Oboni, how are you. I am fine, thank you! This little song is what you will hear in Ghana and Togo. The white people are called Oboni and the black people are the Amebo. We'll bring both cultures together!

Monospaced black slab-serif without any philosophy or idea, it doesn't pretend to be anything sophisticated, it is as simple as chewing gum or a can of soda. Simple and lively typeface Juan has a ascetic friend — Ivan typeface.

Basalt is a hard, black volcanic rock with less than about 52 weight percent silica. Because of basalt's low silica content, it has a low viscosity (resistance to flow). Basalt is erupted at temperatures between 1100 to 1250° C.

Really, there is nothing stupid about this font. In some strange and weird way, I just thought that the name sounded like something eye-catching - in the same way that the font is eye-catching! It may look like your average comic font, but it's not! I carefully put a lot of funk, twist, comic and a spoonful of pizzadude into each and every letter. The result is a bouncy crazy looking comic font. Oh, I almost forgot - I topped the letters with a spoonful of grafitti mixed with the sounds of a party...that's the recipe for this lovely multilingual font! :)

NixonScript is a display typeface inspired by the typographic emancipation given voice by 1950s and '60s north American vernacular type. NixonScript's starting point was lettering found on a 1960s camera found in a Chicago junk shop, but its development saw it transformed from a punchy sans-serif to a more thoughtful serif, with a lowered x-height and a vibe of almost priestly piousness. Rather than a simple regular italic, a bold italic is offered. During its development, the regular version seemed almost placid but with the double emphasis of bold and italic, NixonScript gained an energetic, self-congratulatory form.

Thirteen or 14 years ago I admired, out loud, a book I found on a shelf in Matt Carter's office. That Christmas I was pleasantly surprised to find that Matt had found another copy of the book and he gave it to me. The book was about the life of Oswald Cooper and it contained numerous specimens of Cooper's lettering jobs. Among them was an interesting image of 7 letter that spelled out the word 'Robusto'. These letters were used as the model for the font Robusto. All I needed to do was develop 221 other glyphs to finish the font.

I have upgraded my existing font software and also bought new font software to play around with. It takes some time getting used to working with it; the upgraded software feels similar to what I am used to, but handles things differently and the new software is intuitive, but comes with its own language and ways of doing things. I spend most days reading the handbooks and watching online tutorials, but I did manage to create a font. Steamed is a hand drawn all caps display font that comes with a whole bunch of accented glyphs (even Vietnamese) to play around with.

Ristella - a logotype script font. This high-quality typeface is created by Måns Grebäck. Its style is bold and has large, attention-grabbing uppercase letters. Ristella contains alternate and stylistic alternates, as well as multiple ligatures. With its hundreds of glyphs it also has support for a wide range of languages. How do you make a swash? Combine an ending and a tail to make a swash. Endings are found in the following symbols: [ ] { } Tails are found in the following symbols: < > § _ ¤ Example: Ristella}> With ligatures activated, write multiple tail symbols to make a longer swash. Example: Tailextender]¤¤¤

Pacaembu is a sans serif typeface that finds its roots in Brazilian football. This seven weight family began as a study of the stone lettering found in the Paulo Machado de Carvalho Municipal Stadium, affectionately known as the Estádio Pacaembu, a real gem of the Art-Deco style inaugurated in 1940. These art-deco letters, like football itself, were brought to Brazil by Europeans and out there in the tropics found a totally unique personality. Pacaembu is a celebration of Brazilian Football, it’s unique flavours, moves, sights and colors which have been delighting fans for generations.

Pushki Pro is based on some hand lettering found on a Russian poster. Pushki Pro works with your OpenType-savvy applications, using contextual alternatives, to alternate between the upper and lowercase letters preventing adjacent glyphs from repeating.

Caramel Sky is a naturally handwritten font that comes with 5 different styles. This design was inspired by blackboard menu penmanships found on coffee shops. A fun and spontaneous typeface suitable for various home or business projects.

A 1940s film taken around Coney Island happened to show a sandwich vendor’s stand with its hand painted signs. The stylized Art Deco lettering inspired Snack Stand JNL, which is available in both regular and oblique versions.

I found her in a German market while searching for the perfect parsnip. She was smoking catnip cigarettes and squeezing kumquats to test their ripeness. She had hair like a camel and index fingers like a Viking.

“Stillson” is an Art Nouveau-influenced font found within the pages of the 1881 Barnhart Bros. & Spindler type specimen book. The digital revival is called Office Manager JNL, and is available in both regular and oblique versions.

Floralissimo are flowery embellishments that I found in several old publishing books dating back over a hundred years. I thought they might be useful for some of you, so I digitized them. Your digitizing typedesigner, Gert Wiescher

A lot of interesting variations in lettering style can be found in sets of antique tin or brass marking stencils. One such set was the model for Metalmark Stencil JNL, a bold sans with a chamfered look.

