Rick Peterson

An interesting hand lettered example of Art Deco lettering (minus the letter ‘L’) was spotted on Pinterest and served as the inspiration for Deco Sketch JNL. 

Because there was no attribution as to the age or source of the alphabet, it can only be surmised that it was a scan from a 1930s or 1940s source.

The original showed many of the irregularities of pen lettering, and had rounded terminals.  The digital version has been redrawn more uniformly with flat terminals.

Deco Sketch JNL is available in both regular and oblique versions.

Introducing Geraldica.
Monoline script supports foreign languages and has special characters as ß, ñ, ç, etc.
Font set has 381 symbols including alternates with different calligraphic swashes.
Enjoy it!

Imagine having a formula for sunshine. I mean, in a way to make the sun shine when you want it, or really need it. That could be for a day at the beach, or for the plants in your garden - or even better: make someone happy with a little bit of sunshine!
I made this font on the first day of summer in Denmark 2020 - the rounded corners and the soft and easy look of Sunshine Formula, really got me into the “this-is-going-to-be-a-great-summer” mode! :)

Introducing Mayaglyph, a modern typeface inspired by the hieroglyphics left behind by the Ancient Mayan civilization. Every character in Mayaglyph is manually created with hand-drawn markings for consistency and balanced visuals, including diacritic marks, symbols, and more!

Each character in Mayaglyph is distinctly imperfect in its own way, just as if it was taken right off an ancient stone. Also included is a ‘solid’ background version, which is ideal for creating beautiful multi-layer designs.

Eastman was designed in 2020 for Zetafonts by Francesco Canovaro and Andrea Tartarelli with help from Solenn Bordeau. It is a geometric sans workhorse family developed for maximum versatility both in display and text use, with a wide weight range and a solid monolinear design featuring a tall x-height that makes Eastman extremely readable on paper and on the screen.

Influenced by Bauhaus ideals and contemporary minimalism, but with a nod to the pragmatic nature 19th century grotesques, Eastman has been developed as a highly reliable tool for design problem solving, and given all the features a graphic designer needs - from a wide language coverage (thanks to over one thousand and two hundred latin, Cyrillic and Greek characters) to a complete set of open type features (including small capitals, positional numbers, case sensitive forms).

An impressive array of alternate characters and stylistic sets allows to fine-tune your editorial and branding design by choosing unique, logo-ready variant letter shapes. The twenty weights of the base family have been complemented by a display-oriented alternate family, as well as one variable version, bringing the full family to an impressive count of 41 fonts. Eastman excels in both body text, headings and word-marks and it is your new option for a universal geometric grotesque.

The POSSIBLE typeface is supplied in two equally plausible states – Possible Sans and Possible Serif. The two families are identical, only the name is changed and the downloads include both classifications. Possible Sans is a sans-serif impersonating a spur serif, and Possible Serif is a glyphic with the look and feel of a sans. Possible is either, and either is possible.

This clean, contemporary typeface is inspired by Percy J Delf Smith’s ’Petit Serif’ from 1928, and similarly takes inspiration from Johnston’s Underground, though more recent influences provide geometric and humanist elements that, together with the micro-serifs, improve clarity and legibility.

Spur serifs such as Petit Serif, Copperplate and Liberty are often caps-only fonts, but Possible contains a lowercase, as well as a full Latin Extended-A character set.

Possible is available in five weights – Thin, Light, Regular, Medium and Bold – each with a corresponding, optically-corrected italic.

The famous lettering “Capital Trajana”  (inscription at the bottom of the column that bears its name erected in the year114 A.D.) is usually identified as the classic example that defines Imperial Capital forms.
However, much earlier, there were already countless examples of Greco-Roman epigraphy of excellent execution, as evidenced by the monumental inscriptions from year 2 b.C. sculpted in the Portico di Gaio e Lucio Cesari in front of the facade of the Basilica Emilia, in the Roman Forum, erected by Augustus, dedicated to his two grandchildren for propaganda and dynastic needs.
It has been more than two thousand years and the forms of these letters are still part of our daily life, product of their qualities of readability and beauty.
It is probably the added semantic value that have made them an icon full of symbolism that expresses majesty, monumentality, order and universal power.
Numerous authors, calligraphers and designers have studied this legacy such as Giovanni Francesco Cresci, Edward Catich, L.C. Evetts, Armando Petrucci, Carol Twombly, John Stevens, Claude Mediavilla, just to name a few.
MarcusTraianus is a fitted version of the two models mentioned, which is accompanied by Small Caps, lowercase (carolingas) and a set of numbers (Indo-Arabics) in addition to the Romans figures and diacritics for Central European languages
MarcusTraianus is presented in two weight: regular and bold.

Zimric is a family with 28 styles. It has the look of neat hand printing. It is monoline and sans-serif, friendly and legible. The Zimric family has three widths, each width has four or five weights, and each weight comes in both upright and italic styles.

Quache is a flexible sans-serif, created by Måns Grebäck between 2018 and 2020.

It has unique, stylish curvatures and is clear, legible and sharp with open letter forms.

The font family consists of six weights and four widths, totaling in 28 main styles: Thin, Light, Regular, Bold, Black, Heavy and Condensed, Normal, Expanded, ExtraExpanded

It supports Latin-based languages, and contains numbers and all symbols you’ll ever need.

Gluy is geometric humanist hybrid. It blends the two categories into one design. Mixing geometric rational shapes with a touch of organic calligraphic forms. Comprises a total of 20 styles and supports most Latin languages and Cyrillic. Ideal for branding but very versatile. It can be used in many contexts from print to web.

Crossten’s “modern geometric sans” family consists of 20 fonts.

All family fonts contain 370 glyphs and are equipped with many typographic features.

Crossten is designed for those who prefer to use single-coded fonts not only in coding but also in many different graphic design environments. Idea; It came from creating a font with a single-spaced aesthetic, without breaking the soft, single-spaced fonts.

Crossten is a geometric sans single-spaced font with all typographic features except space and character spacing.