Welcome Home JNL gets its inspiration from metal letters and numbers affixed to homes, posts and mailboxes in the 1920s and 1930s. The block style of lettering that was silk screened onto enameled rectangles of steel was especially popular during that time period.

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This font was inspired by the embossed lettering on cigar boxes. The letters, or entire words, are often surrounded by raised dots, and that was our idea here. We drew this about 1997, and have been refining it ever since.

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An all-capitals reversed sans-serif font, designed for easy creation of signs, labels and banners. Various endpieces are included, as well as accented letters for Western languages.

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A special effects font that forms headlines reversed on a background. Many different endpieces are furnished.

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Fiendstar Cameo has been designed to complement the Fiendstar family of fonts.

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A package of three display fonts featuring numerals, a capital alphabet and decorative symbols, constrained within square borders. Light, normal and bold versions, in both positive and reverse format, are included.

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Doodles the Alphabet was designed to coordinate with Doodles the picture font. Doodles received honorable mention in U&lc’s First Annual Type Design Competition in the Picture Category.

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A grafitti and comic like font trapped inside boxes!

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The great Italian artist, inventor, and visionary Leonardo da Vinci created an extraordinary variety of work which continues to amaze those who study it. This set faithfully captures Leonardo’s remarkable imagination and includes an exclusive Da Vinci Backwards font (reflecting the artist’s own unique style of handwriting). The 72 extras included are drawn from Leonardo’s sketchbooks and journals.

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These two fonts allow one to create mirror writing, that is, writing which looks correct when viewed in a mirror. To understand why it is named as it is, print out the name “Sdrawkcab” using the typeface and hold it up to a mirror.

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Grunge, in a painterly sort of way; excellent for a wide variety of uses in headline and display.

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Glow Gothic BF, like its predecessor Subliminal BF, represents further exploration into typographic special effects. In its original form, it features letters that are transparent, with an opaque glow. Glow Gothic Overlay and Glow Gothic Underlay share identical spacing values and are designed to be used together. Though “Overlay” can certainly be employed as a separate, stand-alone, solid font, using these two together allows for greater color and (tighter) kerning possibilities —see Gallery Images.

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Four fonts featuring health care facility signs as well as safety symbols for OSHA signs in several styles, and formats (Black-on-white, with line borders, as well as reversed in circle or square). Characters can be used in documentation, or enlarged for actual signs.

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Signage mandated by the Americans with Disabilities Act of 1990, plus additional accessibility signs, in both font and EPS format in the same package.

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Torbjörn Olsson’s experimental type One Night Stand deserves a longer relation.

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See also Modula.

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"I could dance with you until the cows come home. On second thought I'd rather dance with the cows until you come home." Groucho Marx.

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BluHead Studio LLC is pleased to announce the release of 8 fonts from the Churchward Design family designed by New Zealand typeface designer Joseph Churchward.

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A collection of 174 rhome website button icons and designs.

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Sans-serif reversed capitals in outlined circles, resembling old-fashioned typewriter keys.

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Sans-serif reversed capitals in circles, resembling typewriter keys.

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WyomingMacroni is the split-serif (or Tuscan) version of the Wyoming series. The Pegged version adds a horizontal spike through the middle of the stems, which has been a popular variation of this style. Included are two shadowed versions.

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Candy Bits was originally designed at Bitstream as a custom project for a large printer manufacturer. Released in 1997, Candy Bits was designed by Jim Lyles. The typographic characters were fashioned after a well known American candy. The balance of the characters in the font are designed to enhance the 3D illusion by appearing to recede into the page. Soon after its completion, Mr. Lyles joined a local health club.

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Two symbol fonts based on African art and hand-crafts, such as bronze reliefs, wood carvings, and textiles. Use singly, as rules, borders or overall patterns.

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Hiroformica is a typographic family composed by eight different fonts configured for integrated combat.

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Typefaces with very thin verticals and fat, square serifs were popular in the 19th century for display. Hollywood helped associate this style with the Old West, but reference books identify some of it as Italian style. WyomingSpaghetti, part of an extended family of typefaces, has a name which combines these two associations. Most typefaces of this type are very condensed, but this one is not. The letter o is nearly circular, which is rather unusual in this style.

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These two fonts allow one to create mirror writing, that is, writing which looks correct when viewed in a mirror. To understand why it is named as it is, print out the name “Sdrawkcab” using the typeface and hold it up to a mirror.

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A collection of traditional American patchwork quilt motifs in a decorative font package. Over 80 designs, to be used as free-standing illustrations, in borders, or as an overall pattern. Several designs will work together into a pattern.

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TX Switch and Switch Box are number 3 of 7 in the series asking how can personality described through handwriting be translated into typefaces? Each element of the analysis was matched by a moment and/or technique found in type history. The strokes of the case study’s pen are constructed and extravagant, indicating creative expressiveness. Geometry and 1920s modernist ideals provided for the perfect base in the early design stage. The observation of dramatic switches in pen stroke directions was represented by using a more condensed and tight construction. At the same time, the typeface is spacious and unmodest. TX Switch Box was designed as a companion typeface, also tapping into the sentiment behind street graphics. This drop shadow was rendered in the same spirit as the craft of sign painting. Both styles were inspired by the art of letterpress printing, old books, comic books, hobo writing and the commercial arts. Open, honest and hard working, Switch’s design is about everyday markings, places and the familar landscape of Main Street, Anytown USA. Attention getting and legibility are the key components.

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The typeface was designed for ParaType in 2002 by Dmitry Kirsanov. Based on the Mesolithic images on stones were discovered in a prehistoric cave of Mas d’Asil, France. There is a great number of hypotheses explaining the function of the mysterious stones. They have been considered as vessels of souls, computation tools, fortune-telling and magic symbols, relics of prehistoric writing system.

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Sylphide is based on poster lettering from France in the 1890s.

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You begged with us..! You pleaded with us..!

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WyomingPastad is the simplest of the Wyoming series. The round letter shapes of WyomingSpagetti have moved toward squareness. The overall effect is that WyomingPastad no longer looks much like an “Old West” face. Two shadowed versions of this face are included.

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Peso is a naive type design inspired by a parking sign in Mexico. The rudimentary letters had been created using masking tape and spraypaint. It’s sloppy geometric forms have a warm punkish, flyer-style charm. Peso’s condensed, black style is well suited for use on posters and other over-size applications.

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Linotype Mindline is part of the Take Type Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contests of 1994 and 1997. With Mindline, the German designer Critzler plays with geometry and typefaces. Each character is basically a rectangle with a geometric form etched in it which happens to be a member of the alphabet. This formal style comes from the advertisement typefaces of the 1920s and is reminiscent of the constructivist posters of this time. The appearance of the characters take priority over the funcitonality and the eye can hardly recognize the forms of letters and numerals which meet it everyday. Linotype Mindline makes us take another look at forms which we see so often that we hardly notice them, only reading them for the information which they impart, and the font is therefore best used when the content of the text less important is than the impression its forms make.

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