A page from an old manual for sign painters yielded the hand-lettered alphabet that served as a model for Claim Check JNL.

Aegion is a display typeface inspired by blackletter style. Aegion is perfect choice for people who looking for unique and powerful display heading.

This font is studded with sparkles but is still completely readable. Perfect for the holidays or for anything requiring a touch of glitz!

Geometric forms make this elegant font family a great companion for invitations and signs, indoor and outdoor. Proportional figures added, perfect for signage.

A text and display font suitable for various applications, many of which include, letterheads, packaging and logos. Excellent for very large typographic layouts

This font has a unique character and can be used for your logos, business cards and other projects for a unique vintage look.

Developed for ParaType (ParaGraph) in 1995 by Alexander Tarbeev, based on letterforms of various screen fonts. For use in advertising and display typography.

The block style lettering with rounded corners found on a package for model railroad kit parts was the inspiration for Model Railroad JNL.

Monday Bay is a cute handwriting brush font that you can use for many things. Perfect for cute quotes, branding, and much more.

Jess is an authentic stylish script font. This handwritten beauty is suitable for high-end, sophisticated branding or for simple, memorable Instagram quotes.

Pine Nuts is very suitable for a variety of designs, packaging and quick statements. For a connected version please visit Pine Nuts United.

The typeface Brush Poster Grotesk is designed in 2017 for the children exhibition 1,2,3 Kultummel from Labyrinth Kindermuseum Berlin by xplicit, Berlin (Annette Wüsthoff, Alexander Branczyk, Mascha Wansart (illustrations)). Manuel Viergutz extended the font with some further glyphs & extras. The rough sans serif display typeface is created analogous by hand and brush. 875 glyphs incl. 150+ decorative extras like arrows, dingbats, emojis, symbols, geometric shapes, catchwords, decorative ligatures (type the word LOVE for or SMILE for as OpenType-Feature dlig) and stylistic alternates (3+ stylistic sets). For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! Font Name: Brush Poster Grotesk Font Weights: Regu­lar + Misprint + EXTRAS (Illustration) + DEMO (with reduced glyph-set) Font Cate­gory: Dis­play for head­line size Glyph Set: 875 glyphs Lan­guage Sup­port: 28+ for extended Latin. Afrikaans, Albanian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Icelandic, Italian, Latvian, Lithuanian, Maltese, Norwegian, Polish, Portugese, Romanian, Slovak, Slovenian, Spanisch, Swedish, Turkish, Zulu Spe­cials: 150+ deco­ra­tive extras like arrows, ding­bats, emojis, sym­bols, geo­me­tric shapes, catch­words, deco­ra­tive liga­tures (type the word “LOVE” for ❤ or “SMILE” for ☺ as OpenType-Feature dlig ) and stylistic alternates (3+ stylistic sets), German Capital Eszett Design Date: 2017 Type Desi­gner: Annette Wüsthoff, Manuel Vier­gutz, Alexander Branczyk, Mascha Wansart (Illustration)

The TYMA Garamont Roman was inspired by the Berner-Egenolff type sample from the 1560s. The Italic was inspired by a sample from Robert Granjon, also from the 1560s. The name TYMA is short for AB Typmatriser, a Swedish company founded 1948, because the Second World War stopped all import of matrices for Linotype and Intertype typesetting machines. It took until 1951-52 before the import was up to speed again. Until then, Sweden had to fend for itself. TYMA produced all technical equipment needed for type production, including the pantograph to cut the matrices, a complete set for each size and version. The templates for Garamont Roman were initiated by Henry Alm 1948. Bo Berndal was hired the following year, and continued the work by drawing and cutting templates for the rest of Garamont Roman, as well as for the remaining Garamont family. Bo Berndal stayed at TYMA until it went bankrupt in 1952. At that time Bo Berndal had already kick-started his career as type designer by drawing the typeface Reporter for one of the big daily newspapers, Aftonbladet, a version of Cheltenham for another daily, Dagens Nyheter, and copied several old typefaces for other customers. Librarian Sten G. Lindberg at The Royal Library of Stockholm, Kungliga Biblioteket, procured copies of original type samples. Henry Alm started the work in 1948, and Bo Berndal completed it - finally in this OpenType version.

