A page from an old manual for sign painters yielded the hand-lettered alphabet that served as a model for Claim Check JNL.

Aegion is a display typeface inspired by blackletter style. Aegion is perfect choice for people who looking for unique and powerful display heading.

This font is studded with sparkles but is still completely readable. Perfect for the holidays or for anything requiring a touch of glitz!

A revival of one of the popular wooden type fonts of the 19th century, for large display. Lowercase not designed for this type.

Geometric forms make this elegant font family a great companion for invitations and signs, indoor and outdoor. Proportional figures added, perfect for signage.

A text and display font suitable for various applications, many of which include, letterheads, packaging and logos. Excellent for very large typographic layouts

This font has a unique character and can be used for your logos, business cards and other projects for a unique vintage look.

The block style lettering with rounded corners found on a package for model railroad kit parts was the inspiration for Model Railroad JNL.

Monday Bay is a cute handwriting brush font that you can use for many things. Perfect for cute quotes, branding, and much more.

Jess is an authentic stylish script font. This handwritten beauty is suitable for high-end, sophisticated branding or for simple, memorable Instagram quotes.

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

The typeface Brush Poster Grotesk is designed in 2017 for the children exhibition 1,2,3 Kultummel from Labyrinth Kindermuseum Berlin by xplicit, Berlin (Annette Wüsthoff, Alexander Branczyk, Mascha Wansart (illustrations)). Manuel Viergutz extended the font with some further glyphs & extras. The rough sans serif display typeface is created analogous by hand and brush. 875 glyphs incl. 150+ decorative extras like arrows, dingbats, emojis, symbols, geometric shapes, catchwords, decorative ligatures (type the word LOVE for or SMILE for as OpenType-Feature dlig) and stylistic alternates (3+ 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 Name: Brush Poster Grotesk Font Weights: Regu­lar + Misprint + EXTRAS (Illustration) + DEMO (with reduced glyph-set) Font Cate­gory: Dis­play for head­line size Glyph Set: 875 glyphs Lan­guage Sup­port: 28+ for extended Latin. Afrikaans, Albanian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Icelandic, Italian, Latvian, Lithuanian, Maltese, Norwegian, Polish, Portugese, Romanian, Slovak, Slovenian, Spanisch, Swedish, Turkish, Zulu Spe­cials: 150+ deco­ra­tive extras like arrows, ding­bats, emojis, sym­bols, geo­me­tric shapes, catch­words, deco­ra­tive liga­tures (type the word “LOVE” for ❤ or “SMILE” for ☺ as OpenType-Feature dlig ) and stylistic alternates (3+ stylistic sets), German Capital Eszett Design Date: 2017 Type Desi­gner: Annette Wüsthoff, Manuel Vier­gutz, Alexander Branczyk, Mascha Wansart (Illustration)

The TYMA Garamont Roman was inspired by the Berner-Egenolff type sample from the 1560s. The Italic was inspired by a sample from Robert Granjon, also from the 1560s. The name TYMA is short for AB Typmatriser, a Swedish company founded 1948, because the Second World War stopped all import of matrices for Linotype and Intertype typesetting machines. It took until 1951-52 before the import was up to speed again. Until then, Sweden had to fend for itself. TYMA produced all technical equipment needed for type production, including the pantograph to cut the matrices, a complete set for each size and version. The templates for Garamont Roman were initiated by Henry Alm 1948. Bo Berndal was hired the following year, and continued the work by drawing and cutting templates for the rest of Garamont Roman, as well as for the remaining Garamont family. Bo Berndal stayed at TYMA until it went bankrupt in 1952. At that time Bo Berndal had already kick-started his career as type designer by drawing the typeface Reporter for one of the big daily newspapers, Aftonbladet, a version of Cheltenham for another daily, Dagens Nyheter, and copied several old typefaces for other customers. Librarian Sten G. Lindberg at The Royal Library of Stockholm, Kungliga Biblioteket, procured copies of original type samples. Henry Alm started the work in 1948, and Bo Berndal completed it - finally in this OpenType version.

Font has Industrial motifs and simple geometric shapes. Best suited for large lettering. Font contains characters for all occasions, many ligatures, alternatives and exotic.

Developed for ParaType (ParaGraph) in 1997 by Alexander Tarbeev, based on PT Pragmatica, 1989, by Vladimir Yefimov. For use in advertising and display typography.

Rolhausen is a Sans Serif Typeface which is suitable for you who needs a typeface for headline, logotype, apparel, invitation, branding, packaging, advertising etc.

Sans-serif reversed capitals in outlined circles, resembling old-fashioned typewriter keys. Intended for logos and signs, and for enhancement in lists and maps.

