Aeroblades is futuristic display typeface inspired by aerodynamic designs. Fall in love with its incredibly distinct and timeless style and use it to create spectacular designs!

Hand lettering on the Art Deco-era sheet music for a song entitled "Rosemary" was the model for this delicate monoline design called Deco Hotel JNL.

Very decorative script inspired by old lettering in Eastern Europe. Eye-catching for picture books, toys for children. There is another font which called Garash Script.

MacKeller, Smiths and Jordan had a font called Giraffe Wide which we liked, but like many Victorian display fonts it had no lowercase. We fixed that!

Mol is a slightly condensed feminine serif font recommended for use as a display typeface. It features hairline serifs, strong vertical stress and heavy ball terminals.

Supervisor is a compact and tough retro font. The font has small caps and plenty of automatic ligatures. Supervisor will rock your record covers and posters.

A sans serif with splayed ends, descenders and ascenders of the lower case dropping below the baseline, or above the x-height, very tall x-height.

Wonderwolf is an incredibly unique handwriting and attractive decorative font. Fall in love with its incredibly smooth stroke style and use it to create awesome designs!

Quirina is a very elegant joining Script that has – because of its high and open lowercase letters – excellent readability. It has a fat twin called Quiana.

A revival of one of the popular text fonts of the 19th century, suitable for text or display, short descenders, tall ascenders, the regular text version.

Quiana is a very elegant joining Script that has – because of its high and open lowercase letters – excellent readability. It has a slim twin called Quirina.

Stay and Shine is a strong and tall display font. Its sharp yet approachable feel makes this font incredibly versatile, fitting a wide range of contexts.

Zoe is a hand-drawn script that has a very even flow and is readable down to very small sizes. In big sizes it is elegant.

The original Tower Condensed font design is attributed to Morris Fuller Benton (1934). PL Tower Condensed is a tall, condensed slab serif typeface; good for headlines.

Based on a font design by Les Usherwood called Eldorado, we had to change the name because Linotype has a dissimilar typeface of the same name!

Letterpress Helpers JNL continues a series of vintage cartoons, border and corner elements, stock designs, sales helpers and other embellishments re-drawn from vintage source material.

FF Mutual is a friendly geometric sans serif full of subtle, unexpected details. Designer Luis Bandovas drew inspiration from an unlikely source—the credits from one of his favorite childhood shows, Space 1999—and turned that spark into a typeface that is warm and approachable, but contemporary. Bandovas built FF Mutual on a geometric skeleton, but the typeface has enough humanist touches to offset the rigidity usually found geometric designs. These touches are most apparent in the italics, where curved strokes on the “a” and “l” bring a softness to text. Generous spacing, angular details on letters like the “r” and “t,” and flared terminals on the “e,” “s,” and “c,” add further character to the design. FF Mutual’s bold shapes and retro-inspired warmth make it ideal for headlines, where the subtle details can really shine. The typeface is similarly well-suited for small blocks of text such as captions and call-outs, packaging design, and branding.

A typeface originally inspired by a wall lettering in a small chapel on Crete, Greece. Despite its experimental character it works nicely in a text environment. Crete is perfect for display use where a feminine and elegant touch is desired. The unusual serifs and terminals add to the graceful appearance in the Thin and provide a more robust feel in the Thick. Both weights are metrically interchangeable, so text will not reflow when mixed. The accompanying Italics have several different lettershapes and therefore have, in some cases, their own widths. However, they sit comfortably next to the uprights. The style names refer to the change in serif weight instead of increasing vertical stem widths. Crete features our Basic Extended character set including four sets of numerals, ligatures. fractions, superior/inferior numerals and language support for over 40 languages that use the Latin script. Crete was selected as winner of the Granshan competition 2008 in the display type category.

