Leo is an economic magazine and book face meant for use in sizes suitable for immersive reading, with different cuts optimized for different body copy size ranges, like footnotes and legal text. Designed with the explicit intent of relaying information without calling attention to itself, this typeface places itself squarely on the "function" side of the eternal debate about form versus content. The roman Leo fonts were built with as little ornamentation as possible, with wedge serifs, a high x-height and a skeleton somehwat rooted in the designers' reflections on the modern, post-war Dutch archetype. Rather than follow traditional models with entirely different forms, contracted widths and steep slants, the Leo italics deliver naturally subtle emphasis in reading by closely relating to the forms, stance and rhythm of their roman counterparts. The 12 Leo fonts contain over 700 glyphs each, and include support for the vast majority of Latin languages. Included OpenType features are built-in small caps, lining and oldstyle figures in both proportional and tabular sets, superiors, numerators, denominators inferiors, ordinals, automatic fractions, ligatures, and optional long descenders for optimal counterspace management in book and magazine text layout. For more information on Leo's character set, features and some print tests, please consult the PDF in the gallery section of this page.

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.

Gogh is a geometric sans serif with a modern look and traditional spirit. It blends evenly without overly distracting the reader, yet still keeps a rich and distinctive character. The generous x-height, easily distinguishable glyph forms, and open terminals help the eye perceive a block of text smoothly, making it clearly legible. Gogh thrives when used both on-screen and on print media. Gogh type family consists of 10 weights from Hairline to Black and their matching Italics. Gogh is also available as a fully functional variable font, which gives unlimited opportunity to explore typography without the restrictions of predefined weights. Gogh Variable is also the best option if used on the web as it has a much-reduced size compared to the original font family. Regardless of which Gogh family you choose, the typeface covers a broad spectrum of languages, as it includes Extended Latin and Cyrillic. And it also comes with an alternative stylistic set that will completely change the overall look of a paragraph, giving it a more contemporary and display appearance. In addition to that, Gogh type family is enriched with an extensive list of OpenType features for advanced typographic layout, including standard and discretionary ligatures, tabular and small figures, fractions, language localizations, case sensitive punctuation, and more.

Business Penmanship is an ode to the business handwriting from the era penmanship was a highly-valued part of business education and practice.
  In the early 1800s, Platt Rogers Spencer (1800-1864) created what would become the most widely accepted and prized cursive writing method used in business. Before the American Civil War, Spencer was the undisputed king of handwriting. He was also an outspoken supporter of American business education. By the late 1800s business education included some focus on penmanship, and there were many colleges that specialized in it. One of the most influential penmanship schools was founded by Charles Paxton Zaner and his partner E. W. Bloser. Later on, in the early 1900s Austin Palmer introduced the Palmer Method of business penmanship, and it soon became the most popular handwriting system in the United States.
  Business Penmanship is a single feature-rich font that includes over 1100 characters, covering ligatures, alternates, a large set of beginning and ending extensions, as well as a wide range of Latin-based languages, including Turkish and the languages of Central and Eastern Europe and the Baltic region. To take advantage of all the OpenType features included in the font, please use within programs that support such advanced typography.

Hello! Let me introduce Walonka – a modern calligraphy font. With its natural, elegant shapes Walonka is the perfect choice for logos, branding, web, blog headlines, invitations, magazine and book design, product packaging – or for any text on postcards and on your favorite photos. Walonka includes: a standard set of characters with wide multilingual support: Western-, Central- and Eastern-European, Baltic, Turkish, Latin-type Africans, and Asian (94 languages in total) two additional character sets: lowercase letters with alternates shapes and lowercase letters without a connection stroke - for the position at the end of a word another two additional lowercase character sets – initial and final swashed forms 75 ligatures for double letters and frequent combinations Walonka has a large number of embedded context-dependent auto-replacement features that give the text a natural, handwritten look and correct inharmonious combinations of letters. These features work well in many apps (even simple ones like Notepad/TextEdit), and if you need to customize their application – you could use programs that support OpenType features (for example, Adobe apps or CorelDraw). All these additional glyphs are PUA-encoded, so if your software does not support OpenType — you could access them through Character Map (Windows) or Font Book (Mac). I hope you will like Walonka and create great designs with it!

