Dearest is a distinct flowing script based on handwritten characters found in a 19th Century German book chronicling a history of the Middle Ages. Originally released in 2001 as a set containing two styles, Script and Swash, Dearest is now expanded in 2014 as a pro font with several hundred new characters including support for Central European, Cyrillic and Greek languages. Other Opentype features include ligatures, fractions and figures, Roman numerals, alternate letterforms and more swashes to expand the possibilities of this designer-friendly font. In addition to the Dearest Pro font, a new companion font has been added- P22 Dearest Alternates. The characters contained in this font are part of the pro font, but are also designed to be used with Dearest Script and Dearest Swash and is intended for those who have applications that do not support Opentype features.

Decima Round – one more addition to the Decima fonts family. It is a new version of recently released Decima Pro fonts with new content and styles. The main difference in the new version is a visual softer impressions of letter shapes made by the rounding of all glyphs’ corners and terminals. Decima Round is released in OpenType format with some OpenType features and support of most Latin languages as well as Cyrillic.

Yuge, apparently, is how New Yorkers pronounce huge. I have never been to New York, so I can’t tell if this is a fact. But I often hear a certain New Yorker pronounce it that way, so I guess it’s sort of true. Yuge is a handwritten font - made with a Sharpie pen. Believe me, it is a good font. It is fantastic. It is the best font ever. It is YUGE! ;-)

It’s the end, but the moment has been prepared for... the Time War is over and things are wearing a bit thin, time for a new face, a new body, a new companion for our Timelord font... a REGENERATION! Features: 138 automatic connecting ligatures Language support for Western & Central Europe and Vietnamese Solid Variable Font for complete control of weight and italic Levels Variable font can access any point between Inline, Midline & Outline

Incorporating a certain Gallic ‘je ne sais quoi’ Galerie is a chic & stylish sans serif, though you'll notice some short tails with angled terminals acting rather like serifs, lending a sophisticated characteristic to its balanced proportions. Galerie’s large x-height makes it a very legible font family, available in 4 weights: Thin, Light, Medium and Bold. See also the condensed sister family Galerie 2.

The recent tragedies in America have resulted in a tremendous need for donations. This new font was created to benefit the victims in New York. This font is a great opportunity for artists, designers and computer users to show their support. The font needs to be big, 36 points or higher is recommended. It can be used at smaller point sizes, but there is little detail at smaller sizes. I felt a need to do something, ever since I saw those two beautiful buildings collapse in New York. You see, I went to school in New York, and I learned so much there. I truly love New York, and this is a way for me to show my support to the Big Apple. A $20.00 donation to the Twin Towers Fund is requested for those who download this font. Please send the donation to: Twin Towers Fund General Post Office P.O. Box 26999 New York, NY 10087-6999 Special thanks to those who reviewed my font and offered advice on what needed to be done to complete the font.

When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph's skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is 'connected at the hip' with each style—each character carries the no frills, simple architecture that endeared so many users to it. The new recut expands the family to an enormous 72 typefaces! The original has spawned Compressed, Condensed and Wide subsets—all with corresponding weights—for complete flexibility. Additionally, all of the original weight variants have all been incorporated within the OpenType shell: Small Caps and Old Style Figures are there along with new tabular figures, numerators and denominators, expanded f-ligatures and a complete Central European character set.

When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph's skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is 'connected at the hip' with each style—each character carries the no frills, simple architecture that endeared so many users to it. The new recut expands the family to an enormous 72 typefaces! The original has spawned Compressed, Condensed and Wide subsets—all with corresponding weights—for complete flexibility. Additionally, all of the original weight variants have all been incorporated within the OpenType shell: Small Caps and Old Style Figures are there along with new tabular figures, numerators and denominators, expanded f-ligatures and a complete Central European character set.

When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph's skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is 'connected at the hip' with each style—each character carries the no frills, simple architecture that endeared so many users to it. The new recut expands the family to an enormous 72 typefaces! The original has spawned Compressed, Condensed and Wide subsets—all with corresponding weights—for complete flexibility. Additionally, all of the original weight variants have all been incorporated within the OpenType shell: Small Caps and Old Style Figures are there along with new tabular figures, numerators and denominators, expanded f-ligatures and a complete Central European character set.

When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph's skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is 'connected at the hip' with each style—each character carries the no frills, simple architecture that endeared so many users to it. The new recut expands the family to an enormous 72 typefaces! The original has spawned Compressed, Condensed and Wide subsets—all with corresponding weights—for complete flexibility. Additionally, all of the original weight variants have all been incorporated within the OpenType shell: Small Caps and Old Style Figures are there along with new tabular figures, numerators and denominators, expanded f-ligatures and a complete Central European character set.

