A lovely script face remastered from found drawings, great for antique, vintage and romantic designs.

A bold new look great for magazines and paperbacks a strong yet beautiful headline face.

Although being made of geometric shapes, Meloneads is a playful and funny set of drawings.

FT Stamper is made with ink and rubber stamp. It has an oriental calligraphic vibe.

A simple sans-serif font made from straight line segments and true circles and arcs.

Riot AF is a stencil display font made for a book about zombies and undeads.

CalamityJoe was made with an old brush and ink. Messy on purpose, but still readable.

A typeface made from vintage typewriter samples and meticulously compiled into a complete character set.

A typeface made from vintage typewriter samples and meticulously compiled into a complete character set.

An open, evenly spaced book face designed for quality headlines and enhanced readability in text.

Cute emoticons showing a variety of smiles, frowns, and faces and words reflecting those emotions.

Apollon is an angular display font. Made for social media posts and game design purposes.

One of our first fonts ever. Simply made from some magnets hanging on a refrigerator.

A very detailed and scary brush font, made with ink, paint and stiff bristle brushes.

Mister Dorky is a grungy, jumpy and warm handwritten font made with an inky pen!

Ballpoint Signature is made with natural hand-drawn inspired by beautiful handwriting, and includes alternates.

A typeface made from vintage typewriter samples and meticulously compiled into a complete character set.

A typeface made from vintage typewriter samples and meticulously compiled into a complete character set.

A unique serif face with a happy look; great for kids books or fun ads.

Mulkshake is messed up pretty good, and was acutually made on a real bad copymachine!

Jasper is a script face drawn with a broad nib suitable for a handwriting impression.

A typeface made from vintage typewriter samples and meticulously compiled into a complete character set.

A beautiful very bold serfi face, formal legible design, with matching Italic, Powerful yet elegant.

Paunchy is a playful and handlettered, calligraphy based font. Especially made for Logos and Headlines.

A typeface made from vintage typewriter samples and meticulously compiled into a complete character set.

The Clog font family is represented by four different outlines - Normal, Open Face, Shadowed and Engraved. Each of them could be your best choice when designing a wine label, package or magazine headline. By using Open Face and Shadowed outlines you will discover how easy it is to produce unique design of its own style.

Darling, you don’t just look GOOD, you look FANTASTIC! IRRESISTIBLE! IMMACULATE! Those soft curves, those sharp lines, those INLINES... that MAGNIFICENT symmetry. This is a face that could launch a thousand spaceships, a face that doesn’t care if you feel good, because Heavens to Betsy, you LOOK good. Just utter those magic words: Simply Marvelous.

Yefimov Serif is a contemporary serif face, with low contrast, squarish shapes of round glyphs and emphasized businesslike nature. It is one of the last original faces by Vladimir Yefimov. Yefimov Serif will suit perfectly for business texts, periodicals and corporate identity. The typeface was completed by Maria Selezeneva and released by ParaType in 2014.

Mongoose is a condensed sans serif, made for posters, headlines and logotypes. Caps and x-height were made to match the ultra wide Briller, so it could be fun to combine these two highly contrasting type families. Thanks to the OpenType features, figures come in both tabular and proportional widths, fractions and superior/inferior positions.

Isabelle is the closest thing to a metal type revival Jim Rimmer ever did. The original metal face was designed and cut in late 1930s Germany, but its propspects were cut short by the arrival of the war. This was one of Jim's favourite faces, most likely because of the refined art deco elements that reminded him of his youthful enthusiasm about everything press-related, and the face's intricately thought balance between calligraphy and typography. Not to mention one of the most beautiful italics ever made. Jim's early 2000s digitization included mathematical corrections to the original metal cut, as well as some functional improvements for digital use. In 2013, during the remastering of the entire Rimmer collection, Isabelle underwent a considerable rethinking/expansion and was rechristened Isabelle Pro. The new revisions include small caps, ligatures, seven types of figures, automatic fractions, extended Latin language support, stylistic alternates that include lowercase serif angle options in the roman and looped ascenders/descenders in the italic, and plenty of extra OpenType features like caps-to-small-caps substitution, case-sensitive positioning, ordinals, and extended class-based kerning. Now each of the Isabelle Pro fonts includes over 680 glyphs. 20% of this font's revenues will be donated to the Canada Type Scholarship Fund, supporting higher typography education in Canada.

Katlynne is unpredictable. Katlynne is erratic. Katlynne is beautiful. Katlynne is an alternating contrast, sans serif type family. Arbitrarily separating the characters into ‘rounder’ and ‘straighter’ letterforms to determine what contrast each glyph will take. Katlynne is inspired by the observations made while watching the inexperienced use of broad tip pens. I found how and when individuals rotated their pen gave a visually intrusive, if not also pleasantly conspicuous effect. Often, the pen would naturally rotate horizontally (vertical contrast) on the rounder letterforms, and vertically (reverse contrast) on the straighter ones. This is more or less the formula Katlynne adopts as the contrast changes throughout the styles. Katlynne’s severity of contrast varies from ‘Negative Three’ to ‘Positive Three’ in four weights. With a central style ‘Book’ being the sensible, low contrast font in the family. Within the family there are four weights with 7 contrast styles, with complimenting true italics. Giving a total of 56 fonts! Katlynne's array of options works for creating stylistic similitude within layouts, where conspicuous title faces are needed with a cohesive text face to compliment. Alone, the ends of the contrast spectrum (Negative and Positive Three) create striking word forms for advertising, packaging and anywhere else a loud voice is needed.

LD Charlie Clown is an enjoyable scrapbooking font that can put a smile on anyone's face.

A face designed specifically to complement celtic decorated capitals and based on text from the book.

Although being made of geometric shapes, Meloneads 2 is a playful and funny set of drawings.

Morris Fuller Benton’s version of the standard American nineteenth century blackletter made for ATF in 1901.

A quick scribbled font, made to look written in a hurry...and believe me, it was!

A French form of Fat Face, derived from the British; matrices survive at Berthold in Berlin.