Delightful is a whimsical and cheerful handwritten font family of varying weights and widths. This typeface is like if Comic Sans had a cousin who studied abroad one summer and now wears scarves to look more grown up, even though inside she's still the same, sweet marshmallow she always was. The letters were inspired by my handwriting on a good day - slowed down, legible, and intentionally drawn. I even threw in some of my favorite doodles as alt characters because the set wouldn't be complete without them. And the name was inspired purely by how it feels when I see it - and by my word of the year, delight. Delightful is ideal for anyone who wants to include a bit more warmth and a personal touch with their messaging. It's friendly and non-threatening, and will enhance personal projects or professional ones alike - whether you're a designer, an Instagram influencer, or you need to create some flyers for the local Mom 'n Pop Shop. There are two versions of this font. The original style is slightly more rounded and gets chubbier as you increase its boldness, and the stretched style is like a condensed version, except it's been stretched taller rather than squished narrower. I hope you delight in it as much as I do!

A rare natural history book from the early 18th century served as inspiration for the MVB Sirenne typefaces. The artisan who engraved the book—likely a map engraver—had a distinctive style of lettering that was used on the descriptive captions for the many tropical fishes depicted in the book. The plates used to print the illustrations would have been copper, the letterforms hand-engraved. The designers at MVB Fonts found the distinctive quirks of the roman letterforms and the eccentric stress of the italic interesting enough to embark on developing digital fonts based on the engraved samples. As the captions were hand-lettered, there was a great degree of variation, making a direct “revival” impossible, so Alan Dague-Greene interpreted the characteristics of the letterforms into a workable typeface design. The challenge was to retain a rustic quirkiness to the forms, yet have a typeface that was useful for more than display. The solution was to make optical sizes. The “Six” faces are full of character, but strong and open for clarity at small sizes. The design of the “Text” faces is more subtle, so that they can be used for passages of text, but retain the feel of their model. MVB Sirenne “Eighteen” and “Seventy Two” are intended for display use.

Vintage, country, distressed or just plain worn out. The Texas general store on the side of the highway that has been there since 1954 and they're still selling old fashion bottled soda. A renovation/excavation at a downtown urban construction site reveals the old ad on exterior brick. Barn Owl provides the headline in your project with the ultimate in aged retro visualization. It is a basic minimal font set which includes only uppercase letterforms. It is a headline font best used above 36 points in size. The first of our “Trifonictype” (Tin Sign is the 2nd) there are three components to the font, Barn Owl Outline, Barn Owl Fill and Barn Owl Shadow. These can be used in different combinations for different effects, copy and paste type then indicate a different font each time. Paste in the front or back in application to see effects in combination. Fill and Shadow could be used with irregular letter spacing for various effects. Outline could be used with just Shadow for a another effect. Use your photo manipulation program to overlay and change the transparency of your headline. There are a few extended glyphs and barn(ding)bats in the lowercase letter strokes indicated in a poster sample, these are found only in the Barn Owl Outline. Download PDF manual for complete showing.

Mr Robot is a typeface designed for our next book for children. We wanted to have a colorful, dimensional and edgy looking letters for headlines. There are three ways to use Mr Robot. You can align three text frames with same text but with different colors and font styles (Regular, Shadow 1 or Shadow 3 and Shadow 2) or with ALLinONE font style but select a different OpenType Stylistic Sets (set 1 is like Shadow 1, set 2 like Shadow 2 and set 3 like Shadow 3). This works great but we don’t like to have unnecessary text frames in our layouts so we added a very cool Contextual Alternates OpenType feature. You just need Mr Robot ALLinONE style and only one text frame. First make sure that Contextual Alternates is off. Type every character three times (RRROOOBBBOOOTTT), select colors for each letter (first letter of every three is a side shadow, second is bottom shadow and third is a front of the dimensional letter). When everything is set just turn Contextual Alternates back on. Styles and alignment will be set automatically. Check out the Users Manual for a visual explanation. For web fonts it is better (at least for now) to use the first method (with font styles) as the OpenType features are not supported in older browsers.

