Jobber Wacky NF
This bouncy little number is based on handlettering often found on greeting cards in the 1950s and 1960s, and often the work of Alan Denney. Wild and wacky (and maybe a little bit tacky), this ...
This bouncy little number is based on handlettering often found on greeting cards in the 1950s and 1960s, and often the work of Alan Denney. Wild and wacky (and maybe a little bit tacky), this ...
This cuddly face is based very loosely on Dave Farey's Beesknees. This version is a little more regimented but no less fun, and is notable for the addition of a lower case, not found in Farey's ...
Fat and sassy, this ultrabold brush font is based on the works of lettering legend Mike Stevens as seen in his book, Mastering Layout. A natural choice for can't-miss headlines, this typeface also ...
The basic letterforms of this typeface were found in a lettering book, RotaluciĆ³n Decorativa, published in Barcelona in the 1940s. Add a lowercase and a few flourishes suggested by a hand-painted ...
This quaint little charmer was found under the same name in the 1893 Cleveland Type Foundry specimen book. Slightly quirky and naively elegant, it's the perfect choice for everything from invitations ...
The letterforms for this unique face were found on a luggage tag designed by the Richter Studio of Milan in the 1930s; the treatment was suggested by a recent Dutch ad for the opening of a service ...
Handlettering on a 1930s travel poster for the Canadian Pacific Railway provided the pattern for this distinctive Deco typeface. A strong dropshadow treatment has been added so you can create ...
This Deco delight is based on logotype lettering for Crosley Radios from the 1930s. By aLtErNaTiNg upper and lowercase letters (brackets and braces, too), you can maintain the flow of the lightning ...
This elegant stencil face is based on an alphabet found in one of the innumerable Dover Books volumes edited by Dan X. Solo. Intended for headline use, it can also be employed effectively for short ...
REALLY fat faces seem to be popular these days, so here's my take on one. The strokes have been expanded to the brink of illegibility, but the letters remain distinguishable, especially in context. ...