Capitalist Pictograms is a picture fonts inspired by the classic Capitalist poster. Glyphs can be used to recreate the iconic poster or individually for fun.

Copperplate Deco is my sparingly decorated version of my Copperplate fonts. They can be used as standalone fonts. Yours once more very glitzy Gert Wiescher

Mid Mid Sun Sun will help you refine your typography to the extreme. It has a number of alternates, which can change into different expressions.

Finally the light version of Wilhelm Berg’s hot-metal classic which had found its way from Schriftguss to Typoart can be released for nowaday’s use.

Maim is one messed up sans serif typeface. Designed to be used as a family by intermixing the letters for more random looking destroyed text.

Filou is a genuine bastard inspired by three different typefaces. It consists of three weights: "Regular", "Medium" and "Extra" which can be easily mixed together.

The typeface was designed at ParaType (ParaGraph) in 1990 by Alexander Tarbeev based on Pragmatica typeface, 1989 by Vladimir Yefimov. A monospaced condensed sans serif.

Varial typefaces are extra-condensed Opentype™ sans-serifs with small caps, extended character set (european languages support) and extra features (fractions, ligatures and alternatives).

The ALDOGIZIO family is a new slab-serifs typefaces family inspired by Aldo Novarese' Egizio. It can be use for text as for titling applications.

Talking Five is a hand-drawn sans serif font family. Friendly and soft impression. Best for school activity, text-book for kids, poster and toys.

A redesign of Typoart's Thannhaeuser Fraktur. You can access the long s either by typing the integral sign [∫] or activating the OpenType feature historical forms.

This font is a collection of simple calligraphic ornaments suitable for invitations, gift tags, and anything that can benifit from a "spoonful of sugar" visually.

Nouveau Eccentrique JNL is a novelty Art Nouveau lettering style found on some 1920s sheet music cheerfully entitled "I'm Glad I Can Make You Cry".

Allnoob Typeface is one of the elegant decorative fonts neatly arranged and cool, you can also use it for business, clothing, movie titles, and more

Loftie is an all caps, condensed sans serif font with beveled corner characters. The font is ideal for headlines, titles, branding, small blocks of text.

This font is a collection of simple calligraphic ornaments suitable for invitations, gift tags, and anything that can benefit from a “spoonful of sugar” visually.

How cute can you get? Cattapilla's open type version has extra ligatures and stylistic alternates, perfect for scrapbooking, greeting cards, announcements or any creative project.

Golnama is a modern Sans Serif headline font. Golnama supports Arabic, Persian, Urdu and Latin. It includes proportional and tabular numerals for the supported languages.

Ammonia is a simple sans serif made fumey and gloopy. Strange little dendrites poke out from some of the characters, causing some linkage between letters.

Phi is a simple geometric sans, inspired by the Golden Ratio. It is rock solid, versatile, legible and excellent for both text and display usage.

This is a connected script font with a trendy flair. You can add little flourishes to the beginning or end letters for a whimsical touch.

JH Hala is a modern style typeface; it is designed based on Koufi style & latin humanist sans serif classification, typical for corporate identity, branding & signage...

Cohoba is a chunky condensed sans serif. Cohoba is loud and proud. It comes with a handful of discretionary ligatures. Cohoba is fun and versatile.

Introducing Quinger - Unique Sans Display inspired by the famous minimalist logo perfect for the purposes of designing templates, brochures, videos, advertising branding, logos and more.

Bollatica from Philip Bouwsma is a nice interpretation of the scrittura bollatica. It has a floreal historical lettering and can be used for historical documents.

Adolescent is a cute and playful handwritten font. Use this font to add that special cool touch to any design idea you can think of!

Boheld comes with 6 different style variations such as Sans, Serif, Bold, Condensed, and Inline. It is inspired by classic labels, tickets, posters, and more.

Zumbo is a capital letter font, hand designed. The letters can be freely combined: with or without decoration. 2022 by German typeface designer Joachim Frank.

This font is a collection of simple calligraphic ornaments suitable for invitations, gift tags, and anything that can benifit from a "spoonful of sugar" visually.

Coupon Clipper JNL is a fun, playful, casual sans serif font that evokes some of the lighthearted typography of the late 50s and early 60s.

Anjelina is a beautiful and romantic script font. It is PUA encoded which means you can access all of the glyphs and swashes with ease!

This typeface was suggested by a 1930s ad for a product called Plantol, designer unknown. It can be either graceful or playful, depending on context.

General Merchant JNL is a bold, compressed sans design in the 'Grotesk' fashion with varying character widths and flattened tops on the usually rounded characters.

Araboto is a simple geometric Arabic typeface, with six weights. You can use it in a variety of uses from printings to web and mobile.