Same Old English JNL is your basic, everyday Old English text font with one small difference—it more resembles a hand-lettered typeface complete with tiny inconsistencies than it does the "perfect" versions found in printer's type.

Roman Stencil JNL is a condensed version of the classic Roman typeface found on many vintage hand-punched brass stencils made for packing and shipping merchandise. This digital interpretation is available in both regular and oblique styles.

Pickfair JNL is based on the vintage wood type Vandenburgh Tuscan (circa 1867), and gets its name from the mansion owned by Douglas Fairbanks and Mary Pickford—two of the founding partners of United Artists movie studios.

A new monospaced font with tech and experimental style by Atk Studio. Created for electronic displays found in modern techie world. This type features a Latin Standard character set, covering multiple languages written with the Latin script.

The Quarantinus font was created during the 2020 covid 19 lock-down. Tranquility being all around, the JOEBOB graphics studio almost felt like a monastery, and as a result my style of writing and my choice of pen had to fit. All this writing was turned into an authentic handwritten script font with over 150 ligatures, which make it look very credible and spontaneous. The font is especially suitable for personalized 'handwritten' notes, cards and messages. It can be used on T-shirts and on shop-windows. It has an 'instant logo' quality, it can be used for tattoo-designs and it screams home-made everything. And in case you are a writer you now have an option to print your work in a way that seems as if you wrote it yourself. Please note that even though the font comes with a complete set of Western characters, accents and special signs, the Cyrillic and Greek characters that are in the font do not make a complete set.

DIN Next is a typeface family inspired by the classic industrial German engineering designs, DIN 1451 Engschrift and Mittelschrift. Akira Kobayashi began by revising these two faces-who names just mean ""condensed"" and ""regular"" before expanding them into a new family with seven weights (Light to Black). Each weight ships in three varieties: Regular, Italic, and Condensed, bringing the total number of fonts in the DIN Next family to 21. DIN Next is part of Linotype's Platinum Collection. Linotype has been supplying its customers with the two DIN 1451 fonts since 1980. Recently, they have become more popular than ever, with designers regularly asking for additional weights. The abbreviation ""DIN"" stands for ""Deutsches Institut für Normung e.V."", which is the German Institute for Industrial Standardization. In 1936 the German Standard Committee settled upon DIN 1451 as the standard font for the areas of technology, traffic, administration and business. The design was to be used on German street signs and house numbers. The committee wanted a sans serif, thinking it would be more legible, straightforward, and easy to reproduce. They did not intend for the design to be used for advertisements and other artistically oriented purposes. Nevertheless, because DIN 1451 was seen all over Germany on signs for town names and traffic directions, it became familiar enough to make its way onto the palettes of graphic designers and advertising art directors. The digital version of DIN 1451 would go on to be adopted and used by designers in other countries as well, solidifying its worldwide design reputation. There are many subtle differences in DIN Next's letters when compared with DIN 1451 original. These were added by Kobayashi to make the new family even more versatile in 21st-century media. For instance, although DIN 1451's corners are all pointed angles, DIN Next has rounded them all slightly. Even this softening is a nod to part of DIN 1451's past, however. Many of the signs that use DIN 1451 are cut with routers, which cannot make perfect corners; their rounded heads cut rounded corners best. Linotype's DIN 1451 Engschrift and Mittelschrift are certified by the German DIN Institute for use on official signage projects. Since DIN Next is a new design, these applications within Germany are not possible with it. However, DIN Next may be used for any other project, and it may be used for industrial signage in any other country! DIN Next has been tailored especially for graphic designers, but its industrial heritage makes it surprisingly functional in just about any application. The DIN Next family has been extended with seven Arabic weights and five Devanagari weights. The display of the Devanagari fonts on the website does not show all features of the font and therefore not all language features may be displayed correctly.

