A family with retro feel in four weights, Roman and Italic, all with Old Style Numerals and Small Caps, for both headlines and body text use.

Display Engraved JNL was inspired by the bold, engraved Sphinx Blanc from the Deberney & Peignot circa 1925, and is available in both regular and oblique versions.

An antique Bradley stencil cutting machine’s letters and numbers were the basis for Dry Goods Stencil JNL, which is available in both regular and oblique versions.

New, slightly calligraphic sans family with seven weights, Roman and Italic, all with Old Style Numerals and Small Caps, for both headlines and body text use.

Handmade Stencil JNL was inspired by the hand lettered opening credits of the 1954 film “Human Desire” and is available in both regular and oblique versions.

Fishbones is a font set consisting of fish-bone font-bats. Nothing fishy here – an extensive set of characters makes this an unusual and versatile font.

Mud Creek JNL is based on Tuscan Egyptian – a classic wood type with a decidedly Western feel, and is available in both regular and oblique versions

70toxina. 70s & 80s combined. Both Seventies and Eighties celebrate their comeback in form of a revival, combined in a font. Let’s have a party with 70toxina!

Retail Monoline JNL is a light weight sans serif extracted from the inline of Retail Price JNL and is available in both regular and oblique versions.

The term “Surf Bum” was a slang phrase used to casually describe anyone who spent as much of their time as possible at the beach catching waves in the 1960s. The Revell Company was a well-established maker of plastic model kits such as military airplanes, monsters from Universal horror films and other such items when it hooked up with custom car designer Ed “Big Daddy” Roth to develop a model kit line capitalizing on the surfing fad that was sweeping the West Coast at the time. A number of crazy-looking hot rods, dune buggies and what-have-you were turned out, and one such kit (“Surfite”, with Figure) featured a futuristic one-person dune buggy. It was on the box for the model that the words “with Figure” appear in a casual, brush design type face. Those few letters were the inspiration for creating a new retro type face entitled Surf Bum JNL, which is available in both regular and oblique versions.

Basic Commercial is a family of fonts based on historical designs from the hot metal type era. First appearing around 1900, these designs were created by type designers whose names have not been recorded, but whose skills cannot be overlooked. These typefaces were popular among groups and movements as diverse as the Bauhaus, Dadaism, and the masters of Swiss/International-Style typography. They influenced a variety of later grotesque fonts, such as Helvetica and Univers. Basic Commercial was distributed for many years in the United States under the name Standard Series. The typeface worked its way into many aspects of daily life and culture; for instance, it became the face chosen for use in the New York City subway system’s signage. The Basic Commercial family members have a clear and objective design. Their forms exhibit almost nothing unusual, but remain both lively and legible nonetheless. Perhaps for this reason, Basic Commercial’s design has been popular with graphic designers for decades.

Greycliff Thai CF adapts Greycliff's popular soft, geometric design to the Thai script. Both Latin and Thai scripts are included, allowing for visually cohesive multiple-script applications. Greycliff Thai CF includes nine weights, obliques, and full Thai diacritics. Greycliff Thai CF works as a complete, self-contained type system, with both Latin and Thai scripts included and designed to compliment one another. All typefaces from Connary Fagen include free updates, new features, and free technical support.

This family is based on an offering in Barnhart Brothers & Spindler’s Type Specimen Catalog No. 9, issued around 1910, originally named "Grant". It makes a handsome addition to the Whiz-Bang Woodtype series, and is available in both a Rustic and Refined version. Named for a town in Texas, which the locals pronounce "Reh-FURRY-o". Both versions of this font contain complete Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

Prushkov is the first typeface that I made. Its name comes from the town I lived in at the time. The design was inspired by both geometric typefaces like Futura, and didone fonts like Bodoni. Its aim (perhaps quite bold) is to blend high contrast with mathematical excellence. Prushkov will work well as a display font, both in uppercase and lowercase. It has a wide array of stylistic alternates for all of the capitals and some lowercase glyphs too.

Lewis F. Day, in his 1910 classic Alphabets Old and New, filed this work by Laurence Schall under the category of Celtic-inspired, and surely it is both. This font included a few special extras, including a Celtic cross in the florin position, a Celtic knot is the dagger position, a shamrock as the asterisk, and a double shamrock in the double-dagger position. Both versions of this font include the Latin 1252 and Central European 1250 character sets.