Albertina was a typeface ahead of its time. It was in the early 1960s when designer Chris Brand, an accomplished calligrapher, aspired to draw a typeface based on the principles of calligraphy. Unfortunately, typesetting machines of that era put many restrictions on designers. Characters had to be drawn within a very coarse grid, which also defined their spacing. Technological limitations meant that italic designs often had to share the same character widths as the romans. Designers were forced to draw italic faces much wider and with more open spacing than what would be typical in calligraphic lettering or hand-set type. Not surprisingly, production of the first Albertina fonts went very slowly. Brand would submit his character drawings, and the Monotype Drawing Office would modify them to be compatible with the company's typesetting equipment. The new drawings would then be sent back to Brand for approval or rework. Most were reworked. The process took so long, in fact, that by the time the face was completed it was once again out of phase with the times: instead of being released as metal type for the Monotype composing machines it had been tailored for, Albertina debuted as phototype fonts for the Monophoto typesetter. The design's first use was for a catalog of the work of Stanley Morison, exhibited at the Albertina Library in Brussels in 1966. Sales of the design were not remarkable. With the advent of digital type technology, Albertina's story took a far happier turn. Frank E. Blokland, of the Dutch Type Library, used Brand's original, uncompromised drawings as the foundation of a digital revival. The Monophoto version had taken a considerable battering from the limitations of Monotype's unit system," recalls Blokland, "but there was no need for me to incorporate these restrictions in the digital version." With the full backing of Monotype and original designer Brand looking over Blokland's shoulder, a new design for Albertina emerged, displaying all the grace and verve of Brand's original drawings. The basic family drawn by Brand also grew into three weights, each with an italic complement and a suite of small caps and old style figures."

Font has Industrial motifs and simple geometric shapes. Best suited for large lettering. Font contains characters for all occasions, many ligatures, alternatives and exotic.

Developed for ParaType (ParaGraph) in 1997 by Alexander Tarbeev, based on PT Pragmatica, 1989, by Vladimir Yefimov. For use in advertising and display typography.

Rolhausen is a Sans Serif Typeface which is suitable for you who needs a typeface for headline, logotype, apparel, invitation, branding, packaging, advertising etc.

Sans-serif reversed capitals in outlined circles, resembling old-fashioned typewriter keys. Intended for logos and signs, and for enhancement in lists and maps.

A decorative Barnum-like design. Great for headlines with that circus type atmosphere; will also work for Christmas, western and children's books and ads.

Tall, chunky title-friendly sans serif capitals in 3 styles. Use all caps for even lettering or alternate caps and lowercase for bouncy lettering.

Perfect for teachers, this font has enough glyphs to cover 80+ languages and extra math symbols! It is neat and legible for early readers!

Jumaplitan font special for retro modern style. Will be good if you use for something like logotype, retro logo, typeface, simple and clean design.

The hand lettered titling on a vintage piece of sheet music for the song "Sweet Siamese" is the basis for Port of Call JNL.

Conversation hearts! Use ALL CAPS for even lettering. For bouncy letters, alternate uPpEr and LoWeR cases to make the letters bounce up and down.

Great sans text font family for all your needs, text, signage, logos etc. Very elegant and suitable for classic as well as formal design.

The cast credits for the 1954 film "Hell's Half Acre" (Wendell Corey, Evelyn Keyes and Elsa Lanchester) provided the basis for Mystic East JNL.

Based on a rounded square, ER9 is a very versatile futuristic feeling typeface. Its monoline design allows for easy customization for headlines and logos.

This teacher-friendly polka-dotted font is perfect for kids and teachers. It is fun but still perfectly neat and legible for little readers.

Rany is a fun, legible handwriting font with a childlike twist. Great for posters, packaging, logos, or anywhere a fun font is called for.