Used Cars JNL is based on one of the many unique alphabets created by the late Alf R. Becker for Signs of the Times magazine from the 1930s through the 1950s. Special thanks to Tod Swormstedt of ST Media (who is also the curator of the American Sign Museum in Cincinnati, Ohio) for providing the reference material for this design

Cyntho Next Slab is a totally reworked typeface based on our previous bestseller Cyntho Slab Pro. Cyntho Next Slab is the slab serif companion to Cyntho Next . It is a modern geometric slab serif based on a hybrid waterdrop-like shape with extensive language support including Cyrillic, rich with OpenType features, perfect for magazines, posters, advertising, corporate identity, and much more.

Bold Display Sans JNL is loosely based on one of the classic alphabets found within a Speedball Lettering Textbook of the 1940s; itself called "Bold Display". The original featured a stippled texture and inline curves placed in random patterns throughout the letters. This more simplified, all-caps version is for titling requirements where a strong, yet casual design is needed.

Arial is one of the most widely used designs of the last 30 years. Drawn in 1982 by Robin Nicholas and Patricia Saunders for use in an early IBM® laser printer, Arial has become a staple for textual content. While it is widely believed that Arial's design was based on Helvetica, it is more accurate to consider Monotype Grotesque as its ancestor.

Bageurville is a modern serif inspired by a transitional style. Built with curved characters and rounded shapes on the ears and terminals that are formed based on circles, making them have kindness and historical touch. Bageurville has more than 250 glyphs, basic ligatures, and support multilingual. Nicely suitable for title or body purposes such as books, editorials, invitations, greeting cards, and branding.

The typeface was designed for ParaType in 2002 by Dmitry Kirsanov. Based on the Mesolithic images on stones were discovered in a prehistoric cave of Mas d’Asil, France. There is a great number of hypotheses explaining the function of the mysterious stones. They have been considered as vessels of souls, computation tools, fortune-telling and magic symbols, relics of prehistoric writing system.

Dollar Tree Stores imports a number of items from China, and many times these are limited-run products only available until the existing supplies run out. One such item was a sans serif stencil lettering guide with rounded ends that takes on the look of 1980s-influenced techno lettering. This is now available as Import Stencil JNL, in both regular and oblique versions.

Geometa is based on Paul Renners Futura Classic, the one that he designed before he had to soften it to make it more appealing to the broad public. I thought the original design would lend itself perfect to make a rounded version, that has got more character than the ever so boring DIN-typeface. The type-designer for interesting solutions, Gert Wiescher

Originally inspired by manufacturer badges on old laboratory equipment, Centrifuge sports soft geometric shapes, wedge serifs, and sharply-angled terminals. Quirky but versatile, Centrifuge can appear anywhere from formal and elegant to funky and chunky depending on how it’s set. Centrifuge is suitable for short-form text and headlines but really sings in an all-caps setting with generous tracking.

Longacre JNL is bold. It's condensed. It has rounded ends. The design is both eye-catching and casual; perfect for titling that needs to make a point without being overwhelming. Based on a set of wood type, this design also offers an inference of child-like simplicity, as it is very similar to the type of lettering found on classroom bulleting boards.

A charming series of 26 holiday “type warmers” based on the works of Carl S. Junge for the Barnhart Brothers & Spindler type foundry in the 1920s. Single-color cuts are in the uppercase positions, while 13 of the cuts suitable for two-color usage occupy the lowercase in adjacent pairs; e.g., a and b, c and d, and so on.

One of the rare, huge script, true cursive and signature family. It has 30 styles, that range between weight and slant, and with alternates. It can be use in a lot of projects, like logos, end of a statement, pairing with a beautiful sans serif like Aleante, in a title, invites and so on. Check how it work: https://youtu.be/HinnXZo5tzw

Arthaus is a typeface family inspired by Herbert Bayer letter study for an universal alphabet, this version is built on a rigorous geometrical basis as originally planned by this master of the Bauhaus in 1927. Arthaus comes in 4 weights and one outline version. Ideal for creating posters and brands is a treat for anyone who deals with graphic design.

