Cybrox JNL takes a simple bitmap font and regenerates it into its most distressed form. The design is perfect for "technology-gone-bad" messages, radical headlines and anything with an electronic, techno or digital theme.

Supernova is a stylistic display font developed within a set grid. Perfectly suited for headlines, large-format prints, brand identities, social media, advertising, editorial design, posters, magazines, logos, headings, digital and more. Multi-language support.

OPICULAR is a Starter Series of modern sans serif with a geometric typical characters, Inspired by minimalism typography and functionalities, digital or print. Opicular comes in 3 weights and 6 styles from Book to Bold.

A modern digital typeface inspired by the 1976 sci-fi film Logan's Run . The grid structure is re-worked from the out-of-use typeface OptiStabile Xtra Light with various new changes, refinements and additions.

Within the pages of the 10th edition of the Speedball Lettering Book (1927) is an alphabet called “Vanitie”. This had been redrawn digitally as Merriment JNL, and is available in both regular and oblique versions.

"Lotape" was designed by calligraphy artist Mustafa Eren and digitized by Oğuzhan Cengiz. It is striking with its unusual ligature structure. Ideal for creating special and unique header texts with swashes and rich ligature alternatives.

Hand lettered production credits for the1930 film “Holiday” inspired the digital type revival Summer Holiday JNL; available in both regular and oblique versions. An Art Nouveau influence is reflected in this pleasant, casual serif typeface.

Despatxada letters are the scans of the alphabet of a manual rubber press. Letter by letter. Real prints. Real textures. You will not find another typeface like this. An heroic font in the digital era.

Domani from CounterPoint is a faithful digital revival of an old photo-typositing face called ITC Didi. Originally designed by Herb Lubalin and Tom Carnase, Domani brings to life a font that has been somewhat neglected by the digital era until now. Brought to the attention of Jason Walcott by graphic designer Rob King, this font immediately captured Jason with its 1970s high contrast Didone style, typical of that time period. It has some unique design details that set it apart from other didone style typefaces. “Domani” is the Italian word for “tomorrow”. The name was suggested by Rob King, and Jason felt it was perfect for this revitalized design. Walcott has created a professional quality digital version that is both faithful to the original design while expanding the character set to make use of OpenType features. A full set of swash capitals and several swash lowercase, designed by Walcott, has been added, as well as support for Latin-based and Eastern European languages.

Frederic Goudy joined Lanston as art advisor in 1920. One of his first initiatives was to design a new version of Garamond based on original Garamond designs of 1540. Goudy intended his free-hand drawings to be cut exactly as he had drawn them and fought with the workmen at Lanston to keep them from “correcting” his work. This new type was called Garamont (an acceptable alternate spelling) to distinguish it from other Garamonds on the market. (The other Garamonds on the market at that time were later confirmed to be the work of Jean Jannon.) In 2001, Jim Rimmer digitized Garamont in two weights. The display weight is based on the actual metal outlines to compensate slightly for the ink gain that occurs with letterpress printing. The text weight is a touch heavier and more appropriate for general offset and digital text work. Digital Garamont is available to the public for the first time in 2005.

The typeface Wood Type DIY is designed from 2016–2022 for the font foundry Typo Graphic Design by Manuel Viergutz. The display font based on the original wood letter from flea market. The font started from 50 wood letters (analog) and was finally digitalize and extended to 300+ glyphs (digital). 4 font-styles (Rough, Clean, Mix, Impact) with 320 glyphs incl. decorative extras like icons, arrows, dingbats, emojis, symbols, geometric shapes (type the word #LOVE for ❤️ or #SMILE for 🙂 as OpenType-Feature dlig) and stylistic alternates (9 stylistic sets). For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! Font Spe­ci­fi­ca­ti­ons ■ Font Name: Wood Type DIY ■ Font Styles: 4 (Rough, Clean, Mix, Impact) + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play for head­line size ■ Font For­mat:.otf (Mac + Win, for Print) + .woff (for Web) ■ Glyph Set: 320 glyphs incl. extras like icons (decorative extras like arrows, dingbats, emojis, symbols) ■ Design Date: 2016–2022 ■ Type Desi­gner: Manuel Viergutz

Haiku is a very modern old-style typeface. Inspired by late Renaissance-era typography, and carefully optimised for both display and text, digital and print. Featuring ligatures, old-style numerals, wide language support, and true italics.

The Art nouveau era sheet music "Goodbye Sweet Old Manhattan Isle" (1905) offers up a classic hand lettered sans reflective of that era. It is available digitally as Trolley JNL in both regular and oblique versions.

