Pine Nuts is very suitable for a variety of designs, packaging and quick statements. For a connected version please visit Pine Nuts United.

A quill pen-like joined script typeface which echoes the cartoon lettering of 17th Century court papers during the period of the English Civil war. A nifty feature of this font is that if you enter a vertical bar '|' character, it will turn off the exit stroke of a joining character.

A new design inspired by the various mastheads used in children’s comic books in the United Kingdom, published by D.C. Thomson of Dundee, Scotland.

Saddle up and venture into uncharted typographic territory with Canyon Slab, a wild west-inspired serif slab typeface that beckons you to explore the untamed frontiers of design. Like the rugged canyons that have withstood the test of time, this font's bold serifs and sturdy letterforms exude a sense of strength and adventure. Canyon Slab captures the spirit of the old west, where legends were born and tales of grit and determination echoed through the canyons. As you wield this powerful typeface, you'll feel the dust of the trail beneath your feet, hear the echo of revolvers in the air, and taste the thrill of unbridled exploration. Channel the untamed spirit of the wild west with Canyon Slab, and let your designs ride into the sunset of creativity.

The second in our Cool Japan series, Odaiba Soul echoes back to some of the futuristic amusement centers and entertainments found on Odaiba Island in Tokyo Bay. Tailored for sci-fi lettering, anime awesomeness or even just making flyers for a day trip across the Rainbow Bridge, this is one to keep in mind!

Umpire Serif is a heavy sans-serif immersed in Victorian grandeur, exuding a kingly confidence that commands respect. Every letter carved is a testament to its solid and heavy foundation, echoing the decorative prowess of a bygone era. With its bold demeanor, the typeface effortlessly portrays nobility and pride. It's not merely decorative; it's regal.

Rich curvilinear borders and corner pieces, based on organic forms, for use as individual ornaments or as repeat units in the creation of complex shapes and patterns.

Mekanik font is the work of British artist David Quay and as the name suggests, this geometric typeface reflects the simplicity of mechanical sans serif type design. It is an echo of the type styles developed by the Soviet Constructivists in the early 1920s. Mekanik font is excellent for use where a feeling of precision and strength is desired.

The name ‘Linkus’ makes reference to the internet and its power to unite humanity, as well as to Linkus’ distinctive design, where the whole character is unified by a single, unbroken line – without sacrificing its elegance and readability. Linkus is based on the aesthetic decision of having a single, unsplit line forming every character, with a smooth transition of the different line directions, in order to strenghten the unity of form and create a singular fluxus throughout the glyph. Different from most other futuristic fonts (e.g. Slazer), who have an aggressive look, Linkus has a more sensible, refined aura. This display futuristic typeface is meant to be used whenever the subject is technology, cellphones, electronics, internet, computers or science in general, as Linkus creates a feeling of modernity, cleanness, efficiency and high-tech sophistication.

Monadic is a modern singular monospace display font. The typeface is made from groups of single basic triangular geometric units. Monadic is inspired by structured and organic geometry. The name is derived from the Ancient Greek μοναδικός (monadikós, “single”), from μονάς (monás, “a unit”); it is the adjective of monad, an elementary individual substance which reflects the order of the world and from which material properties are derived. Monadic is great for display work, logos, structures, architecture, technology, biology, sports, monograms, quotes, headings and posters.

Brookshire was inspired by the lettering seen on the Almanac ephemera paper when I visited the flea market in France. The result is a lovely piece of neo-Victorian fun that brings back the joy of 19th-century shop signs and flamboyant design ethos. Brookshire is ideal for poster work and signage, or anywhere that you want to bring back the joy of high Victorian design ethos.

Fitzgerald was inspired by the carved and gilded lettering seen over the entrance of a bar in Dublin. The result is a lovely piece of neo-Victorian fun that brings back the joy of 19th century shop-signs and flamboyant design ethos. Fitzgerald is ideal for poster work and signage, or anywhere that you want to bring back the joy of high Victorian design ethos.

The design idea for this condensed sans serif stencil font was inspired by a post-World War II brass stencil spotted in an online auction. The United States was assisting Europe with much-needed goods, and the text in the middle of a “stars and stripes” shield used for marking the shipping containers read “For European Recovery supplied by the United States of America”. It was the first line (“For European Recovery”) that became the working model for Supplier Stencil JNL, which is available in both regular and oblique versions.

Sanitation JNL is a bold Art Deco sans design inspired by some stylized hand lettering on a 1930s-era WPA (Works Progress Administration) poster and is available in both regular and oblique versions. The topic of the poster was "Your home is not complete without a sanitary unit" and that was recommended by the State Department of Public Health. A "sanitary unit" is the formal name for what rural folks called an "outhouse", and it's presumed the target group were homeowners not hooked up to major sewer lines such as in those rural areas.

