Inaayah Cunningham

A 1918 poster issued during World War I from the YWCA encouraged women to pitch in to the war effort by joining the “United War Work Campaign”.

The Art Nouveau hand lettering of that poster was a slight throwback to the “Western” or “Victorian” style of typography because of the characters having split serifs.

This is now available as Village Hall JNL, in both regular and oblique versions

A poster for the publication “The Quartier Latin – A Magazine Devoted to the Arts” featured the magazine’s name in a light Art Nouveau serif style. The Quartier Latin was published between 1896 and 1899 by the American Art Association of Paris.

This is now available as Nouveau Meadow JNL in both regular and oblique versions.

A 1911 movie poster for a film called “How Bella Was Won” from the Edison studios had the name “Edison” hand lettered in a bold, spurred sans serif design.

These few letters became the basis for Movie Show JNL, which is available in both regular and oblique versions.

A beautiful and stylish pen lettered alphabet appears within the pages of the 1921 publication “How to Write Show Cards” and its Art Nouveau stylings made it a perfect candidate for a digital revival.

Pleasant Show Card JNL is available in both regular and oblique versions.

“One Hundred Alphabets for the Show Card Writer” was published in 1919 to afford sign artists the ability to create signs and show cards in then-contemporary lettering styles.

One such alphabet was big, bold and representative of the Art Nouveau stylings popular in the early part of the 20th Century. Most likely it was applied to store sales and public events that were casual and informal, for its letter forms are free of any constraints.

This design is now available as Fun Time Nouveau JNL in both regular and oblique versions.

As the basis for this new font artist and designer Lena Schmidt used an old font design by her mother Jutta. At a young age, her mother drew and illustrated a lot with pen and ink. She made beautiful illustrations and many font designs. Schmidt chose one of these drafts - delicately drawn Donovan lyrics - as the basis for this digital handwritten stencil font. What emerged from it is a stencil text and display typeface that relates to Auriol's art nouveau typefaces and the era of impressionism.

More weights will be published in soon.

Published by Spirit & Bones

www.spiritandbonesdesign.com

Designed by Lena Schmidt

www.lenaschmidt.com

A turn-of-the-century Art Nouveau display font, originally from the Aktiengesellschaft fuer Schriftgiesserei und Maschinenbau, Offenbach, revived and extended.

Inspired by the lettering on Koloman Moser’s poster design for Fromme’s Calendar (circa 1912), Nouveau Calendar JNL is available in both regular and oblique versions.

According to Wikipedia:

“Koloman Moser (30 March 1868 – 18 October 1918) was an Austrian artist who exerted considerable influence on twentieth-century graphic art and one of the foremost artists of the Vienna Secession movement and a co-founder of Wiener Werkstätte.

Moser designed a wide array of art works, including books and graphic works from postage stamps to magazine vignettes; fashion; stained glass windows, porcelains and ceramics, blown glass, tableware, silver, jewelry, and furniture.”

Say Hello to Gegor, an experimental serif display font.

Gegor is freedom of our hand when creating the letterform without many references. We try to let the pen tool flow and dancing according to our imagination. The characters of this typeface are adopted from the letter "r". She was born and influence each other. The simple shape on the shoulder are slightly pointy at a thick weight and curves at a thin weight have a big influence on other letters. The unique form of letter "r" takes us to further development to get achieve a distinct harmony as a display typefaces.

If you look at the teaser images and get an idea, we are in line. 

Gegor consists of 14 families from thin to black, and 1 outline style in black weight equipped with discretionary ligatures, case-sensitive forms, ordinals, small capital, and fractions. Consists of multilingual support including Western European, Central European, and Southeastern European.

Gegor is perfect for posters, logos, branding, magazines, websites, and more. Gegor will give a unique vibe to your works.

Supports languages:

Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Bosnian, Catalan, Cebuano, Chiga, Colognian, Cornish, Corsican, Croatian, Czech, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Icelandic, Ido, Inari Sami, Indonesian, Interlingua, Irish, Italian, Javanese, Jju, Jola-Fonyi, Kabuverdianu, Kalaallisut, Kalenjin, Kinyarwanda, Kurdish, Latvian, Lithuanian, Lojban, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Maori, Morisyen, North Ndebele, Northern Sami, Northern Sotho, Norwegian Bokmål, Norwegian Nynorsk, Nyanja, Nyankole, Occitan, Oromo, Polish, Portuguese, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Sardinian, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, South Ndebele, Southern Sotho, Spanish, Swahili, Swati, Swedish, Swiss German, Taita, Taroko, Teso, Tsonga, Tswana, Turkish, Turkmen, Upper Sorbian, Vunjo, Walloon, Welsh, Western Frisian, Wolof, Xhosa, Zulu

Acid Green has quite a psychedelic flair, but its origins are from long before the sixties psychedelia.

