This is a Vanderburgh and Wells wood type cap font from 1877. We don't know if the originators made a lowercase for it, but we did. Most effective in larger sizes.

Made with a wide pen, with a lot of love! Loads of international letters, and 6 different versions of each lowercase letter (these cycles automatically AS you type - just like magic!)

TOMO Pillo! a blocky style fat face with attitude. Bold, heavy and fun! all at the same time! You will only need this font to make your designs stand out fresh!

One Code was made in the end of 1998. Original naive character was specially created for an unique design project, but now it is ready for use as an ordinary typeface.

Lost Land is a horror hand drawn font. The font made for cover design, logos, headlines, apparel design, magazine titles etc. Font includes multi-lingual and currency support, numerals, and punctuations.

Cordial is a solid, friendly font. Like other informal script fonts, Cordial works in nearly any context. This font was originally named Pulpatoon, but the designer's wife made him change it.

Old Russian is a fake Cyrillic alphabet, based on old Slavic characters universally adopted in the old days of the Russian empire. Offering an opportunity to create a unique historical look.

Minimum Waste - the name is taken from a Sade song, but is meant more as a political statement. Please be aware about your everyday use to make sure the planet survives!

Subtle slab serifs and distinctive hooks of this square ultra light type face will add a bit of elegant feeling to your sweet designs. Masherbrum Slab looks better in larger sizes.

Soli, based on an architect's handwriting is a fun, modern script face with a very complete character set. Can be used for journaling, scrapbooking, or anywhere a handmade touch is needed.

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.

Skjald is a decorative typeface for use on posters and in books where an elaborate face enhances the mood. The Skjald font is an excellent choice for book covers and posters.

Dabi is a bold sans serif type family of three weights plus matching italics. It is suitable for logos, titles, posters, etc. Made from a compilation of all his design projects.

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.

Made in bold style and wide, as well as consistent spacing between letters, this font has a distinctive aesthetic value, suitable for graphic design use such as logos, posters, and others.

As its name suggests, TRGrunge is a rough, grungy font that is surprisingly readable. Derived in 1997 from a 1989 sans-serif face, it was expanded with additional characters in 2021.

Simple Fact is a family of 4 fonts and 2 sets of drawings. All fonts and drawing was made with the same inky pen, leaving a slightly blurred and rugged look

Originally designed by DeLittle of York of England, this face conveys a casual quality with contrasting strokes, rounded forms, and serifs with a brush-like quality. A lovely decorative display font.

Based on a revival of one of the popular wooden type fonts of the 19th century, suitable for display, lower case missing but not always designed for this type of face.

Weeneez JNL is an out-and-out novelty font made entirely of hot dogs. The font contains only the alphabet and numerals and a few other symbols including basic punctuation marks.

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.

Nina Ketchup is a hand drawn font made with lines. Each letters have his own style. Work perfectly with wood background or hipster logo types. Natural flow for a fantastic effect.

What else is there to say? Children's wooden blocks inspired this playful face. Use and enjoy! Both versions support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Marlita is a carefully made script, great for quotes, branding, packaging, wedding card, advertising, and more. It comes with 10 variations of ampersands as well as various titling and ending swashes.

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.

Sportune is made to support the work of designers who are used to making works with a sporty style. This font is great for various design styles, modern or old school.

Rubbish JNL from Jeff Levine is simply letters scribbled from an old stencil as if made by a child... But the look takes on a form of "stencil grunge" as well!

A classic late nineteenth-century face from the Dickinson Type Foundry of Boston. Both versions of this font support the Latin 1262, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Antidotum is a hand-made letterpress font with two different sets of capital letters. Language support includes Western, Central and Eastern European character sets, as well as Baltic and Turkish languages.

