Yet another one of those romantic looking fonts. The lowercase looks pretty ordinary, while the uppercase swings around with a mixture of tagging / grunge / comicscript and casual handwriting. It works out extremely well with letters and stuff!. For fun, try writing in uppercase only...looks swell!!

Woodpecker is a self-confident, sturdy caps-only sans serif design imitating grained wood created and digitized by German type designer Ralph M. Unger for the profonts library. Woodpecker is perfectly suited for any graphic work around timber, lumber, prperty markets, carpenter, furniture and so on.

Melusine is based on an ornate style of gothic calligraphy used primarily in decorative signs and advertising in Germany around the turn of the century. It has many of the characteristics of a true medieval gothic hand, but is a more elaborate, extreme variaton on the style.

Hebrew Latino was started out of frustration. I could not find a font that looked like Hebrew - actually I found one, but it had only capitals. So I decided to make my own. Strangely enough it looks a little bit Jugendstylish! Here it is. Shalom! Gert Wiescher

Springfield is a narrow, western-style display face from Bob McGrath. The design recalls wood types that were popular during the late 19th and early 20th centuries, but which also found resonance during the 1970s. Use Springfield to liven up otherwise dull headline and logo projects.

Here's a refined version of Grange, released by Edinburgh's Miller & Richards foundry just around the turn of the twentieth century. A bit quirky with a lot of warmth. Both flavors of this font feature the 1252 Latin, 1250 Central European, 1254 Turkish and 1257 Baltic character sets.

Chocolate Bar JNL emulates hand-lettering on the sheet music for a song selection called "Shoe Shine Boy" from Connie's Hot Chocolates of 1936 (an all-black musical revue). The lettering was not found in the song's title, but rather in the name of the show itself.

"Overmind Demond" is a striking display font designed with a futuristic theme in mind. Its sleek and modern letterforms exude a sense of technological advancement and innovation, making it a perfect choice for a wide array of design projects centered around futuristic concepts or space exploration.

This is our name for Antique Tuscan, of which there were many variations. This font came from a large lot purchased around 1970 from an east coast newspaper shop. Subsequently, we acquired several more versions of the face, but this one had lowercase so we used it.

Sometimes lettering without any frills or formality gets a message across better than the use of fancier typefaces. The simple charm of the hand-lettered phrase "Safety Comes First" found on a vintage WPA (Works Progress Administration) poster served as the model for Basic Lettering JNL.

Designed by Peter Behrens, well known graphic artist and architect in Germany in the late 19th and early 20th century. This "Antiqua" was done for Rudhard's Typefoundry in Offenbach A. M. around 1902, and has been used in modern times for museum retrospectives of the designer's work.

The movie trailer for the1936 film "After the Thin Man" is filled with text lettered in this classic Art Deco condensed typeface. Sleuth JNL seems the appropriate name for this digital revival, as the romantic comedy centers around detective Nick Charles' and his wife Nora's adventures.

Introducing Drefar – Slab Serif Font The Masculine Casual Blend Drefar – Slab Serif Font is a striking fusion of masculinity and casualness, making it a perfect choice for displays. Bold and Rugged Drefar’s bold and rugged appearance conveys strength and resilience, making it ideal for projects that require a robust presence. Informal Versatility This font’s informal nature lends itself to versatile applications, from posters to headlines and more, without sacrificing its bold character. Confident Typography Drefar is a font that exudes confidence. Its slab serifs and well-defined lines provide a sense of clarity and determination. In Conclusion In summary, Drefar – Slab Serif Font is the font that marries masculine and casual elements, offering bold, confident typography for your display needs. Its versatile and rugged nature ensures that your content carries a commanding presence, engaging a wide range of readers and viewers. Whether it’s posters, headlines, or other design projects, Drefar ensures your message is delivered with strength and determination.

