a surprise to find myself now introducing Lady René. A brief review of my career would read as follows: graphic designer graduated from Buenos Aires University, a 10-year professorship in Typography in the same institution, an illustrator in the making. For almost 15 years now my work has focused on the design of editorial pieces, predominantly books and CD sleeves. Typography proper has always been central to my research projects. All my obsessions eventually embodied as much the search for a perfect, spotless text as for a daring and provoking one. In my view, "how-to-say-something" ranks highest amongst a graphic designer’s responsibilities. It was in this vein that I called in the written word to illustrate, to draw, to narrate. Why not reverse the saying and proclaim that “a word is worth a thousand images”? If so, one single word could trigger endless meanings, associations, ideas, and memories in every reader’s mind. Language, we know, has a strong power and is a living expression of a culture. In my illustrations, letters and drawings reunite in one synergy said and unsaid, the finiteness of the message and the freedom of the free reading. And this is how and when, Lady René, my first born type font sees the light of day conceived out of a love of illustration and a reverence for the written word, recalling the whimsicality of the handmade drawing and reflecting its sensitive, warmth and spontaneity. Enabled by the characteristics of Open Type and the hard, outstanding work of designer Ale Paul, Lady René succeeds in composing texts in a simple, organic way by means of its contextual and stylistic alternates, swash characters, ligatures and connecting words. A bundle of decorative miscellanea completes the set of signs, enabling the user considerable freedom to create new typographic landscapes. Lady René is then prepared, very much like a character in a short story, to come to life in the reader’s mind. I expect you will enjoy her as much as I did creating her. Laura Varsky

Fulgora is a sort of ‘calligraphic typography’ or ‘typographic calligraphy’, depending on the point of view. Inspired by late-medieval Bâtarde and Civilité blackletter styles, the Kannada and Sinhala writing systems from Southern India, Celtic uncials, and diverse vernacular Mexican scripts, Fulgora was created straight from pen on paper as a personal calligraphic style where fantasy in the chief ingredient. The idea to take it to the digital realm came later, as an extension of the creative process. To this end, originals for each character were made, directly traced with the nib with no retouching, then vectorized to be digitally assembled. Work has been done on spacing and kerning with the aim to digitally reproduce an utterly calligraphic outcome keeping the natural, imperfect, manual finish of all signs. Fulgora has two variants: Blanca (white) and Negra (black), executed with different nib widths but the same style and proportions.

Karaoke JNL is one of the many alphabets created by the late Alf R. Becker that was showcased in Signs of the Times magazine from the 1930s through the 1950s. Thanks to Tod Swormstedt of ST Media (and who is the curator of the American Sign Museum in Cincinnati, Ohio) for providing Jeff Levine the research material from which this font design was modeled.

Sudtipos is really proud to announce the release of Regional, a solid workhorse type family of 27 styles inspired by the Old Style Bold models from the late XIX century by different type foundries. The unique diagonal in the "R" has been the key that inspired us to create many of the several alternates included in the set. From a delicate and expressive thin condensed to an exaggerated expanded black, Regional merges the past with the present, making it useful for a wide range of designs. We have imagined Regional to be used in magazines, packaging labels and posters. The addition of a complementary one-file variable format is included when you license the complete set.

Well Done is a flower calligraphy font with an incredibly luxurious feel. It will add a romantic touch to any crafting project! Get inspired by its unique look! To stay up to date for my latest job, follow me and let’s be friends because there will be many promos.

Loco is an impacting display typeface playing with simple geometric forms perfect for posters, flyers, magazines and everything that needs to look bold, noticeable and up-to-date. Loco was created to perfectly match Ambassador Plus Sans Light. Their combination offers a flexible tool for your creative designs.

This font began as an attempt of draw alternatives to the images of Microsoft’s Wingdings, but then grew beyond that. This new version from late 2010 has over 1400 characters, including almost all of the geometric shapes in unicode 2500 and 2B00 ranges, almost all of the arrows in the unicode 2100, 2700, 2900, and 2B00 ranges, almost all of the dingbats and symbols in the unicode 2600 and 2700 ranges, many of the pictures, symbols, and emoticons in the 1F300 to 1F600 ranges, and a few of the miscellaneous technical items in the 2300 range. There are also pictures on the standard open type letters, most of which can be accessed from the keyboard. However, most of the characters in this typeface have to be accessed using their unicode designation. In Windows this is done with the alt key and the unicode hex number. On the Macintosh the easiest way (and for the five digit unicode characters, perhaps the only way) is to use the “Special Characters” window under the Edit Menu in the Finder. A unicode index of the font is provided in a pdf file that was generated using FontLab. However, it only has four of the unicode digits for the five-digit elements. Almost all of the unicode numbers starting with F should have a 1 in front of the F.