Yaqub Akhtar

The cover of the 1929 sheet music from the First National/Vitaphone picture “The Girl from Woolworth’s” had its title (“Someone”) hand lettered.

This single word title was the model for Store Clerk JNL, which is available in both regular and oblique versions as well as solid and solid oblique versions (without an inline).

A bold, casual sans serif with rounded ends and an inline, Store Clerk JNL is perfectly suited for projects where a strong, yet playful title is necessary to grab the reader’s attention.

For those old enough to remember, Woolworth’s was a leading “Five and Dime” store chain, especially in the days when a nickel or a dime actually could purchase something.

This one is all about a flashy retro style. I wanted to create something with a bit more ‘bang’. So I set out to make a mixture between blocks and parallel lines.

Because it is an all caps font, I decided to make the lowercase set into a second set of glyphs. They are similar to the caps, but with less blocks in the letters. I included all glyphs from LatPro, except for two ligatures.

It is pretty niche, and it works best as the centerpiece of a poster or as a foreground in front of photos. Due to it’s complex shapes, it’s a little difficult to pair up with too many other elements and fonts, but it’s certainly an eye catcher!
In very small it creates moire, but also if seen from afar, the parallel lines create a sort of illusion of partial transparency.

The packing information stenciled on an antique wooden crate included a slab serif type style with chamfered corners.  This design has now been re-drawn as the digital typeface Stencil Chamfer JNL, which is available in both regular and oblique versions.

Vintage wood type with a strong Clarendon influence served as the model for Slabserif Wood JNL, which is available in both regular and oblique versions.

A 1922 piece of sheet music entitled “Japanese Sailor” had its title hand lettered in a Far Eastern motif.  This design is now available as Sea of Japan JNL, in both regular and oblique versions.

Kenac is an elegant, fresh and modern serif typeface, with unusual yet functional shapes, that combines characteristics of Roman type with elements of calligraphy and Victorian style.

Its singular modulation and contrast between thick and thin strokes make it look great in titles. In order to ensure ease of use, the Kenac family includes only 5 weights while its matching italics provide contrast and make the font a harmonic choice for continuous text.

Kenac has a unique appearance that makes it ideal for editorial design such as book covers and magazine website’s headers as well as brand identity design.

Mero inspired by the Roman Capital Proportions which we have seen in Trajan Inscription. With different widths; There are applied each letter to visual proportion. Mero inspired by this measurement method and would like to create the primary typeface in terms of simple form. This sans serif typeface designed to use for any media with a little notice from designer eyes. You won’t notice much about style, but something will let you feel extraordinary and trust.

Mero has supported over 30 languages and come with nine weights for a complete family. With the standard of CSS font-weight, Mero complete family will map beautifully for your digital layout.

Mero inspired by the Roman Capital Proportions which we have seen in Trajan Inscription. With different widths; There are applied each letter to visual proportion. Mero inspired by this measurement method and would like to create the primary typeface in terms of simple form. This sans serif typeface designed to use for any media with a little notice from designer eyes. You won’t notice much about style, but something will let you feel extraordinary and trust.

Mero has supported over 30 languages and come with nine weights for a complete family. With the standard of CSS font-weight, Mero complete family will map beautifully for your digital layout.

Afire is a sans-serif of understated warmth and elegance. Through clean legibility and gentle embellishment, Afire delivers lively bounce with sophistication.

As long as there’s been movie theaters, those establishments became the perfect hideaway for couples who wanted to kiss, hug and snuggle without the watchful eyes of disapproving parents or the pesky attention of younger siblings.

Such was evident in the [13 word] title of the 1919 composition “Take Your Girlie to the Movies (If You Can’t Make Love at Home)”.

On the sheet music for this song, it is hand lettered in the Art Nouveau fashion of the time by a round nib pen, and made a perfect candidate to be redrawn as a digital typeface.

The end result is Nouveau Theme JNL, which is available in both regular and oblique versions.

Introducing, Shakuro. As you can see, this brush typeface has unique letterform inspired from japanese kanji typography. Very suitable to use for headline, title, logo or anything especially related with japan or asian theme.

Features :

- uppercase & lowercase (alternates)
- numbers and punctuation
- 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.

Cruz Quaste is a calligraphic medieval type, drawn by Måns Grebäck between 2018-2020.
While traditional in character it is yet original, and could be described as a reinvented gothic style.

Its blackletter style it works great in historical contexts, or to give projects a tough feeling.

Cruz Quaste contains OpenType features such as alternates and ligatures.

The font is multilingual and supports all Latin-based European languages.
It contains numbers, punctuation and all symbols you’ll ever need.

It’s always handy with a good font that helps your design stand out. And if you have a delicious snack while designing, then everything should be in its place. This font is quite handy, and its litterally a designing snack! And it contains zero calories! :)
Well, its a comic book kind of font, and comes in Regular, Black and Layer. Mix those 3 versions for great designing results!

Coffinated features letters on coffin shapes. This caps-only family has two sets of characters, with one set on coffins that are flipped from those in the other set. The OpenType feature contextual alternatives (calt) prevents two characters from the same set being adjacent. The two styles, bold and regular, can be used in layers to add color. There are not a lot of uses for macabre lettering but Coffinated is available for those who do find a use.

Wright is a sans-serif geometric typeface inspired by the lettering found on modernist building plans. An elegant small x-height, tall ascenders and wide capital letters make the font look great in titles and short paragraphs.

