Zavier Woodward

A long-set aside Art Deco typeface design begun (but not completed) may or not have been from a vintage source, but its roots go well back into Art Deco lettering.

Taking the existing letters and thickening their weights, removing the counters and ending up with a completely new, solid alphabet design resulted in Deco Redux JNL, which is available in both regular and oblique versions.

Mixta Essential is a contemporary sans-serif typeface with characteristic and defined features. This font was inspired by the idea of mixing different types of terminals in order to give the font a singular appearance. Its design is composed of diverse styles such as Didone and classic typefaces as well as current font trends.

This new essential version of Mixta does not include Cyrillic support, alternate styles or OpenType features. Mixta Essential, with a basic language support, has been adapted for optimal use on macOS and Windows environments.

Mixta Essential was specially designed for branding, advertising, Tv and social media.

VOIX Regular & Italic is a stylish, modern mono-spaced font ready to shine for you! VOIX is not your typical monospaced boring font - from the outset the goal was to develop an exuberant, dynamic and contemporary mono-spaced font. Ideal for coding, writing, and legal documentation. VOIX has plenty of attitude to stretch into display formats as well! Think of VOIX as “the Edison light of type”

An image spotted online showed a rendering of a ladies’ fashions storefront that had appeared in the Libbey-Owens-Ford Glass Company’s 1939 brochure. 

The signage consisted of the hand lettered word ‘Apparel’, and was done in a variant of the Art Deco stencil style of lettering that’s most recognizable in Futura Black.

From these few sign letters came the inspiration for a digital font of the same name, Apparel JNL – which is available in both regular and oblique versions.

In ancient Greece, the inhabitants of the Aegean islands and the northwest coast of Asia Minor were called “Eolia”.
Eolia is a family of sans serif fonts that combine grotesque style with certain geometric characteristics. This family composed of six weights harmonically controlled, has blunt strokes, perfectly defined with subtle modulations as a result of careful optical corrections. The control of the counterforms and accurate kerning gives it great readability, personality, aesthetic value and visual impact.

Introducing, Sailritme. A handwritten script. This font perfectly made to be applied especially in logo, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose.

Features :
- uppercase & lowercase
- 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.

Medieval Pixel VP is a highly stylized family of three fonts that combine familiar pixelfont forms with unique sharp details - evocative of a fantasy and historical aesthetic, retro video games, and horror movies. 

All styles include an extensive character set and numerous advanced OpenType features. Over 800 glyphs in each font ensure full support for over 200 languages.

Town Meeting JNL (available in both regualr and oblique versions)  is a modified version of Mud Creek JNL (which was based on Tuscan Egyptian – a classic wood type).  The side spurs were removed and the split serifs were replaced by slab serifs.

Legible, technical, clear—with a hint of retro: Compiler is a no-frills font family straight from the heart of a microprocessor.

Inspired by console typefaces, the humanist sans serif typeface combines a large x-height with striking serifs on certain letters such as i and l. Those serifs evoke the aesthetics of monospace typefaces for programming. Even though Compiler is a proportional typeface, this detail improves glyph recognition and helps differentiate between individual letters. Combined with vertical stroke ends, which allow for particularly even spacing, the serifs make for an extremely legible typeface. (Even in small sizes.)

Brand recognition guaranteed: Compiler is ideal for applications that require a mechanical flavor without appearing offish. You can use it for websites, apps, branding, corporate design, annual reports, signage, and many other areas with perfect results.

Compiler consists of two font families; the second one is Compiler Plain. In Compiler Plain, the signature letters lose their serifs and the forms of “a” and “g” are simplified. This way, the shapes are neutralized. The technical impression recedes into the background. Both families can be combined smoothly: you might use the standard Compiler fonts for display sizes and Compiler Plain styles for body copy. For total design control, you can toggle each of the defining design elements individually from Compiler to Compiler Plain and vice versa. Just use Stylistic Sets to fine-tune your Compiler fonts.

Compiler provides you with 8 weights in 4 variations: Upright, Italics, Plain Upright and Plain Italics. That’s a total of 32 fonts. Each style contains more than 860 glyphs, including advanced typographic tools such as proportional and tabular figures (both lining and old-style) or small caps—something you’ll rarely find in this genre. Other glyphs are optimized for display sizes, such as circled figures and various arrows. There’s also a set of glyphs designed for web use: with symbols for shopping carts, hamburger menus or checkboxes, you can implement your web projects elegantly and consistently without relying on third-party tools (like an external icon font).

Powered by highly productive OpenType functions, Compiler is an intermedia workhorse straight from cyberspace.

Mud Creek JNL is based on Tuscan Egyptian – a classic wood type with a decidedly Western feel, and is available in both regular and oblique versions

In a specimen book from Stevens, Shanks & Sons, Ltd. of London (circa1930s) “Royal Gothic” was their version of a classic grotesk sans that had been in use as far back as 1899 when the Keystone Foundry called it “Charter Oak”. 

The terms ‘gothic’ and ‘grotesk’ were equally applied to early sans serif typefaces – at first not well embraced by printers as being too ugly (grotesque) for use.

One familiar characteristic of early grotesk fonts (such as this one) is the numerous variations of character widths and shapes.

By combining those two terms into a font name, the digital version of this design is called Gothic Grotesk JNL, and is available in both regular and oblique versions.

Introducing, Stacylia - a bold handwritten script typeface. This type of font perfectly made to be applied especially in logo, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose.

Features :
- uppercase & lowercase
- numbers and punctuation
- multilingual
- alternates and ligatures
- 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.

Two word examples (“nice” and “bud”) from the J.G. Cooley & Co.’s Specimens of Wood Type catalog for the typeface ‘Roman Triple Extra Condensed Fifty Line’ offered only seven letters to work with.

Despite this lack of characters, it inspired Compressed Wood JNL, which is available in both regular and oblique versions.