Cowboya is a typography with concave Tuscan serif very contrasted and modernist inspiration with letters in small caps, includes 4 versions of the font that can be used by superimposed layers which results in multicolored typographic titles. For the design of this typeface I was inspired by the credit titles used in the black film directed by Frizt Lang in 1950 called "The House of the River", to the drawing of the original forms of the letters i added decorative elements to give the fonts a festive character, traditionally this type of decorative fonts that emerged in Italy in the nineteenth century were used in large headlines and posters that were closely related to circus shows, carnival or environments of the Far West American. I have also rounded the sharper joints of the antlers and counterforms to create a contrast with the sharp Tuscan serifs which brings a modern background of retro inspiration and soft shapes.

Alta California became designer steve mehallo's "vector-based artist's response" to the early Apple Macintosh bitmapped font San Francisco. Alta California was developed using "sampled" wood type and letters from numerous historical sources. The name comes from the Alta California newspaper, the first daily published in California, one of a dubious Barbary Coast nature, a sheet that shaped the bias of San Franciscans and attracted its own grade of reporters, including a printing specialist who went under the nom de plume Mark Twain. Alta California's edges were meticulously redrafted by hand, with letterpress-inspired fallout and 19th century pointing hands. The final collection of rough hewn letters jump, dive, fall, zag and zig. Alta California looks great on greeting cards, food packaging, as retail signage for boutiques, vintage stores or at D.I.Y. sales, on band posters or club cards, in and around historical quarters, or for use on any ransom note that needs to evoke a wild west look and feel.

Brophy Script is a bold connecting brush alphabet. This brush script typeface was designed in 1953 by the American type designer Harold Broderson. Broderson worked for ATF (the American Type Founders), who were the original publishers of this design. Brophy Script is a version with more handwritten letters than to its other version called Body. This a brush script face that mimics the show card style of lettering, which was very popular throughout the United States during the first half of the 20th Century. The letters appear as if they were drawn quickly and spontaneously with a wide, flat lettering brush. The lowercase letters connect to each other, cursive script style. Brophy Script is the perfect display face to provoke a nostalgic feeling for the 1950s. Anything having to do with apple pie, home cooking, or last minute sales would look great in this face. You could outfit a whole supermarket signage system in a snap with Brophy Script.

Frigga is a typeface that settles its roots in the Baroque Dutch tradition of text typefaces and northern european type forms. Carefully crafted for an optimum balance between its solid historic structure and a refreshing repertoire of organic forms, where blossoms its contemporary spirit and natural beauty. In the page, spread on long text settings a feeling of comfort and closeness, while in headlines and display use, it reveals itself more exuberant and plentiful of details. Is beautiful, timeless, lush, elegant and smooth like nordic mead. Fully equipped to realize your wildest editorial dreams, Frigga came in 20 styles, with more than a 1000 glyphs per style, alternates, ornaments and borders, old style and tabular figures, small caps and plenty of OpenType features to fulfill any type of editorial need. Named after the nordic goddess Frigga (also called Frejya), taking as a reference the romantic mythos of its cultural representation, the solemn presence and her warm, gentle embrace.

Katsudon is a Japanese crumbed and deep fried pork cutlet, typically served on rice with egg drizzled over it. There is also a chicken variety. I have been to Japan numerous times (it is my favourite country) and each time I revelled in the great variety of foods being served in street stalls and hole-in-the-wall eateries. I especially love the grandma-and-grandpa eateries that are tucked away in alleys behind the major shopping streets. They never speak English and my Japanese is shaky (to say the least), but the food is always good and we always seem to understand each other. This year, I couldn’t travel to Japan, because of the Covid outbreak, but I can tell you that I miss Japan a lot! Katsudon is a crumbed and deep fried font. It comes with a splash of authenticity, a sprinkling of cheekiness and a generous dose of oomph. Oh, yeah, and double letter ligatures, plus a few alternates as well.

