Based on an antique metal stencil plate used for identifying crates, bales or barrels, Stencil Piece JNL is one of the numerous stencil designs available through Jeff Levine Fonts. The type design is available in both regular and oblique versions.

EightZeta is a hand-drawn font designed by Bartek Nowak. It can be used for invitations, greeting cards, posters, advertising, weddings, books, menus etc. Language support includes Western, Central and Eastern European character sets, as well as Baltic and Turkish languages.

To meet the burgeoning demands of commerce, type founders in 1830s London introduced a plethora of new fonts which abandoned the traditional nib-informed model. Most radical were bold, capital-only designs with almost no stroke contrast, stripped bare of serifs. To all intents and purposes these minimal expressions of utility were identical to 20th century functionalism. Recontextualizing one of the original sans fonts, Shinn offers an alternative proposition to the myth of modernism.

Wild Fat Font - playful handwriting experimental display typeface inspired by classic old cartoons. Wild Fat Font is available in 3 styles: outline, outline distorted, and regular. The regular style imitates writing with a fat marker. The Wild Fat Font works perfectly for bold titles, Festival posters, a graphic element for bright T-shit or hoodies, designs for Kids, graffiti concepts, modern aesthetics, fashion, any visual design project, and even backgrounds! This bulging and chunky font likes an experiment with spacing and different deformation. Please, don't hold back on your bold modern ideas!

Flannel Shirt BB is a body copy font that's warmer and cozier than most-- perfect for curling up with a laptop on a blustery New England "Nor'Easter". Flannel Shirt BB comes with four wintery weights, and has a hefty compliment of special characters.

A late nineteenth-century type specimen catalog from Farmer, Little & Co. yielded this droll little typeface, originally called "Arbor". The distinctive decorations of the face suggested a fool's cap, and thus the font got its current name. And don't call me Surely.

Originally issued as Palm from the A. D. Farmer Foundry in New York, about 1887. This is a good early example of the transition from the ruffles and fluorishes of Victorian fonts to the more restrained decoration that came to be called Art Nouveau.

Freight Display kicks it up another notch from the Freight Text family with more open counters and a bit more contrast. Those warmer proportions give balance for easily read headlines, running heads, and subheads while still standing tall if reversed-out at smaller sizes.

A blast from the past, this timeless typeface is based on Marble Heart, first released in the United States by Farmer, Little and Co. in 1866. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.