Stadia is designed around a series of modular units: quartercircles, teardrop shapes, squares, circles and variations thereon. The versatility of these basic shapes is such that a teardrop, for example, can represent a looped bowl, as in the lower part of the a, while also representing a curved arc at the top of the same character. The strict grid is broken for the T and the Y, and the placement of accents. The alternative – basing a T, for example, across three units – though rational, is far less aesthetically pleasing. As always with type design, one has to know when the internal structural rules should be bent for a more beautiful result. The horizontal lines appear to travel through the letters, bursting into stars in the counters of lower-case characters such as the o and p. The outline version is weighted to the same width as the gaps between the units.

An original design by Richard Isbell for ATF; in exaggerating the tapered stroke introduced eleven years earlier in Hermann Zapf’s Optima, Isbell created the first flareserif to achieve popularity in the United States.

Poster Hand is an informal, casual script that echoes the hand lettering of those ubiquitous signs found all around us. From market stalls to menu boards, we are surrounded by the work of the unknown sign writer. The font comes in three styles, Regular, Italic and Reverse Italic and contains OpenType ligatures and kerning. Latin Extended A supports all western and eastern european latin languages.

Tzur is a Hebrew sense-serif font with a nostalgic scent. The shape of the letters has two qualities - Raw and processed - and they are combined without canceling each other out. The resulting product is a font that conveys power, stability, and prominence, and echoes typographic values that correspond with the graphic/visual language that was accepted in The early years of the State of Israel.

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.

Dive into a realm where retro meets mystique with the Mystice Times font. Channeling the enchanting ambiance of 80s thriller movies, this serif typeface echoes tales of mystery wrapped in professionalism. Its characters, though rooted in the cinematic charm of yesteryears, are tinged with an unpredictable, slightly eccentric flair. Yet, there's an undeniable allure in its design - a suave nod to 70s funk, blending seamlessly with 80s charisma.

Middle Earth is a Medieval calligraphy serif font. With the historic charm of ancient manuscripts and the ethereal beauty of elven realms, Middle Earth typeface weaves tales of valor and legends. Its calligraphic allure is accentuated by rounded contours, reminiscent of Tolkien's enchanted worlds. The unusually large lowercase, almost circular in its form, seems to echo the undulating hills of the Shire, while its Irish-inspired design lends a timeless elegance.

Totem Forms is based on a series of aluminum and rubber wall constructions currently showing in Europe and the United States. Mirek's work has been shown internationally for many years and this is his first foray into type development.

Although wood types are found throughout the world, most of the decorative one originated in the United States. This one would work well on theatrical playbills, and advertising for tourist railroads, wild west shows and concerts in the park.

This circa 1910 European face was introduced into the United States by a German type foundry traveling salesman during the great depression of the 1930s. We have used it quite successfuly in sizes as small as 10 and 12 point.

Seleniak's outlines are based on the logo of the eponymous MSX video game, also created by its designer. Thus, all ratios are multiples of the typical 8x8 px video character unit, giving the typeface a characteristic appearance and interesting fitting properties.

ITC Bette is a particularly elegant calligraphic design from the hand of Patty King. Refined and friendly, this vertical script appears to be drawn with a brush held delicately at a right angle to the page. The unconnected letters and flared ascenders create a feeling of spontaneity, while the design's vertical stress produces a calming counterpoint. Many capital letters drop comfortably below the baseline, and terminals echo a flick of the wrist.

Devil Candle evokes a symphony of sinister whispers, a reflection of the murky depths of hell. Its refined serif characters, in narrow to wide stances, echo the undulating flames of a devil's candle, flickering ominously in the abyss. Ideal for the bone-chilling narratives of horror movies, this typeface encompasses the raw essence of Halloween and satanic lore, effectively encapsulating the pulse of terror that courses through the veins of the enchanted and the damned.

This began life as a European font that was copied in the United States by Bruce's Type Foundry in 1885. It was caps only and had a fine line "three-D" shadow. We scrapped the shadow, added a lower case, and voila!

Here's another collection of ornate border elements gleaned from the 1888 specimen books of James Conner's Sons United States Type Foundry in New York City. Refer to the PDF guide for detailed, yet simple, instructions for constructing nine delightfully different border patterns.

Primarily based on the work of German settlers in Pennsylvania, this collection showcases a variety of needlework and folk art styles of the early United States. Produced in conjunction with the Philadelphia Museum of Art, this set is a digital recreation of homespun Americana.

A blast from the past, this timeless typeface is based on Marble Heart, first released in the United States by Farmer, Little and Co. in 1866. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

The cover of a 1932 edition of “Sunset magazine” (a publication for homeowners living in the west and southwest area of the United States) featured a lovely Art Deco serif alphabet that is now available as Western Suburbs JNL in both regular and oblique versions.