The free-form Art Nouveau hand lettering for the 1905 song "Will You Love Me in December as You Do in May" was the design model for Funky Nouveau JNL, which is available in both regular and oblique versions. Since the 1960s hippie counterculture embraced elements of the Art Nouveau period in their art and design, it seemed only fitting to use the term "Funky Nouveau" in the fontís name as an homage to both eras.

Snow Job JNL was inspired by the hand lettered titles for the 1964 Rankin-Bass animated holiday classic "Rudolph the Red Nosed Reindeer". Because of the variable heights of the characters they float about the baseline in a free-form design. Available in both regular and oblique versions, the typeface gets its name from both the winter theme of the TV special along with the old term for deceiving someone with compliments while hiding one's true intent.

A photo of the now closed [circa-1953] Lowell Municipal Pool (at 1601 N. 28th St.) in Boise, Idaho shows the words “Municipal Pool” formed into the cement of the entrance to the above-ground swimming facility. Both the lettering and building entrance designs harken back to the Art Deco era and the sign features stencil-like characters. This inspired a typeface aptly named Municipal Pool JNL, and is available in both regular and oblique versions.

Fitz Sans SRF was contributed to the Stella Roberts Fonts project by graphic designer Matt Yow after receiving word of the project from Ray Larabie of Typodermic Fonts. A light, attractive text face, Fitz Sans SRF also lends itself well to headlines and titles. The font is available in both regular and oblique versions. The net profits from my font sales help defer medical expenses for my siblings, who both suffer with Cystic Fibrosis and diabetes. Thank you.

Lineare Serif is an attempt at solving the difficult problem of creating readable text type, seeking new ways to provide readers with some pleasure and rest as they walk along each line, creating a space where there is harmony between man and the printed form. Asymmetric serifs both in their height and width, medium contrast in the stroke, and balanced upward and downward movements make “Lineare Serif” a typeface featuring both attitude and aptitude for editorial purposes.

Bold and compact, Stamina is a solid, sporty font that punches beyond its weight. Ideal for product logos, headlines and signage, it has both power and panache!

The distressed letterforms hark back to early printing process using hand carved wood cut letters. The typeface is available in 6 weight with both Rough & Solid variations.

Highriser is a highly legible, uppercase-only bold condensed sans. Designed to be used for headlines, or visual identities, both digital and print. One weight, fits all.

Richard Miller started out as just a logo for a website/business card. It is a modular sans that works well in both print and web design.

The main purpose of Rianti is to be used as a logo that matches with body text. It can be used in both vintage or modern settings.

This is a condensed version of an old classic, Thorne Shaded. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Honey Painting is a font inspired from both Honey and Painting, same imagination if a user do painting with Honey, this font now is giving this option.

Font to prepare both solved and unsolved crossword puzzles for printing, easily and efficiently. The numbering of unsolved puzzle boxes involves a simple 1, 2, 3, technique.

XComputerBugs is a pictorial font of insects, mostly butterflies and moths. A few are based on actual species, but most are fanciful and meant only for decoration.

Baldur is an uncial TrueType font with elements of late Roman manuscript lettering. The font includes both upper- and lowercase letters, numbers, punctuation and miscellaneous mapping symbols.

The playful, casual hand lettering on the 1941 movie poster for “Blondie Goes Latin” inspired Latin Fiesta JNL which is available in both regular and oblique versions.

Hand lettering from the opening credits of Alfred Hitchcock’s “Strangers on a Train” (1951) inspired Train Car JNL, which is available in both regular and oblique versions.

Brochure Sans JNL is based on Sans Serif No.7 from the 1921 Miller & Richard type specimen book, and is available in both regular and oblique versions.

The antique wood type Gothic Tuscan [a spurred design with rounded terminals] was the basis for Roundwood JNL, which is available in both regular and oblique versions.

Generic Sans JNL was modeled after “Condensed Blair” from the 1907 specimen book of the Inland Type Foundry, and is available in both regular and oblique versions.

FG Emmy works great for both small and large text pieces and headings. I like the way the font bends in different directions. That makes it interesting!

Alderman JNL is a wide slab serif typeface based on the classic wood type Antique Light Face Extended, and is available in both regular and oblique versions.

Manual Typewriter JNL was modeled from an example of the 1933 design originally created by Morris Fuller Benton, and is available in both regular and oblique versions.

Shipping stencils cut on an antique machine with its somewhat crude slab serif type design inspired Container Stencil JNL, and is available in both regular and oblique versions.