Anderlacht is a vintage serif font with a stamp texture that is perfect for quotes, logos, designs, digital art and more. Also accompanied by several illustrations that make it possible to make designs very easily, and there is also a multilingual language. Anderlacht Regular & Italic Anderlacht Stamp Regular & Italic 12 illustrations in lines, solids and textures PUA Encoded Multilingual Language Support

Introducing Polarized—the innovative and ultramodern typeface that redefines the concept of digital display type. Inspired by the iconic seven-segment liquid crystal numeric displays, Polarized encapsulates the essence of technological advancement through its angular and geometric design. With its unique corner logic, Polarized provides a distinctive and futuristic look that sets it apart from other typefaces. Whether you’re creating a digital interface or a sci-fi themed project, Polarized’s sharp and sleek design will add a touch of technical elegance. But that’s not all—Polarized’s versatility doesn’t stop at its design. It features a range of currency symbols, numeric ordinals, primes, and OpenType fractions, providing the flexibility and functionality that you need for your project. Available in Extra-Light, Light, Regular, Semi-Bold, and Bold, with obliques, Polarized offers a range of weights and styles to suit your specific design requirements. Whether you need a subtle accent or a bold statement, Polarized has got you covered. Incorporate Polarized into your project and experience the power of a typeface that blends cutting-edge technology with contemporary design. Get ready to bring your work to the next level with Polarized. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Oswald Cooper is best known for his emblematic Cooper Black™ typeface. Although he was responsible for several other fonts of roman design, Cooper never drew a sans serif typeface. But that didn’t stop George Ryan from creating one. Ryan saw a sans serif example of Cooper’s lettering in an old book and decided that it deserved to be made into a typeface. Ryan’s initial plan was to make a single-weight typeface that closely matched the slender and condensed proportions of the original lettering. While the resulting Oz Handicraft™ typeface proved to be very popular, Ryan was not satisfied with the limited offering. So, between other projects – and over many years – Ryan worked on expanding the design’s range. The completed family includes light, semi bold and bold weights to complement the original design, plus a matching suite of four “wide” designs, which are closer to normal proportions. Fonts of Oz Handicraft include a Pan-European character set that supports most Central European and many Eastern European languages.

The challenge was to create a single typeface weight that was versatile enough without a large font family, and could be put to use with a variety of media formats, from book text to advertising spreads, all while remaining legible and delightful to read. Originally designed between the years 2002 and 2004, the inspiration for the design originated from the concepts of Stefano Giovannoni's uber-contemporary industrial designs and architecture. Where to start with such a font design was obvious to Diphthong Regular's designer, Max Hancock; to create a transitional, slab serif form that was corky and serious, interchangeably. The characteristics of the font followed a postmodern playfulness, popular in many sub-cultures looking for an alternative to the harsher, cut-shape, deconstructivist styles. And, the unique objective behind the design was to make it so that the usual difficult combination of the t and h (hth) in language was legible as well as pleasant to look at, thus the reason for the name. The soft, subtle roundings add a flair of utilitarianism while the cut edge ascenders help to blur the line between cute and diametrical mannerisms.

Brawnie is a very bold, contemporary, sans serif font. It is ideal for headlines, titles, branding, and small blocks of text.

Modsten-Bold is a modernistic stencil design with two sets of capital letters. Modsten-plain was added to complete the family.

Chendolle is a bold display font, it has a fun and cute style and is perfect for creating playful kids designs.

A bold and arresting geometric font built from parallel stripes. Most effective in short headings or logos at larger, display sizes.

A bold sans serif typeface influenced by Ed Benguiat 's work for the 1968 movie poster for Planet of the Apes .

Knoo is a bold typeface with some pretty futuristic characters. This version has new additional characters compared to the previous version.

Queen Bella is a bold and bouncy handwritten script font. Use it for any design project that requires a personalized appearance!

Illustrious is an all caps, bold, sans serif font. It is ideal for headlines, titles, branding, and small blocks of text.

Ruthless Bold handmade Rough Brush Font with ligature and Multilanguage support. Best for halloween poster, horror poster, childrenbook, cartoon, comic etc.