The new Linotype® Devanagari typeface is a traditional text face now available in five weights (from Light to Black) and suitable for a wide variety of print and digital uses. A compact design, Linotype Devanagari also provides economy of space where textual real estate is at a premium. In addition, its large character set enables the setting of Hindi, Marathi, Nepali and is suitable for Sanskrit passages. The design’s open counters ensure high levels of legibility at small sizes and at modest resolution. The history of Linotype Devanagari is quite extensive. Inspired by the late 19th and early 20th century Nirnaya Sagar designs, it was originally designed in 1977 by Mathew Carter for phototypesetting systems. It was then revised and expanded for digital typesetting by the Linotype letter-drawing studio headed by Georgie Surman under the art direction of Fiona Ross. This new, enhanced revival was designed by Lisa Timpi and Gunnar Vilhjálmsson with Fiona Ross as a consultant. This new Linotype Devanagari is part of a project to refresh the pivotal Linotype Bengali and Linotype Gujarati typefaces and make them available for the first time in the popular OpenType font format.

Franca is a neo-grotesk family in nine weights plus matching italics. The inspiration for the design came through the constant interest in new interpretations of the classic grotesk model and a study of "neutral“ typefaces like Helvetica, Univers or Normal Grotesk. During the studies, additional attention was given to the American representatives of the genre, resulting in the initial impetus for a reinterpretation, combining both paths into one contemporary design. This is reflected in the name, blending together the names of the most popular typefaces of each genres, (Fran)klin and Helveti(ca). Due to its large x-height and plain design, the family is perfectly suited for all kinds of text. Its mid-weights are optimized for usage in long paragraphs, while the bolder weights, due to a short descender and ascender, create a compact and confident look in headlines or short copy. In order to create strong and dynamic italics, the oblique glyph shapes come with a faint calligraphic hint, defined by a higher stroke contrast and a steeper connection between stems and arcs in, for example, h n m and u. This is followed by different standard shapes for a and y, supporting the dynamic movement of the lowercase in general. A wide range of OpenType features such as ligatures, old style figures, fractions, case-sensitive shapes and many more, are available for professional and contemporary typesetting. This is completed with eleven alternative glyph sets, enabling a quick customization of the typeface. The family supports up to 92 languages and comes with 500+ glyphs per font.

Innova. A new grotesque for the 21st century. More open. More squarish. More legible. After the many grotesques which have been designed over the years, is it still possible to improve this genre? Innova is a new design — a contribution to the tradition of grotesque typefaces. It is an attempt to improve both this genre’s legibility and versatility. Innova consists of two families: Innova and Innova Alt. The Innova family has rectangular dots. The Innova Alt family has round dots — making its personality a little friendlier. Innova is well suited for both text and display use — for graphic design, corporate identity design, magazines, newspapers, books, reports, editorials, web, advertising, signage, etc. Innova includes 16 uprights and 16 matching italics. It includes small caps, arbitrary fractions, and extensive language support. It includes nine numerical styles: lining and oldstyle figures (proportional and tabular), small cap figures, superiors, inferiors, numerators, and denominators. Innova embodies the renewal needed for the traditional grotesques. It is a grotesque which is fit for the 21st century. In order to see whether you agree with this, please try the free Innova Alt Demi. For more information about Innova, download the PDF Specimen Manual.

The new version of Vallejo Serif includes rounded corners.

Altersan is sans serif font family with extraordinary abstract alternative glyphs and icons. The initial style is humanist grotesk sans which fit for various design purposes. The complete family consist of 8 styles from thin to black with each matching obliques. Its contain 477 glyphs which covered broad latin languages. The alternative glyphs can be accessed by activating the opentype feature; Stylistic Alternates and also by opening the glyphs panel.

A vintage British lettering stencil was the inspiration for Sandwell Stencil JNL, which is available in both regular and oblique versions. This pleasant and condensed stencil font was originally a semi-stencil – many of the characters were made as solid letters ,while the others had a traditional stencil treatment. For the digital version, the stencil treatment was applied to previously solid characters to create a consistency in the overall design.

The 1939 sheet music for “Sea Dreams” had its title hand lettered in an unusual Art Deco style that employed many unusual character shapes and widths within the font design. A teardrop-shaped ‘D’, a slightly off-kilter ‘S’ and a number of other interesting variations became the model for Seahawk JNL, which is available in both regular and oblique versions. The term “Seahawk” is another name for an Osprey.

Clarinetist Milton ?Mezz? Mezzrow (1899-1972) was a remarkable jazz musician, as becomes evident upon reading his autobiography Really the Blues. His sharp tone and serpentine lines inspired English lettering artist and jazz lover Michael Harvey to create a condensed, oblique display typeface with the look of a chiseled alphabet in the musician's honor. Vertical formats such as book jackets and posters will be invigorated by Mezz as the display face.

Causten is a geometric sans serif font family with maintains rationality in designing each form. With use the sharpness of the eyes, and remain logical, so that balance is maintained in each form. So, it will get a clean, neat, and perfect shape. Causten comes with 9 weights and matching oblique, making it 18 styles. It makes perfect for all creative projects. Also, some alternative glyphs will be an attractive choice.