Wright consists of 4 subfamilies, each in 6 weights plus italics—48 fonts in all. Its wide range of alternates and ligatures make it an ideal workhorse suitable for a variety of projects and give your designs a stylish appearance and unique look.

As you would expect from Latinotype, this font comes with a standard set of 800 characters and supports over 200 Latin-based languages.

Font by Felipe Estay

Introducing:

Chanthek a font work that is purely handwritten, has its own characteristics with the style of Script font. this is perfect for invitations, signatures, blogs, social media, business cards, product brands.

Chanthek has Stylistic standard, Stylistic Alternate, Stylistic Sets and ligatures. and includes uppercase and lowercase letters, numbers and punctuation marks.

The Features of this fonts is;

  * Standart ligatures
  * Stylistic Alternates
  * Contextual Alternates
  * Stylistic sets

File font Chanthek Include;

  * Chanthek (OpenType,PUA)
  * Chanthek (TrueType, PUA)

OpenType features can be accessed by using OpenType smart programs such as Adobe Photo Shop, Adobe Illustrator, Adobe Indesign, Corel Draw and Microsoft Office. can also be accessed through the character map.

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Thrifty is a clean, contemporary typeface family created for branding and communication design. With a narrow form and clear letter forms, this family is both suited for display and title settings while equally remaining legible in smaller point sizes.
Through it’s nine weights and accompanying italics plus a large glyph set that covers the majority of Latin based languages, Thrifty aims to offer a versatile and functional design. Thanks to the implementation of Opentype features, this family includes different sets of numerals, from tabular, hanging or scientific, it equally includes ligatures and free form fractions. Each weight equally offers a complete set of arrows and 99 different pictograms focused on themes of mobility and transport.

TT Norms Std Condensed is the logical development of our bestselling TT Norms. Since the release of TT Norms, we received a bunch of requests to create its narrow version and even managed to make several custom projects of the narrow TT Norms before we decided to start creating a full-fledged commercial version of the typeface.

At the very beginning of the project, we did some research and tested several options for the possible width of the typeface. Despite the fact that TT Norms Std Condensed has narrower proportions than the original family, it inherited the classic proportions of characters, attention to detail and meticulous elaboration of each character in the typeface.

The TT Norms Std Condensed font family consists of 18 faces (9 upright and 9 italics). Each style includes a sufficient set of characters that allow you to solve most of the problems that arise in the field of graphic design, branding, packaging design or website design.

Samarquand is a handwritten script design from Roy Preston. Based on the handwriting of a friend, Roy has expanded this friendly, semi-connecting script to include three weights, Light, Regular and Bold, opening up even more design possibilities. The Samarquand fonts support an extended character set, as well as some ligatures, inferior and superior numbers, and unlimited fractions. There are some really nice letterforms in these fonts, particularly that uppercase W! Peruse the posters to see. I’m kind of partial to the Light weight, which is really quite elegant in use, but that Bold can really make a strong statement! Samarquand. Check it out for yourself.

Hexonu is a weird, awkward, monospaced font family. In place of true lower case letters, it has an second set of capitals that, through the magic of the OpenType contextual alternatives (calt) feature, automatically alternates with the set on the upper-case keys. If one wants to use only one set of letters, the contextual alternatives must be turned off and character spacing adjusted.

Hexonu is another effort to create a font with alternating sets of letters (see PoultySign, Lentzers, and Caltic for others). The base shape for forming the letters is a lopsided hexagon that resembles an old coffin. In four of the six family members, the alternating shape is a distorted hour-glass. In the other two, coffin shapes heads up alternate with coffin shapes heads down. The family was created as an experiment with the calt feature and not for any particular use. It is does not work as text but its bizarreness makes it appropriate for some poster and signage applications.

Since their first appearance as Italians on the pages of the 1821 William Caslon type specimens, reverse contrast typefaces have been typography’s best loved quirky outcasts. Subverting the traditional relationship between thick verticals and thin horizontals made them perfect for eye-catching advertisements. The unexpected contrasts and the thick slabs produced by reverse-contrast serifs became ubiquitous in period posters, and synonymous with wild west and circus iconography.

In designing Stinger, the Zetafonts design team composed by Maria Chiara Fantini, Andrea Tartarelli and Francesco Canovaro and orchestrated by Cosimo Lorenzo Pancini decided to marry this subversive tradition with the workhorse approach of modernist sans serif typefaces like Univers, developing a super-family with four widths, each in five different weights, from thin to heavy. This gives the designer a full range of options for type setting, with the Normal and Fit widths providing two different text-sized alternatives, the wide width adding display and titling options and the Slim ready to deal with the space-saving necessities of extremely long texts. True italics have been added developed for all weights and variants, bringing the Stinger family to a total of 40 fonts, with a latin extended + Russian Cyrillic character set covering over 200 languages, and open type features including positional numbers, stylistic sets and alternate forms.

In the crowded panorama of contemporary grotesque typefaces, all aiming to stark geometric perfection, Stinger stands out with its bold choices and strong personality. From the calligraphy-inspired terminals in the thin weights to the logo-ready sculptural approach in the heavy weights, each variant manages to look striking without forgetting the readability and flexibility lessons of modern reverse-contrast classics like those designed by Excoffon or Novarese. A variable version is included with the full family, allowing maximum flexibility and control for the designer over the wide range of expression capabilities of the Stinger super family.