Oprath is a smooth deconstruct linear sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Heatwood is a cute signature font. Whether you’re looking for fonts for Instagram or calligraphy scripts for DIY projects, Heatwood will turn any creative idea into a true piece of art!

Wsago is a solid eclectic linear sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Borge is a lithesome sanctimoniuos tech sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

The Modernique font has an Art Deco flair. Contrast between thick and thin strokes is extreme, making this font only suitable for display. The Lowercase f, i and j are unusual.

Prattt is a stringent curvilineal tech sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Ramego is a smooth structural linear sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 240+ glyphs with ligatures and fractions available in opentype .otf and .woff format

A handsome German art deco design that fits in well with other types of the 1920s and 1930s. Originally without a lowercase, so we drew one for it, extending its usefulness.

Tokga is an articulate rounded linear sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Broft is a pointed substantial linear sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

The vast variety of vintage letterpress illustrations representing many different eras and art styles allows for yet another volume of cartoons, embellishments, ornaments and stock cuts contained within Print Partners JNL.

Agobb is a subside convolution tech sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Ogibo is an intrinsic scintillating tech sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Woqna is a cubist pureness tech sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Solid Serif JNL adds tiny serifs to the letter forms of Parkitecture JNL and changes the look and feel into an Art Deco Roman face for display, titling and period pieces.

The typeface was designed for ParaType (ParaGraph) in 1994 by Oleg Karpinsky basing on his original artwork. A decorative face in Op-Art style. For use in advertising and display typography.

Karvx is an arithmetic explication tech sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Agobb is a gridlock overflow tech sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Opz Popz JNL is a collection of fifty-two designs based on geometric designs and pop art (reminiscent of the 1960s). These images are perfect embellishments for retro-themed work projects.

Ogibo is a disciplined clairvoyant tech sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Roqbo is an esthetic puissant tech sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Apogee 013 is a contemporary yet futuristic typeface with a Sci-Fi aesthetic which contains subtle asymmetrical cues, this display font is ideal for illustrative work, logos, headlines and digital art.

Vobca is a dynamic fusion linear sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Magsk is a diminutive sagacious tech sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Nagarawa is an Asian style font, very suitable for various logotypes for Asian nuanced products, such as Asian food, martial arts clubs, music, novel and comic titles, apharel clothing and others.

Bubblegum is a font made in styles: With its nice and sweet appeal, it is perfect for scrapbooking, print design, stationery, blog header, greeting cards, posters, blog header and art quote.

Rboca is a revolve consolidated unicase sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 150+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Built from the petroglyphs found on the island of Santa Catarina - Brazil. With elemental geometric signs and figurative human representations. It is a printer with a decorative characteristics of Art Deco.

Gronra is a structural softness linear sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Sign Decal JNL is an outline version of Sheldrake JNL - lettering based on original water-applied decal transfers once made by the Duro Decal Company (now Duro Art Industries) of Chicago.

Retrograph is a handwritten font that looks neat and clear. Consistent lines make this font neat and beautiful. Font feature Uppercase, Lowercase, Numerals & Punctuations, Stylistic Alt, Stylistic Set, Swash Ligature, Multilanguage

Acta Variable is a clean and fresh type system that remains conservative enough for newspaper setting. The complete Acta Variable allows the possibility to modify the Weight and Optical size axis.

Goelt is a rigidity contrast linear sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 150+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Uegor is a roundel compact linear sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 150+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Haldane is an Art Nouveau 'punctuated' (i.e. not joined) script, ideal for certificates, calligraphic lettering and signage. Stroke width vary from almost hairline to extremely wide. Great fun for every application!

Aqem contemporary of Sans Serif font, Inspired by art nouveau Era. Aqem offers beautiful typographic harmony for a diversity of design projects, including logos & branding, social media posts, advertisements & product designs.

Boxajoy drawn with an inky pen and scanned at high resolution - that's why it looks good, even at large sizes!

Gérard Mariscalchi is a self-made designer. Born in Southern France of a Spanish mother and an Italian father, he has worked as a mechanic, salesman, pilot, college teacher – even a poet (with poetry being the worst-paying of these professions, he reports.) “Throughout all this, the backbone of my career has always been design,” Mariscalchi says. “I’ve been drawing since I was five, but it wasn’t until I was twenty-four that I learned that my hobby could also help me earn a living.” It was about this same time that Mariscalchi fell in love with type. He studied the designs of masters like Excoffon, Usherwood and Frutiger, as well as the work of calligraphers and type designers such as Plantin, Cochin and Dürer. With such an eclectic background, it’s no surprise that Mariscalchi’s typeface designs are inspired by many sources. Baylac and Evita reflect the style of the art nouveau and art deco periods, while Marnie was created as an homage to the great Lithuanian calligrapher Villu Toots. However, the touch of French elegance and distinction Mariscalchi brings to his work is all his own. Baylac Who says thirteen is an unlucky number? Three capitals and ten lowercase letters from a poster by L. Baylac, a relatively obscure Art Nouveau designer, served as the foundation for this typeface. The finished design has lush curves that give the face drama without diminishing its versatility. On the practical side, Baylac’s condensed proportions make it perfect for those situations where there’s a lot to say and not much room in which to say it Evita Mariscalchi based the design of Evita on hand lettering he found in a restaurant menu, and considers this typeface one of his most difficult design challenges. “The main problem was to render the big weight difference between the thin and the thick strokes without creating printing problems at small point sizes,” he says. Unlike most scripts, Evita is upright, with the design characteristics of a serif typeface. Mariscalchi named the face for a close friend. The end result is a charming design that is light, airy, and slightly sassy. Marnie Based on Art Nouveau calligraphic lettering, Marnie is elegant, inviting, and absolutely charming. Mariscalchi paid special attention to letter shapes and proportions to guarantee high levels of character legibility. He also kept weight transition in character strokes to modest levels, enabling the face to be used at relatively small sizes – an unusual asset for a formal script. Marnie’s capital letters are expansive designs with flowing swash strokes that wrap affectionately around adjoining lowercase letters. The design easily captures the spontaneous qualities of hand-rendered brush lettering.