This type face fills one of the gaps between the world of Roman alphabets and that of linear alphabets. The first to be designed was the set of upper-case letters. The expression of these characters cannot conceal that they were originally intended only for the sculptor's use, as a type face for three-dimensional inscriptions. Their width proportions reflect a dialogue between the contemporary feeling and the legacy of classical Roman inscriptions. The type face was later complemented with a set of lower-case letters and elaborated into further designs. Its clear, concise letter forms end with small serifs which not only make the type face more refined, but above all anchor the individual letter signs visually to the horizontal of the text line. The austere construction of the majority of the letters is balanced by the more exuberant, humanizing forms of the most frequently used letters "a"; "e". (The three variants of the lower-case "e" enable to create rhythmically differentiated texts.) The letters in which a straight stroke is connected with an arch are designed in two ways. That means that the letters "n", "h","m" and the group of letters "b","d","p","q" are conceived in a different way. Thus an interesting tension is created in the structure of the text, which, however, does not endanger legibility. The economizing, slightly narrowed design of this type face predetermines its use for the setting of usual texts. In larger sizes, however, it produces a rather serious, even solemn, impression.

Outspace Fighter is an electrifying game-themed display font designed in uppercase, capturing the essence of futuristic space battles. This font is made in boxy shapes with sharp corners, evoking a sense of strength and precision. Each uppercase letter is meticulously crafted to exude a futuristic aesthetic, mirroring the angular and geometric forms found in the vast expanse of outer space. This design choice gives the font a sleek and modern appeal, perfect for conveying the intensity of space battles. With low-contrast letters, this font places emphasis on the overall form and structure of the font. The subtle differences in stroke width create a balanced and unified visual experience. This design choice ensures legibility while maintaining a cohesive and visually appealing composition, allowing your audience to effortlessly engage with your game-themed designs. You can also enjoy the available features here. Features: Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Outspace Fighter fits in headlines, logos, posters, titles, branding materials, print media, editorial layouts, website headers, and any other projects. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Linex Sweet was designed by Albert Boton in the late 1990s. It's a smallish family of three weights; the middle weight has an italic companion face. With its soft corners and slightly quirky head-serifs, Linex Sweet is a friendly design that sees much use. Several years later, Boton began sketching a new design, based on the original Linex Sweet but with a little more authority and grace. Linex Sans is the result. A mix of crisp angles and soft shapes, this new addition to the extended Linex family is both inviting and elegant. The subtle calligraphic overtones distinguish the design from more traditional sans serif designs. A three-weight family with a complementary italic for the Regular weight, Linex Sans is a versatile communications tool in both text and display sizes. It offers that mix of sophistication and joie de vivre that characterizes the designs of Albert Boton. Boton began his professional career as a carpenter. Fortunately for designers and typographers, he quickly turned from pounding nails to hammering out graphic design and constructing great letterforms as a profession. In his long career, he has created hundreds of distinctive, highly useful and award-winning designs. And even though he is now retired from active business, Boton continues to create fresh, new typeface designs. Add Linex Sans to the list.

Minigap is a geometric sans serif family that has a minimal height difference between upper and lower case. In other words for those who are into typography, it has a very high x-height. The choice was made to finally have a typeface that could appear very neat, reducing ascending and descending parts of the glyphs (b, d, g, j, l, ...) that could interfere with the lines above and below. All of that without going to extremes in a unicase style but also without renouncing to a great legibility. This aesthetic, in fact, translates into a pleasant visual effect that creates well-defined lines and enhances the layout, looking excellent also on small screens. The pointed corners of capital letters and numbers have been kept even in the heavier styles, to give consistency to the family. Stylistic alternates are included: “i” and “j” can be set to the x-height, to have a more common aesthetic; by default they are set in the lower version, fitting better the purpose of this typeface. the two-story “a” is also available, to give you one more customizable option and extend the range of use. Minigap is available in 14 styles (7 uprights + matching italics), has OpenType features and supports multiple languages. The Regular weight is offered for free, try it!

This is derived from the Marder, Luce foundry's face called Rivet. A nip and a tuck here and there plus the addition of a lowercase make this into a potentially useful font.

This face was designed by Andre Guertler’s class in room 505 at the Kuenstgewerbeschule in Basel. It follows the principles of Frutiger’s Egyptienne, and won the first of the VGC type competitions.

Inspired by the local city dump is Junkyard, a fat, chunky, boxy and delightful font made by Victory Type. It's surprisingly easy and enjoyable to read! It adds pizzazz to any document