Raphtalia is a fun and bold font with a unique vintage appeal! Designed with a distinct retro feel and lovely elements,

Nighthawk JNL is a clean, bold headline sans serif with a slight touch of Art Deco added for a nostalgic look.

BooRush is a display font with a childish touch. The bold shape makes this font very suitable for any playful heading!

Easy Living JNL is a bold Art Deco type face modeled from the name of a 1930s magazine entitled "Country Living".

Based on a revival of one of the popular type fonts of the 19th century, suitable for display, or text, bold.

Pudgie is an all caps, bold, sans serif font. It is ideal for headlines, titles, branding, and small blocks of text.

MIX TRIPPY TAROT is a witchy handwritten serif, sans serif AND a dingbat set. The perfect balance of cute and creep to complete any of your crafty woowoo, astrology, zodiac, mystic, spellbook, or magic projects. This family of fonts come with an abundance of glyphs, alternates and ligatures. The dingbat set is a collection of 36 doodles that perfectly go with the regular or serif Trippy Tarot font (or any other font, for that matter)! WHAT YOU'LL GET: Mix Trippy Tarot Regular Mix Trippy Tarot Little Sans Mix Trippy Tarot Dingbats Mix Trippy Tarot Regular comes with the following glyphs: ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 !@$#%^&*()`~♥❤•· ÷×+−±≈=≠≥≤[]:;’”,.|/?{}“”‘’-–—_… ©®™‹›«»°¹²³ªº¡¿₱¢€£¥½¼¾¶§№† ÁÀÂÄÃÅĂĀĄÆĆĈČÇÐĐÉÈÊËĖĒĘĜĤIÍÌÎÏĪĮĴŁŃÑŇ ÓÒÔÖÕŌŐØŒŔŘŚŜŠȘŤȚÚÙÛÜŮŰŬŪŲẂẀŴÝŶŸŹẐŽŻÞ áàâäãåăāąæćĉčçðđéèêëėēęĝĥıíìîïīįĵłńñň óòôöõōőøœŕřśŝšșťțúùûüůűŭūųẃẁŵýŷÿźẑžżþß Ligatures: ee ff fl ft ll mm nn ss tt Alternate: Q Mix Trippy Tarot Regular comes with the following glyphs: ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 !@$#%^&*()`~♥❤•· ×+−=[]<>:;’”,.\|/?{}“”‘’-–—_…©®™‹›«»°¹²³ªº¡¿₱¢€¥Þþß Fellow witches, enjoy!

The Atrament font family was originally conceived in 2003 as the corporate display type family for Suitcase Type Foundry. Its original source of inspiration is the front cover of the Devetsil - Revolucni slovn’k almanac (1922), designed by Karel Teige. The lettering on this cover is a condensed sans serif with rounded stroke terminals. Atrament is significantly broader than the model and its characters are better balanced, reflecting the evolution of semi-condensed sans serifs throughout the 1960s. The horizontal strokes of both lower and upper case are less stressed than the vertical stems. Noteworthy are the unusual tiny gaps in the apex and vertex of letters with diagonal strokes, designed to prevent ink from spreading and smudging the letter shapes. This detail is one of the main features of the font's character. The general feel of the italics closely matches the strictly vertical, parallel character of the regular cut. When converting the family to OpenType the alternate character shapes from the Alternator weights were incorporated in the regular cut, which allows the user to switch selected characters from one shape to another within the same font. A number of glyphs and accents were corrected, and all the glyphs missing in the Suitcase Standard character set were added, along with the relevant kerning pairs. The individual weights of Atrament Std thus contain accented upper and lower case, small caps, alternate glyphs for most European languages, nine types of numerals, superscript characters, caps glyph versions, and much more. Its narrow proportions make Atrament the perfect choice whenever economy of space is a must. It is however not very well suited for setting long texts. Ideal for headlines and display use, it is perfect for situations where the text needs to make a great impact in a little space.