Gérard Mariscalchi is a self-made designer. Born in Southern France of a Spanish mother and an Italian father, he has worked as a mechanic, salesman, pilot, college teacher – even a poet (with poetry being the worst-paying of these professions, he reports.) “Throughout all this, the backbone of my career has always been design,” Mariscalchi says. “I’ve been drawing since I was five, but it wasn’t until I was twenty-four that I learned that my hobby could also help me earn a living.” It was about this same time that Mariscalchi fell in love with type. He studied the designs of masters like Excoffon, Usherwood and Frutiger, as well as the work of calligraphers and type designers such as Plantin, Cochin and Dürer. With such an eclectic background, it’s no surprise that Mariscalchi’s typeface designs are inspired by many sources. Baylac and Evita reflect the style of the art nouveau and art deco periods, while Marnie was created as an homage to the great Lithuanian calligrapher Villu Toots. However, the touch of French elegance and distinction Mariscalchi brings to his work is all his own. Baylac Who says thirteen is an unlucky number? Three capitals and ten lowercase letters from a poster by L. Baylac, a relatively obscure Art Nouveau designer, served as the foundation for this typeface. The finished design has lush curves that give the face drama without diminishing its versatility. On the practical side, Baylac’s condensed proportions make it perfect for those situations where there’s a lot to say and not much room in which to say it Evita Mariscalchi based the design of Evita on hand lettering he found in a restaurant menu, and considers this typeface one of his most difficult design challenges. “The main problem was to render the big weight difference between the thin and the thick strokes without creating printing problems at small point sizes,” he says. Unlike most scripts, Evita is upright, with the design characteristics of a serif typeface. Mariscalchi named the face for a close friend. The end result is a charming design that is light, airy, and slightly sassy. Marnie Based on Art Nouveau calligraphic lettering, Marnie is elegant, inviting, and absolutely charming. Mariscalchi paid special attention to letter shapes and proportions to guarantee high levels of character legibility. He also kept weight transition in character strokes to modest levels, enabling the face to be used at relatively small sizes – an unusual asset for a formal script. Marnie’s capital letters are expansive designs with flowing swash strokes that wrap affectionately around adjoining lowercase letters. The design easily captures the spontaneous qualities of hand-rendered brush lettering.

Gérard Mariscalchi is a self-made designer. Born in Southern France of a Spanish mother and an Italian father, he has worked as a mechanic, salesman, pilot, college teacher – even a poet (with poetry being the worst-paying of these professions, he reports.) “Throughout all this, the backbone of my career has always been design,” Mariscalchi says. “I’ve been drawing since I was five, but it wasn’t until I was twenty-four that I learned that my hobby could also help me earn a living.” It was about this same time that Mariscalchi fell in love with type. He studied the designs of masters like Excoffon, Usherwood and Frutiger, as well as the work of calligraphers and type designers such as Plantin, Cochin and Dürer. With such an eclectic background, it’s no surprise that Mariscalchi’s typeface designs are inspired by many sources. Baylac and Evita reflect the style of the art nouveau and art deco periods, while Marnie was created as an homage to the great Lithuanian calligrapher Villu Toots. However, the touch of French elegance and distinction Mariscalchi brings to his work is all his own. Baylac Who says thirteen is an unlucky number? Three capitals and ten lowercase letters from a poster by L. Baylac, a relatively obscure Art Nouveau designer, served as the foundation for this typeface. The finished design has lush curves that give the face drama without diminishing its versatility. On the practical side, Baylac’s condensed proportions make it perfect for those situations where there’s a lot to say and not much room in which to say it Evita Mariscalchi based the design of Evita on hand lettering he found in a restaurant menu, and considers this typeface one of his most difficult design challenges. “The main problem was to render the big weight difference between the thin and the thick strokes without creating printing problems at small point sizes,” he says. Unlike most scripts, Evita is upright, with the design characteristics of a serif typeface. Mariscalchi named the face for a close friend. The end result is a charming design that is light, airy, and slightly sassy. Marnie Based on Art Nouveau calligraphic lettering, Marnie is elegant, inviting, and absolutely charming. Mariscalchi paid special attention to letter shapes and proportions to guarantee high levels of character legibility. He also kept weight transition in character strokes to modest levels, enabling the face to be used at relatively small sizes – an unusual asset for a formal script. Marnie’s capital letters are expansive designs with flowing swash strokes that wrap affectionately around adjoining lowercase letters. The design easily captures the spontaneous qualities of hand-rendered brush lettering.