Rassell is a chic handwritten font. It has a thin modern calligraphy look making it perfect for branding and digital designs. Use this font for logos, social media, websites, blogs, instagram, business cards, branding, and more!

The hand lettered, condensed stencil title on a movie poster for the 1950 film “Customs Agent” inspired both the digital typeface and the font’s name. Customs Agent JNL is available in both regular and oblique versions.

In the last decade of the 19th century, Bruce Type Founders, New York - among others - released this shaded typeface which they named Bowery. Carefully redrawn and digitized, RMU Bowery breathes fresh life into this great design.

The 1912 publication "Essentials of Lettering" has an example of a hand lettered, condensed spurred serif design called "Compressed Roman". This is now available digitally as New Thin Roman JNL in both regular and oblique versions.

Learn Write is a playful handwritten font. Whether you’re using it for crafts, digital design, presentations, or making greeting cards, this font has the potential to become your favorite go-to font, no matter the occasion!

Rantting Tjinta is a stylish handwritten script font. This enchanting font was made with digital brush pen strokes and it features an authentic feel. Use it for wedding invitations, business cards, logos, signatures, and much more!

The hand lettered title for the 1954 film “Power of the Press” was done in a condensed sans serif type style that is now available digitally in both regular and oblique versions as Local News JNL.

A family with a retro feel with 12 styles in 6 weights, for both headlines and body text use as well editorial and corporate design from advertising to packaging and digital design. Supports Central/European languages.

A late-19th Century song book entitled "Gems of Scotland - A Beautiful Collection of Scottish Songs" had the words "Gems of Scotland" hand lettered in an ornate, condensed type style now reproduced digitally as Gemstone JNL.

On the 1966 movie poster for “Seconds”, Saul Bass designed a hand lettered title utilizing a ‘futuristic’ stencil style. This inspired the digital typeface Time Count JNL, which is available in both regular and oblique versions.

Shopkeeper JNL derives its unusual letter forms from impressions made from a vintage rubber stamp sign and chart printing set. Originally an outline font, the letters are rendered solid in the digital version for more versatility.

Paying homage to the 1960s and 1970s designs of Tom Carnase and Herb Lubalin, Homage Condensed is a digital revival and recutting of LSC Condensed in two weights along with italics and numerous stylistic alternate characters.

A 1930s print ad for Miller Tires featured lettering in a condensed slab serif design. This provided a design model for the digital typeface Automotive Service JNL, which is available in both regular and oblique versions.

Nobody Home JNL is unusual in nature as it combines two vintage typestyles into one font. Both have been used for home and property identification for decades and still remain popular. Over the years the letters and numbers have been made of cast steel, aluminum, brass and plastic. The alphabet is in a distinctly bold, asymmetrical style, while the numbers almost take on a calligraphic feel. There is just a basic character set - alphabet, numerals and simple punctuation. While the font has been reasonably spaced and kerned, it's best to remember that neither type design was made with digital technology in mind, so it's suggested to adjust your layout manually for optimum results. Nobody Home JNL is best-suited for replicating street addresses, apartment numbers on doors, and homeowner (or apartment house) names on buildings - whether in print design or as plotter-cut vinyl graphics.

A slightly regularized digital version of a late Baroque Fraktur type, probably from the beginning of the 18th century, issued by the Norstedts type foundry in Stockholm in 56 point size as "Sju petit fraktur nr 2". This digital font is designed for rather large sizes, at least 30 points. The font includes accented letters for all Western languages, as well as a long s and the usual Fraktur ligatures, e.g. ch, ck, st, tz. The font can be used for logos, packaging, posters, restaurant menus, beer and wine labels etc. associated with traditional German and Scandinavian culture.

Unlike previous dingbat fonts released from Lanston Type Co., Archive Ornaments derives from a unique collection of brass ornament plates that were originally used in creating the matrices for casting metal type. Using the plates as a reference point allowed for a more precise rendering of the ornaments. Letterpress prints were made directly from the brass plates, which were then re-drawn and digitized. Each character has been optimized for the combination of decorative borders and patterns as well as individual accentuation. The completed digitized font contains over 100 glyphs, ranging in style from geometric to organic designs.