Cardboard Cutouts JNL is a blocky sans serif font re-drawn from some old "kiddie" stencils from the 1950s or 1960s acquired by Jeff Levine.

Breakdance is a vintage font duo. Combination of sans and script with sharp textures making all your creative projects getting a vintage and authentic impression!

This font is a collection of simple calligraphic ornaments suitable for invitations, gift tags, and anything that can benifit from a "spoonful of sugar" visually.

Redmoon is a cute and playful handwritten font. Use this font to add that special cool touch to any design idea you can think of!

A font perfect for not just one, but many projects! Introducing Oceanwide Pro, a sans that loves to be used in just about any situation! Designed with ultra clean lines and versatility in mind, Oceanwide wants to be your new favorite sans! Oceanwide’s ultra clean letters work anywhere you want to communicate orderliness and competence, and designed to build trust and rapport with your audience. Its wide proportions make it ideal for display and logo use. Oceanwide especially shines for white/bright letters on black/dark backgrounds! That’s because the inside shapes are nearly perfect circles in many weights. Here's a quick video tour of Oceanwide Pro by Dave Lawrence, including all the great things Oceanwide can be used for! We've tested Oceanwide for these industries, with stunning results!: Tech Arts Fashion & Style Business & Branding Corporations Logistics Architecture Food and many more... Oceanwide can be used for: Headers Subheadlines Logos Even body text, if tracked. Print & Screen The styles it can take are also many. It's great for: Modern/minimalist design Flat design Cut out design User Interface (UI) Technical designs In combination with text effects, even for grunge and other situations. And many others... DESIGN FEATURES Simplicity Tall x-height Hand-sloped obliques (italics) Narrow spacing Semi-wide proportions Expert kerning Well proportioned, usable lights & extra lights Large caps Great ALL CAPS MODE Uppercase punctuation Uppercase spacing with California Type Foundry’s Smart Tracking™ Advanced fraction support Proportional lining figures Thick joins Smooth curves Sturdy—great for textures and effects Variable font available Latin Pro character set for Central European languages. That's the writing for over 782 languages and transliterations worldwide! DESIGN STORY—THE FORGOTTEN SANS by Dave Lawrence, Lead Designer, California Type Foundry Adrian Frutiger was the 20th century master of sans, but I didn't realize he had made—not one—but TWO geometric sans! It wasn't until I had purchased the book “Adrian Frutiger: Typefaces”. I had hoped to someday meet Adrian Frutiger, but he passed away that very same year. Here is the story of Frutiger's forgotten sans. Back in 1968, Frutiger was approached by Pentagram to make a design for British Petroleum. They wanted a "new version of Futura". However, they wanted him to make a couple adjustments. First, they felt that Futura was "too fiddly." By this, they meant that it narrowed too much at the joins. (Joins are for example where the round and straight parts of the 'd' meet.) This is something that is necessary for small print text (to prevent ink clogging), but is not necessary at large sizes. Second, they wanted it to be entirely geometric, using the circular shape with minimal optical corrections. Unfortunately this font was not even used very consistently in the BP brand. A haphazard mix of Futura and Frutiger's BP font ensued. It was then replaced by another font design very soon after. My design is different in several ways. First, the commas and quotes are a more modern style. I tried his original commas, but these just didn’t work to 21st century eyes. Second, in his drawings, Frutiger went for a more standard u with a downstroke on the right. However, Oceanwide has a simpler u. Third, I made more optical adjustments. At the direction of his employer, Frutiger reluctantly put no font optical corrections into the letters. So I think my optical adjustments are similar to what Frutiger would have wanted. Fourth, I extended the weight into the light and extra light ranges. Fifth, the rest of the font I created according to the principles of Adrian Frutiger, but with no sources for inspiration. Here is Frutiger’s design philosophy, in his own words: “If you remember the shape of your spoon at lunch, it has to be the wrong shape. The spoon and the letter are tools; one to take food from the bowl, the other to take information off the page... When it is a good design, the reader has to feel comfortable because the letter is both banal and beautiful.” The words about the spoon were the ones I kept in my mind as I tried to make the curves ultra smooth, and the shapes ultra simple. Hopefully this font is a worthy successor to the font that inspired it. Released on the 93rd birthday of Adrian Frutiger, to celebrate the life and achievements of this amazing designer. ——————— Simplicity. Versatility. Oceanwide.

An ebay purchase of a vintage Speedball lettering pen set yielded an extra bonus… numerous alphabets on paper rendered in both pen and ink and via pencil sketches. One such design in rough pencil layout is a classic serif typeface often found on many passenger and freight trains, trolley cars and busses. This “Railroad Roman” was scanned from the original sketches and then re-drawn digitally, all along retaining the charm and attractiveness often found in hand lettering. The end result is Streetcar JNL, which is available in both regular and oblique versions.