DIN Next is a typeface family inspired by the classic industrial German engineering designs, DIN 1451 Engschrift and Mittelschrift. Akira Kobayashi began by revising these two faces-who names just mean ""condensed"" and ""regular"" before expanding them into a new family with seven weights (Light to Black). Each weight ships in three varieties: Regular, Italic, and Condensed, bringing the total number of fonts in the DIN Next family to 21. DIN Next is part of Linotype's Platinum Collection. Linotype has been supplying its customers with the two DIN 1451 fonts since 1980. Recently, they have become more popular than ever, with designers regularly asking for additional weights. The abbreviation ""DIN"" stands for ""Deutsches Institut für Normung e.V."", which is the German Institute for Industrial Standardization. In 1936 the German Standard Committee settled upon DIN 1451 as the standard font for the areas of technology, traffic, administration and business. The design was to be used on German street signs and house numbers. The committee wanted a sans serif, thinking it would be more legible, straightforward, and easy to reproduce. They did not intend for the design to be used for advertisements and other artistically oriented purposes. Nevertheless, because DIN 1451 was seen all over Germany on signs for town names and traffic directions, it became familiar enough to make its way onto the palettes of graphic designers and advertising art directors. The digital version of DIN 1451 would go on to be adopted and used by designers in other countries as well, solidifying its worldwide design reputation. There are many subtle differences in DIN Next's letters when compared with DIN 1451 original. These were added by Kobayashi to make the new family even more versatile in 21st-century media. For instance, although DIN 1451's corners are all pointed angles, DIN Next has rounded them all slightly. Even this softening is a nod to part of DIN 1451's past, however. Many of the signs that use DIN 1451 are cut with routers, which cannot make perfect corners; their rounded heads cut rounded corners best. Linotype's DIN 1451 Engschrift and Mittelschrift are certified by the German DIN Institute for use on official signage projects. Since DIN Next is a new design, these applications within Germany are not possible with it. However, DIN Next may be used for any other project, and it may be used for industrial signage in any other country! DIN Next has been tailored especially for graphic designers, but its industrial heritage makes it surprisingly functional in just about any application. The DIN Next family has been extended with seven Arabic weights and five Devanagari weights. The display of the Devanagari fonts on the website does not show all features of the font and therefore not all language features may be displayed correctly.

DIN Next is a typeface family inspired by the classic industrial German engineering designs, DIN 1451 Engschrift and Mittelschrift. Akira Kobayashi began by revising these two faces-who names just mean ""condensed"" and ""regular"" before expanding them into a new family with seven weights (Light to Black). Each weight ships in three varieties: Regular, Italic, and Condensed, bringing the total number of fonts in the DIN Next family to 21. DIN Next is part of Linotype's Platinum Collection. Linotype has been supplying its customers with the two DIN 1451 fonts since 1980. Recently, they have become more popular than ever, with designers regularly asking for additional weights. The abbreviation ""DIN"" stands for ""Deutsches Institut für Normung e.V."", which is the German Institute for Industrial Standardization. In 1936 the German Standard Committee settled upon DIN 1451 as the standard font for the areas of technology, traffic, administration and business. The design was to be used on German street signs and house numbers. The committee wanted a sans serif, thinking it would be more legible, straightforward, and easy to reproduce. They did not intend for the design to be used for advertisements and other artistically oriented purposes. Nevertheless, because DIN 1451 was seen all over Germany on signs for town names and traffic directions, it became familiar enough to make its way onto the palettes of graphic designers and advertising art directors. The digital version of DIN 1451 would go on to be adopted and used by designers in other countries as well, solidifying its worldwide design reputation. There are many subtle differences in DIN Next's letters when compared with DIN 1451 original. These were added by Kobayashi to make the new family even more versatile in 21st-century media. For instance, although DIN 1451's corners are all pointed angles, DIN Next has rounded them all slightly. Even this softening is a nod to part of DIN 1451's past, however. Many of the signs that use DIN 1451 are cut with routers, which cannot make perfect corners; their rounded heads cut rounded corners best. Linotype's DIN 1451 Engschrift and Mittelschrift are certified by the German DIN Institute for use on official signage projects. Since DIN Next is a new design, these applications within Germany are not possible with it. However, DIN Next may be used for any other project, and it may be used for industrial signage in any other country! DIN Next has been tailored especially for graphic designers, but its industrial heritage makes it surprisingly functional in just about any application. The DIN Next family has been extended with seven Arabic weights and five Devanagari weights. The display of the Devanagari fonts on the website does not show all features of the font and therefore not all language features may be displayed correctly.

DIN Next is a typeface family inspired by the classic industrial German engineering designs, DIN 1451 Engschrift and Mittelschrift. Akira Kobayashi began by revising these two faces-who names just mean ""condensed"" and ""regular"" before expanding them into a new family with seven weights (Light to Black). Each weight ships in three varieties: Regular, Italic, and Condensed, bringing the total number of fonts in the DIN Next family to 21. DIN Next is part of Linotype's Platinum Collection. Linotype has been supplying its customers with the two DIN 1451 fonts since 1980. Recently, they have become more popular than ever, with designers regularly asking for additional weights. The abbreviation ""DIN"" stands for ""Deutsches Institut für Normung e.V."", which is the German Institute for Industrial Standardization. In 1936 the German Standard Committee settled upon DIN 1451 as the standard font for the areas of technology, traffic, administration and business. The design was to be used on German street signs and house numbers. The committee wanted a sans serif, thinking it would be more legible, straightforward, and easy to reproduce. They did not intend for the design to be used for advertisements and other artistically oriented purposes. Nevertheless, because DIN 1451 was seen all over Germany on signs for town names and traffic directions, it became familiar enough to make its way onto the palettes of graphic designers and advertising art directors. The digital version of DIN 1451 would go on to be adopted and used by designers in other countries as well, solidifying its worldwide design reputation. There are many subtle differences in DIN Next's letters when compared with DIN 1451 original. These were added by Kobayashi to make the new family even more versatile in 21st-century media. For instance, although DIN 1451's corners are all pointed angles, DIN Next has rounded them all slightly. Even this softening is a nod to part of DIN 1451's past, however. Many of the signs that use DIN 1451 are cut with routers, which cannot make perfect corners; their rounded heads cut rounded corners best. Linotype's DIN 1451 Engschrift and Mittelschrift are certified by the German DIN Institute for use on official signage projects. Since DIN Next is a new design, these applications within Germany are not possible with it. However, DIN Next may be used for any other project, and it may be used for industrial signage in any other country! DIN Next has been tailored especially for graphic designers, but its industrial heritage makes it surprisingly functional in just about any application. The DIN Next family has been extended with seven Arabic weights and five Devanagari weights. The display of the Devanagari fonts on the website does not show all features of the font and therefore not all language features may be displayed correctly.