A quintet of remorseless homewreckers, each member of the Vamp family contains hypnotic dingbats to lure you into their web. The Vamp family consists of the bewitching Vamp, the bigger, brasher Vamp Bold, the dangerous, psychedelic Psycho Vamp, as well as the lean (but still mean!) Vamp Slim and Vamp Slim Oblique. The Vamp family's seductive art deco form and fiendishly geometric wiles will break your heart and steal your soul.

Bolton Commercial revives and updates one of Greater Albion's designer's earliest typeface families, Bolton, which was recently used on the credits of a popular UK television series. The family consists of five faces- Regular and Obliqued, Blocked, Embossed and Engraved. All have a late Victorian/Edwardian feel and are ideal for posters, signage, Book covers...and of course television credits! Bolton Commercial combines the virtues of flair, fun and legibility.

Essay was born from an afternoon in Berlin in September 2013, looking at old book covers. Inspired by Herb Lubalin, Athletics & Rock music. Its details relate with speed & punk styles but keeping the main structure intact. Works perfectly as main/bold typography combined with some serif typefaces. - More than 250 Glyphs - Full Accented Character Set - Numbers + Punctuation Marks - International Characters - 8 Different Styles (Normal, Display, Poster, Poster Heavy, and Oblique versions)

Inspired by the hand lettered title on the cover of a mid-1950s comic book [based on the beloved children’s TV host Captain Kangaroo], Treasure House JNL is a casual, playful serif font available in both regular and oblique versions. From 1955 through 1984, the late Bob Keeshan brought the gentle Captain into the living rooms of eager youngsters who were both taught and entertained each weekday morning.

The basic design style for Nouveau Days JNL was inspired by the hand lettering on the sheet music cover for "Linger Longer Letty". This tongue-twisting song title comes from the 1919 musical comedy of the same name. Some of the characters originally had tiny spur serifs, but they were omitted in the digital version to keep the overall design consistent. The font is available in both regular and oblique versions.

Rounded and bended slab that's why we named this font "Bandy" This font is great for you to use as a display font and is suitable for body text. cool anyway if you use it for your design and printing needs. Available in many languages, and open type features, supported with Latin and standard Cyrillic. Build with 14 fonts with 7 sizes with matching Oblique and 2 Variables

An image spotted in an online auction online of a 1940 Milton Bradley child's activity set consisting of wooden letters formed the basis for School Activities JNL, which is available in both regular and oblique versions. Although the basic characters feature chamfered corners, the nature of bending the steel rule dies to form the letters to be cut from the wood provided rounded edges as well, creating their unique look.

The opening titles and credits of the 1947 film comedy “The Egg and I” were done in a hand lettered casual sans serif typeface which inspired the digital font Egg Farm JNL; available in both regular and oblique versions. “The Egg and I” introduced audiences to Ma and Pa Kettle as portrayed by Marjorie Main and Percy Kilbride, who went on to do a number of additional films as those characters.

This reinterpretation of Caslon Rounded showcases one of the early attempts of type foundries to create a novelty ‘rounded’ typeface for general use. While the lettering might easily convey a more modern look of 1960s or 1970s pop typography, its roots definitely lay in the later part of the 19th Century and the heyday of wood type design. Wood Rounded JNL is available in both regular and oblique versions.

Kustomtype's 'Annexxus' font is a serrif font family with a regular & oblique version. It contains all upper & lower cases. The 'Annexxus' family is coordinated into letterforms, metrics, and weights to work better together. Why still looking for old school types for your posters, text, design, artwork, headtext, editoral design, magazines, etc.? Dress up your graphic work with 'Annexxus! A good font does not have to be perfect to be wonderful!

One of the text fonts showcased within the pages of the John Ryan Foundry (Baltimore, MD) specimen book from 1894 is a squared type face with rounded corners called “Geometric”. The original design has been updated slightly by substituting straight lines for the inner corner curves to add a small contemporary touch to a classic alphabet from the 19th century. Business Letter JNL is available in both regular and oblique versions.

A vintage photograph of the Man at the Wheel Saloon in San Pedro, CA [circa 1895] provided an excellent type design source with the unusual lettering on the bar’s sign. Basically a spurred serif design, the unusual characteristic of the type style is the ‘bumps’ or ‘dots’ on the tops of each letter. This has been redrawn digitally as Beer Joint JNL, and is available in both regular and oblique versions.

The title and credits from the 1965 film “Strange Bedfellows” were hand lettered in a style typical of the early-to-mid 1960s – casual and playful. This brought to mind similar type designs used by many radio stations when advertising their disc jockeys as cool, hip and fashionable in the slang term of the day “boss” jocks. Boss Jock JNL is available in both regular and oblique versions.