Its roots date back to 1914, from an unnamed alphabet by J.M. Bergling, the amazing jewelry engraver and 'letterform inventor'—as he considered himself—whose books of art alphabets and lettering influenced countless artists, including, not surprisingly, those involved with the genesis of Art Nouveau and Art Deco movements.

Perfect for multiple display uses, including retro designs and trippy letterings, Acid Green has an extensive character set, with multilingual support covering 208 languages. There are yet some handy stylistic alternatives for some extra grooviness.

Acid Green is somewhat retro looking, for sure, but it can sound perfectly contemporary too. Tune in and enjoy a creative trip!

[Pizza illustration on the first graphic by our neighbor @pedrocorrea84]

The hand lettered title on the cover of the 1914 tune “I Want you to Meet My Mother” served as the inspiration for Nouveau Date JNL, which is available in both regular and oblique versions.

Liquid Monogram Font is a perfect round shaped monogram font consisting of 78 letters and 1 frame. 

With just a single font file you will be able to create beautiful monograms in just a matter of minutes after the purchase!

Liquid Monogram Font comes with font file in .otf format. It features all the modern advanced font features such as contextual alternates, effectively eliminating the need to use multiple separate font files for left, center and right letters.

Arlian is how I see an elegant scripting font in 2020. The idea behind this typeface is to create a well-balanced, versatile and gender-neutral typeface.

  The typeface does not look overloaded with various elements of the Victorian era. Everything is simplified for 2020, which will also appeal to the younger generation.

This typeface pays homage to numerous Victorian and Art Nouveau predecessors, while straying somewhat beyond their usual conventions. All lowercase letters ascend in unison, whereas capitals descend below the baseline. A rigid set of uniform strokes keeps the chaos reigned in, while various calculated inconsistencies affect a vaguely hand-drawn quality to this quirky, downright decadent font.

Comes packaged with the standard complement of alpha-numeric glyphs, punctuation marks, mathematical symbols, and Western European diacritics.

Kaleidoscope is a groovy retro font with roots in the Art Nouveau movement and the psychedelic sixties. Works great for trippy band or festival posters, logos, invitations, and anything that needs a flowing funky vibe.

A unique display font with lots of beautiful alternate characters that you can combine to get attractive final lettering with nice and dynamic shapes just in seconds!

Dictio will work great in many design forms, for example, Magazines, postcards, logos, Wedding projects, and many more.

The idea for the letters came from the typographic examples from the beginning of the century, magazines and book covers. 

Wallington Pro is a decorative-serif font embodying vintage and elegant curves with functional structure. Style is adopted from Old English cultures with their descendants around mid-12th century and Art nouveau in 19th century, it was inspired by natural forms and structures and the curved lines. Crafted with love and easy-to-read letter design.

Wallington Pro consists of 721 glyphs including 268 unique ligatures, 30+ catchwords and 10 stylistic sets. All glyphs are divided into several OpenType features such as Ligatures, Contextual alternates, Old Style Numeric and some astonishing special characters that allows you to mix and match pairs of letters to fit your design. This variety encourages unusual and extroverted creation in lettering design.

The typeface offers numerous combination possibilities between the basic glyph set and stylistic sets.The stylistic sets are alternate alphabets that you can access by using OpenType savvy programs such as Adobe Illustrator, Adobe Photoshop CC, Affinity Designer, CorelDraw or Adobe InDesign.

Wallington is an experimental and versatile font. Suitable for digital lettering, prints, logo, poster, t-shirt, packaging and applicable for some type of graphic design.

Wakerobin takes its charming swagger from the hand-painted billboard, poster and signage lettering of the mid-19th century. These showy styles did everything they could to stand out from the background cacophony of advertising, with signwriters using sharp and high contrast serif letters, squared block shapes, or art nouveau forms to grab the attention of passersby. 

Wakerobin embraces the spirit of these letterforms, bringing these various styles together in one typeface - as if users had their own sign painter on hand. Just as lettering artists had to adapt to a variety of sizes - from wide streetcar lettering to compressed forms that squeezed into narrow Victorian windows - the variable version of Wakerobin scales up and down in width to fit whatever environment the user’s working in. The static fonts come in three widths and five weights. 

As well as its adaptability, Wakerobin is bursting with vintage flavour, making it hard to ignore. Its distinctive, spiky serifs would be right at home on food and drinks packaging, as well as shop windows, adverts, and any other place that calls for some typographic showmanship. It performs particularly well in busy environments, or anywhere with a lot of visual noise - just as its historic predecessors did. And while Wakerobin is first and foremost a display typeface, it’s surprisingly elegant when used at text size, or in the lighter end of the weight spectrum.