Poxy is a black weight display font with 3 styles available. Built with particles, including circles, hexagons and stars. An Alternate Stylistic Set offers the option to make letters, numbers and symbols float away at the the top of each glyph.

The pages of the Speedball® Lettering Textbook have yielded a number of classic typefaces for digital designers. Frontiersman JNL and Frontiersman Black JNL have the wonderful hand-lettered look that adds just the right touch of nostalgia to any layout.

Based on the Batman logo, this font (and a medium weight which is unreleased) were designed especially for Rian Hughes' "Batman: Black and White" comic book. It retains the signature reversed-stress weight distribution, seen to best effect on the A.

A chic and simple geometric hand font. Maisy comes with a set of icons and is perfect for fashion, marketing, books, websites, magazines, film and television. Maisy comes in two font styles (basic/wide) and four weights (light/regular/bold/black).

Anantason Reno is a versatile sans-serif typeface that offers a range of 162 styles, spanning from thin to black in weight and ultra-condensed to ultra-expanded in width. Its adaptability makes it well-suited for a variety of purposes.

Alphabit is a grid-based bitmap typeface that celebrates the blocky and jagged letterforms of early digital typography. Designed with technology as the central theme, it simultaneously references a bygone era of computing and yet feels relevant for modern applications.

Retrade is a unique and modern family of Sans serif fonts. Simply Conception has 9 families Regular font, starting from the small thin to the largest Black. This typeface is versatile and can be used successfully in magazines, posters, branding, websites.

Magefin is a unique and modern family of serif fonts. Simply Conception has 9 families Regular font, starting from the small thin to the largest Black. This typeface is versatile and can be used successfully in magazines, posters, branding, websites.

Indoxine is a scribbled font, simulating hasty written letters with occasional inkblobs. Comes with ligatures for both double upper/lower letters and numbers, in regular and black versions! You will need to use OpenType supporting applications to use the autoligatures.

Nutnik was made using cut out cardboard letters, black paint and some brushes. The result is a highly legible, yet grungy font. It comes with all the diacritics you could possibly wish for and stylistic alternates for the lower case letters.

Colibre Bristole Pro is a serif font family that crafted with precision, Colibre Bristole consist of 9 styles from thin to black. has 49 ligatures to make writing more interactive Features : · Multilanguange · Alternates · PUA Encoded · Font Family totals 9 fonts

You stand, poised at the brink. If you do not choose the right, the best typeface, this may be one of the greatest disasters in your history. The whole root and core and brain on which and around which your project is built seems about to perish into an ignominious end. But I do not for a moment fail to believe that Winsel shall prevail for you. This bold new face, founded from the tested mind of insigne design, will in the moment of need wield for you the full might of its ancestors. The entire strength of the British Empire’s vernacular poster lettering spanning the 1920’s to the 1950’s drives the very heart of every feature and weight this font has to offer. Winsel’s expanded design is sharp and angular, based on pointed brush strokes. Its thick, sturdy appearance will draw and direct your reader’s mind to the weight and importance of your messages and titling. Within the font’s full forces work a range of styles to achieve victory in the contest ahead: thick weights that are compact and muscular for carrying a heavier load and lighter, finer weights to lead you through your more sensitive operations. It stands equipped with OpenType features, ready to support most European Latin-based languages and providing features such as Small Caps and Titling Caps in all nine of its weights. Well-honed for the task ahead, Winsel has been crafted to ride out the storm of mediocrity and to outlive the merits of inconsequence, if necessary for years, if necessary alone. There has never been in all the world such an opportunity for you. With Winsel, you shall go on till the end. You shall write on the beaches. You shall write on the landing grounds. You shall write with growing confidence and growing strength in print or on the air. Every morn has brought forth a noble chance. Your chance this day is Winsel.