A decorative Barnum-like design. Great for headlines with that circus type atmosphere; will also work for Christmas, western and children's books and ads.

Tall, chunky title-friendly sans serif capitals in 3 styles. Use all caps for even lettering or alternate caps and lowercase for bouncy lettering.

Perfect for teachers, this font has enough glyphs to cover 80+ languages and extra math symbols! It is neat and legible for early readers!

Jumaplitan font special for retro modern style. Will be good if you use for something like logotype, retro logo, typeface, simple and clean design.

The hand lettered titling on a vintage piece of sheet music for the song "Sweet Siamese" is the basis for Port of Call JNL.

Conversation hearts! Use ALL CAPS for even lettering. For bouncy letters, alternate uPpEr and LoWeR cases to make the letters bounce up and down.

Great sans text font family for all your needs, text, signage, logos etc. Very elegant and suitable for classic as well as formal design.

The cast credits for the 1954 film "Hell's Half Acre" (Wendell Corey, Evelyn Keyes and Elsa Lanchester) provided the basis for Mystic East JNL.

Based on a rounded square, ER9 is a very versatile futuristic feeling typeface. Its monoline design allows for easy customization for headlines and logos.

This teacher-friendly polka-dotted font is perfect for kids and teachers. It is fun but still perfectly neat and legible for little readers.

Rany is a fun, legible handwriting font with a childlike twist. Great for posters, packaging, logos, or anywhere a fun font is called for.

This all started with a love for Minister. This is a font designed by Carl Albert Fahrenwaldt in 1929. In the specimen booklet there’s a scan from Linotype’s page many years ago. They no longer carry the font. I’ve gone quite a ways from the original. It was dark and a bit heavy. But I loved the look and the readability. This came to a head when I started my first book on all-digital printing written from 1994-1995, and published early in 1996. I needed fonts to show the typography I was talking about. At that point oldstyle figures, true small caps, and discretionary ligatures were rare. More than that text fonts for book design had lining OR oldstyle figures, lowercase OR small caps—never both. So, I designed the Diaconia family (using the Greek word for minister). It was fairly rough. I knew very little. I later redesigned and updated Diaconia into Bergsland Pro —released in 2004. It was still rough (though I impressed myself). In 2006, I found myself needing a readable sans serif. So I went to Bergsland Pro, and eliminated the serifs. I named the font Brinar. I kept a flare in place for the serifs and cupped the ends. I was stunned. People loved it. It’s remained my bestseller until very recently. So, at the end of 2016 I decided that Brinar really needed some help. The flares were basically random. The stem width and modulation variances all needed to be fixed. My old OpenType feature code was quite limited and clumsy. So, I created the 6-font Biblia family. I cleaned up or redesigned all the glyphs. I updated the fonts to the 2017 set of features: small caps, small cap figures, oldstyle figures, fractions, lining figures, ligatures and discretionary ligatures. These are fonts designed for book production and work well for text or heads.

The Adelle family continues its stylistic expansion with the release of Adelle Mono and Adelle Mono Flex by Veronika Burian and José Scaglione. Monospaced typefaces are the default choice for developers and programmers and are also an aesthetic choice for many designers and communicators. The Adelle Mono font family has two widths to serve both breeds and a variable font for the flexible spectrum in between. Monospaced typefaces are born of necessity rather than purely aesthetic values. Each glyph is constrained to a strict box, making the naturally smaller ones the same width as the naturally wider ones. While this serves the functional purpose of keeping text aligned in vertical and horizontal rows, it is completely unnatural in terms of readability. A monospaced ‘l, i’ are overblown compromises while ‘m, w’ become compressed mutations. The Adelle Mono family was therefore designed with both the developer and the aesthete in mind. Adelle Mono respects its necessary constraints while still being visually appealing and easily read. Activate it for use in Sublime, Swift, Terminal, or your IDE of choice and see how well it performs. Clarity will lead to less developer mistakes, and its aesthetic appeal will make your work enjoyable. Adelle Mono Flex is the proportional width version that works for any kind of normal text reading or a design intended to invoke “system or information aesthetics”. Opposite the demands of the monospace family, Flex is reader friendly and intended for branding, annual reports, paragraphs, UI, logos, posters, screens, tables, captions, and more. Employ the Mono version where monospace is needed and the Flex version where reading or coherence is priority. Adelle Mono’s experimental 20-style design explores the space between proportional and monospaced types. It boosts creativity and coherence by providing flexible options in the same family, including italics and the variable font format with an axis of weight and a spectrum axis between multi-width and monospaced characters. Combining Adelle Mono with either Adelle or Adelle Sans adds more layers and adaptability to your work.