Goudy Two Shoes is a digitization and expansion of a 1970s type called Goudy Fancy, which originated with Lettergraphics as a film type, then was released into the dry transfer (rub-on) arena, where it became really popular. This digital expansion of the original design contains many additional characters, including "plain" variants on the caps, as well as extra alternates and swashes, and even a few curly ornaments. Goudy Two Shoes comes in all popular font formats. The Postscript and True Type versions ship as 2 fonts, while the OpenType version is a single font programmed with features for OT-savvy applications.

Victorian Ornamentals is a digital revival of a lovely Victorian letterset containing initials adorned with flourishes from a vintage embroidery typeface. It is a highly ornate and delicate typestyle with an air of elegance, romance, and flair. This font contains uppercase letters, smallcap letters. and numerals in the Victorian Ornamentals typeface and, for convenience, includes punctuation in a standardized font style. Accented characters are also included. This digital format allows colorizing of type and is a perfect font for publications that want to capture the feel of the Victorian era and the delicate nature of embroidered lettering.

Petras Script, the first digital script font created by the calligrapher Petra Beiße, has, for many years, met with worldwide success. Now the font is complemented with an alternate character set, which gives designers more flexibility and adds a personal touch to the font. Petra Beiße has resided for a long time in Wiesbaden, Germany, where she is working as a renowned calligrapher. It is rare that any of her scripts are transferred into digital format and sold worldwide as fonts. Because Petras Script became such a huge success, she decided to release Casanova Script Pro.

Galberta, a cutting-edge futuristic font, embodies the essence of tomorrow’s typography with its sleek and innovative design. Its geometric, sans-serif characters seamlessly blend bold, crisp lines and subtle curves, exuding a sense of modernity and minimalism. The font’s minimalist aesthetic is complemented by its distinct fusion of sharp angles and graceful arches, creating a visually captivating harmony. Galberta offers a dynamic and versatile typeface that can effortlessly elevate the aesthetics of any design, from sci-fi movie posters to forward-thinking digital interfaces, making it the embodiment of typographic innovation in the digital age.

Jenson Oldstyle was designed by J. W. Phinney of the Dickinson Type Foundry in 1893. Jenson is based on the 'Golden Type' designed by William Morris in 1890 for his private press editions under the imprint of the Kelmscott Press. The original digital Lanston version of this face included a companion Oblique. This remastered set instead features a true italic based on the 1893 ATF italic version as well as a newly digitized Jenson Heavyface based on Phinney's design of 1899. Jenson Italic Pro features alternate lowercase forms based on ATFs then contemporary Cushing Oldstyle Italic.

Hello Buena - From Wood to Digital Type Buena is the first word I read on a letterpress paper, printed by my colleague and friend Wolfgang Wick. I was fascinated by the power of this fat wooden letters at first glance. So I started to create a digital version of it and »Buena Black« was born. Due to the fact that the original punches had only upper- case glyphs, I created the lowercase characters by myself. After that it was time to design the family... Buena is full of OpenType features. To get fully acces, go to www.mazefonts.de and Download the Type Specimen.

Tioga is a highly legible typeface designed specifically to display clearly on low-resolution displays. With superior readability even at small sizes, Tioga is an ideal typeface for developers of set-top boxes and digital televisions. Tioga is metrically compatible with Tiresias, a widely-used typeface designed for digital TV applications and adopted by the DVB and MHP standards. Tioga was fine-tuned to be more readable and aesthetically pleasing. Individual characters were adjusted for improved legibility and the letter spacing was revised to improve appearance and readability. Tioga bold was created to make the design more versatile.

SchmalfetteCP is the result of another collaboration between designers Jason Walcott and Rob King. King suggested that Walcott revive this wonderful and somewhat forgotten sans serif typeface from the mid 1950s. Originally designed by Walter Haettenschweiler in 1954, Schmalfette Grotesk was used for many years in the German magazine "Twen". The typeface was notoriously hard to acquire at the time and graphic designers in the USA often resorted to cutting letters from the Twen magazines and reusing them in their own designs. Later, when digital type came along several typefaces very similar were created that claimed to be digital revivals of Schmalfette Grotesk. However, they are actually only loosely based on the original. The proportions are different and in some cases a lower case was added. The original font was all caps. At Rob King's suggestion, Jason Walcott has strived to recreate the most faithful digital revival possible of the original Schmalfette Grotesk with the new version of SchmalfetteCP. In some cases small changes were made to accommodate today's digital needs (e.g. web fonts), but anyone who has ever searched for this typeface now has a version available that most closely resembles Haettenschweiler's original work. Schmalfette CP comes in OpenType format in both .ttf and .otf files and offers support for all Latin based and Eastern European languages.