To start with one personal fact: I really like to listen Rahsaan Roland Kirk. He was a multi-instrumentalist, real grandmaster and unique jazz virtuoso. The way he improvised and walked through variety of different music influences are admiring. One of things he liked is to modify instruments, so he modified soprano saxophone and got an instrument called manzello. When I was looking for good name for this typeface, it came on my mind that Manzello could be the perfect one. It has the symbolic background from the instrument and theoretically in my head, it's imagined as typeface that rely on stable classic examples, but graphically designed and modified to match modern standards. Manzello contains a dose of characteristics of display typefaces with terminals that aren't perfectly rounded, high contrast between stems and good balanced Italics with elements of fine calligraphy. It's a small font family, something what I was always looking for to have as first text solution in my web and graphic projects.

Vaccine is a slab serif font family with a mixture of the usual and one-sided serifs. We call it ‘semi semi slab serif’. Serifs and terminals have soft rounded shapes, but stem junctions on the contrary use hard constructions. Such combination of basic design features makes the font distinct and strong in a setting and delicate and soft in appearance. This design peculiarity, together with low contrast and strong serifs, produces the qualities needed for using the font in small sizes, in low quality print, and in bad reading conditions. Vaccine got modern stylish design and has a prominent place in the set of popular faces. The family consists of 10 members - five weights with the corresponding italics. It can be used in a wide range of applications - magazines, advertising, corporate identity, urban navigation, packaging, children books, etc. Design by Manvel Shmavonyan with the help of Gayane Bagdasaryan as a consultant. Released by ParaType in 2013.

Ador Hairline is the high contrast version of Ador . A humanist sans serif that falls in the “evil serif” genre, especially designed for contemporary typography and comes up with 7 weights from extralight to black plus true italics and 293 ligatures and initial letters. A large x-height not only creates space in the letters for extra-bold styles, but also lends Ador Hairline an open and generous character in the more narrow and semi-bold versions. The nice balance between sharp ink trapped and soft, dynamic shapes helps to work in small sizes. Diagonal stress, angled finials and the 4 degree true italic styles give Ador Hairline a dynamic look. The font contains 1,026 glyphs and a wide range of flexibility for Latin language support for every typographical need. Ador Hairline is a contemporary sans serif typeface, special for logotypes, brands, magazines, editorial, and advertising uses. Ador Hairline was on the shortlist of Communication Arts 2020.

Grenale Slab adds to the new standard of elegance within the Grenale family. Not your typical slab, Grenale has some unique forms that give it a look all its own. This glamourous slab still draws much inspiration from Grenale’s Didone sans and its haute couture influence. Independently attractive, it’s balanced and poised, with well formed strokes. Grenale Slab’s thin weights are simple but vibrant--elegant forms that naturally lend themselves to designer journals and high-end branding along with upscale applications. With added energy and power, the thicker weights give your work a firmer, statlier look. Grenale Slab’s upright versions are also matched by optically adjusted italics. The fashionable typeface includes a multitude of alternates that may be accessed in any OpenType-enabled application. The stylish features include a large group of alternates, swashes, and meticulously refined details with ball terminals and alternate titling caps to accessorize the font. Also included are capital swash alternates, old style figures, and small caps. Peruse the PDF brochure to see these features in action. OpenType enabled applications such as the Adobe suite or Quark can take full advantage of the automatic replacing ligatures and alternates. This family also offers the glyphs to support a wide range of languages. Any of Slab’s weights also provide a well-matched companion to its original counterparts, Grenale #2 and the original Grenale. It’s time to think high-class. Graceful and assured, the carefully crafted forms of Grenale Slab step pleasantly onto each page with elegant charm. Include its range of alternate glyphs, and this chic font is a superb choice for bringing a far more refined look to your copy.

