Eupraxia Yevdokimova

Introducing Mathery Typeface

Mathery font is designed with a modern concept that is simple and dynamic. The serif style adopted by the Mathery font is a 2022 style font, has a unique swash alternative, has a large selection of ligatures. In addition.

Serif typefaces such as “Mathery typeface” are very easy to apply to any design, especially those with an elegant and playful concept, besides that this font is very easy to use both in design and non-design programs because everything changes and glyphs are supported by Unicode (PUA).

The Mathery typeface contains 806 glyphs with many unique and interesting alternative options. Plus, there's a cool serif font family for header and description text from thin to heavy. In the poster preview all the letters are in the Mathery typeface.

King of August is single weight script font.

Simple, elegant, designed letters with power to fit and lead any project. It is ideal for product names, labels, packages, King of August works well in titles and shorter paragraphs as well.

Comes with Swashes as OpenType feature.

Hefring Slab Variable is a modern Slab Serif. Based on simple geometry, it has minimal stroke contrast, solid serif presence and a uniform thickness of strokes. Inspired by the work of the renowned Margaret Vivienne Calvert, Hefring Slab Variable is robust, clear and functional. It supports Latin-based languages, available in Regular and Italic and allows you to create custom weights within the versatile width and weight parameters.

This font has the same uppercase and lowercase letters with some modifications on the uppercase letters. I included the modified letters to use however you like.

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

The above-the-store signage for many newspaper stands, soda shops, candy stores, luncheonettes and pharmacies of the 1950s and early 1960s were what was referred to as “privilege signs” provided by one of the major cola brands.

Consisting of the brand’s emblems on the left and right, the remainder of the sign would carry the desired message of the storekeeper (such as “Candy – Soda – Newspapers”) in prismatic, embossed metal letters.

Inspired by these vintage signs, Privilege Sign JNL recreates the condensed sans serif lettering style in both regular and oblique versions. The typefaces are solid black, but adding a selected color and a prismatic effect from your favorite graphics program can reproduce the look and feel of those old businesses.

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 photo of the now closed [circa-1953] Lowell Municipal Pool (at 1601 N. 28th St.) in Boise, Idaho shows the words “Municipal Pool” formed into the cement of the entrance to the above-ground swimming facility.

Both the lettering and building entrance designs harken back to the Art Deco era and the sign features stencil-like characters.

This inspired a typeface aptly named Municipal Pool JNL, and is available in both regular and oblique versions.

Images of ‘lost’ or forgotten signs from the past are on a number of sites all over the web.

One in particular partially revealed a vintage sign for “J. Yormark Shoes" behind a barbershop sign at 15 – 8th Avenue in New York City. The sign remained until 2014.

The stencil effect made by the formation of the stained glass letters inspired On Your Mark JNL, which is available in both regular and oblique versions. The font’s name is a play on the shoe vendor’s name… “Yormark”.

Unique and decorative signage for many drive-ins, motels, food stores and other businesses of the 1940s had what was referred to as “privilege signs” provided by one of the major cola brands.

Consisting of the brand’s emblem on a decorative panel, the remainder of the sign would carry the desired message of the storekeeper (such as “Drive-In”) in prismatic, embossed metal letters.

Inspired by the Art Deco sans serif style of those vintage signs, Privilege Sign Two JNL recreates the type design in both regular and oblique versions. The typefaces are solid black, but adding a selected color and a prismatic effect from your favorite graphics program can reproduce the look and feel of those old businesses.

This is a companion font to Privilege Sign JNL, which recreates the condensed sans serif lettering of other privilege signs from

the 1950s and early 1960s.

A 1930s travel poster from American Airlines had the airline’s name in a classic thick-and-thin Art Deco design of hand lettering. With the addition of angular spurs, some of the characters become semi-serif in nature.

This type style is now available as Travel Plans JNL, in both regular and oblique versions.

Around 1931, the Los Angeles Times (in partnership with the Richfield Oil Company) installed on its building a moving message board similar to the one at the New York Times in New York City which they dubbed an “electric newspaper”.

The style of characters used on this electronic sign were the basis for the namesake font Electric Newspaper JNL, which is available in both regular and oblique versions.

A blank space to place between words is available on both the solid bar and broken bar keystrokes.

Rinzler AOE is a revival of a LetterGraphics film type called Caren. A modular, mechanical, sans-serif stencil all rolled up into one retro typeface. It's not an all-purpose typeface, it's not an everyday typeface, but it is a cool typeface for the right design projects.

Rinzler AOE carries itself with a bold weighted style, and stencil cutouts that don't follow standard stencil formatting. It might be considered more of a techno stencil (if there is such a thing). It reminded me in a vague way of TRON, hence the main poster graphic styling, although it looks NOTHING like the Tron titling typeface. Nevertheless, it's a fun typeface that needed to be preserved and used again.

WHAT'S INCLUDED:

Extensive language support. Rinzler has accented and special characters that support the following languages: Afrikaans, Albanian, Basque, Bosnian, Breton, Catalan Cornish, Corsican, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Galician, German, Hungarian, Icelandic, Irish, Indonesian, Italian, Kurdish, Leonese, Luxenbourgish, Malay, Maltese, Manx, Maori, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Occitan, Oromo, Polish, Portuguese, Rhaeto-Romanic, Romanian, Scottish Gaelic, Scots, Serbian (Latin), Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, & Welsh.

One of my guilty pleasures is in taking the time to recreate historical typefaces as digital fonts, but a lot of incredible historical typestyles created as wood or metal or film type usually have bare bones character sets and have been lost or only exist as limited specimen proofs in old books. These typefaces may have more niché uses than modern typefaces, but I believe it is important nonetheless to preserve these typefaces for future generations. These typefaces, if nothing else, can often inspire new creations.