Palatino® Nova is Prof. Hermann Zapf's redesign of his own masterpiece, Palatino. The original Palatino was cut in metal by August Rosenberger at D. Stempel AG typefoundry in Frankfurt, and released in 1950. Palatino was later adapted for mechanical composition on the Linotype machine, and became one of the most-used typefaces of the 20th Century. Palatino was designed for legibility, and has open counters and carefully weighted strokes. The type was named after Giambattista Palatino, a master of calligraphy from the time of Leonardo da Vinci. Palatino is a typeface based on classical Italian Renaissance forms. A modern classic in its own right, Palatino is popular among professional graphic designers and amateurs alike, working well for both text and display typography. Hermann Zapf and Akira Kobayashi redeveloped Palatino for the 21st Century, creating Palatino Nova. Released by Linotype in 2005, the Palatino Nova family is part of Linotype's Platinum Collection. Palatino Nova includes several weights (Light, Regular, Medium, and Bold), each with companion italics. Four styles (Regular, Italic, Bold, and Bold Italic) have Greek and Cyrillic glyphs built into their character sets. The Palatino Nova family also includes revised versions of Aldus (now called Aldus Nova), as well as two titling weights. The first titling weight, Palatino Nova Titling, is based on Hermann Zapf's metal typeface Michelangelo, including Greek glyphs from Phidias Greek. The heavier titling weight, Palatino Nova Imperial, is based on Sistina. The fonts in the Palatino Nova family support all 48 Western, Central, and Eastern European languages. Additional features: ligatures and historical ligatures, Small Caps, ornaments, and a range of numerals (proportional & tabular width lining and Old style Figures, fractions, inferiors, and superiors)."

Palatino® Nova is Prof. Hermann Zapf's redesign of his own masterpiece, Palatino. The original Palatino was cut in metal by August Rosenberger at D. Stempel AG typefoundry in Frankfurt, and released in 1950. Palatino was later adapted for mechanical composition on the Linotype machine, and became one of the most-used typefaces of the 20th Century. Palatino was designed for legibility, and has open counters and carefully weighted strokes. The type was named after Giambattista Palatino, a master of calligraphy from the time of Leonardo da Vinci. Palatino is a typeface based on classical Italian Renaissance forms. A modern classic in its own right, Palatino is popular among professional graphic designers and amateurs alike, working well for both text and display typography. Hermann Zapf and Akira Kobayashi redeveloped Palatino for the 21st Century, creating Palatino Nova. Released by Linotype in 2005, the Palatino Nova family is part of Linotype's Platinum Collection. Palatino Nova includes several weights (Light, Regular, Medium, and Bold), each with companion italics. Four styles (Regular, Italic, Bold, and Bold Italic) have Greek and Cyrillic glyphs built into their character sets. The Palatino Nova family also includes revised versions of Aldus (now called Aldus Nova), as well as two titling weights. The first titling weight, Palatino Nova Titling, is based on Hermann Zapf's metal typeface Michelangelo, including Greek glyphs from Phidias Greek. The heavier titling weight, Palatino Nova Imperial, is based on Sistina. The fonts in the Palatino Nova family support all 48 Western, Central, and Eastern European languages. Additional features: ligatures and historical ligatures, Small Caps, ornaments, and a range of numerals (proportional & tabular width lining and Old style Figures, fractions, inferiors, and superiors)."

Its open counters and large x height give it excellent performance in small sizes. On the other hand, its curved diagonals, generous width and soft shapes give it a friendly but functional personality for a wide range of messages and voices. We recommend the four most extreme weights (Thin, ExtraLight, Black, and Heavy) for large sizes starting at 18 points, and the five intermediate weights (Light, Book, Regular, Medium, and Bold) for small sizes starting at 7 points.

St Ryde is a humanistic sans-serif with a slight touch of a script typeface. The most significant aspect of the typeface is the combined sharp and round treatment of the stroke endings. The complete Ryde Family contains five weights including real matching italics, so you can choose from thin, light, regular, medium and bold. St Ryde has a wide range of characters, including small caps, lining proportional and tabular figures plus small caps figures, too.