Pobeda is a bright jobbing typeface inspired by the Moscow Victory Day Parade commemorating the 70th anniversary of the end of the Second World War. At the heart of the typeface is the recognizable rapid silhouette of the famous MiG-29. This cool typeface looks great on souvenir objects, in print and on the web, adding some technical flair to any material.

Linem Up JNL is based on one of Alf R. Becker's alphabets for Signs of the Times magazine. With A-Z only and basic punctuation, it is best used in very limited text at larger point sizes. Thanks to Tod Swormstedt of ST Publications (and the curator of the American Sign Museum in Cincinnati, Ohio) for providing the reference material.

The fun, lighthearted appeal of Toddler JNL will bring out the inner child in you. Perfect for any layout or project that has to do with newborns, toddlers, preschool, playtime or anything related to little ones. There's a fairly complete character set - and two different width blank boxes on the brace keys - which can be used as spaces between words.

Ok, I'm allergic to cats and have never had one, but I can still create a typeface that embodies feline character! Cica combines the careful nature of cunning cats with the playfulness of kittens. It's simply fun to use and expresses multiple personalities depending on your choice of all upper case, lower case or mixing the two. Take Cica home with you today!

Hand lettering on the packaging for an Arrow "Commander" Staple Remover seen in an online auction is the inspiration for the unusual and angular typeface comprising Staple Remover JNL. The Art Deco era of the 1930s and 1940s offers many wonderful examples of stylized and experimental lettering, and this, by far is one of the more eclectic styles of the time.

I like the expression ‘being on tenterhooks’. Not that I’m on tenterhooks very often! Tenterhooks was made with a broken satay skewer (see poster 2 for the actual thing) and Chinese ink. It came out rather rough, but it does have a nice flow and a certain ‘wild elegance’. Comes with double letter ligatures and a whole bunch of diacritics.

ITC Dinitials is the work of German designer Helga Joergensen. When I started drawing the first of them, I was very much inspired by dinosaurs, but during the work my fantasy guided me more and more and then became rather fabulous creatures." ITC Dinitials is a capital letter alphabet available in both black on white and white on black weights."

Anthanista would perfect for photography, watermark, social media posts, advertisements, logos & branding, invitation, product designs, label, stationery, wedding designs, product packaging, special events or anything that need handwriting taste. What's Included : Ton of glyphs (include Uppercase, Lowercase, Numerals & Punctuations, 113 Ligatures) Works on PC & Mac Simple installations Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even works on Microsoft Word

Watchmaker was designed with the limitations imposed by a simple LCD that is meant only to display numbers. Most LCD typefaces use some diagonals to make the letters look better. This one does not and from it you can see why a few diagonals are needed to display letters on a LCD. Watchmaker is monospaced and comes in plain and bold weights.

Geometra is based on Paul Renners Futura Classic, the one that he designed before he had to soften it to make it more appealing to the broad public. I thought the original design would lend itself perfect to make a rounded version, that has got more character than the ever so boring DIN-typeface. The type-designer for interesting solutions Gert Wiescher

Ballard Ave is inspired by old vintage signage found in Ballard, Washington, an old neighborhood of Seattle. Ballard Avenue is a protected historical district filled with turn of the century brick buildings that have been converted into quaint shops and independent businesses. This alphabet is based on the antique signage that still exists on the sides of many of these buildings.

Handmade Caslon JNL is a somewhat imperfect version of one of the many Caslon faces in use during the late 19th and early 20th centuries. Based on vintage source material, Handmade Caslon JNL is the right typeface for projects reflecting antiquity, a hand-made look or where slightly imperfect lettering adds a bit of the "real world" to the message.

Primavera is a fresh and spirited take on casual handwriting. The usual playfulness and expertise of Angel Koziupa's forms, along with the smooth, crisp outlines of Alejandro Paul, provide a humorous and lively typeface in two styles that fit perfectly on food packaging labels, greeting cards, journals or wherever a design needs to convey freshness, young spirit, and a cool spring breeze.

Store Tags JNL is a collection of vintage-style store price tags that are great for a multitude of purposes. Print them with a color fill and overlay them on product photos in ad fliers. Enlarge them and print them out on card stock to create pre-printed tags, or print them out poster-size and use them for point-of-sale displays.

Pebl is inspired by the naturally simplified and smoothed shapes of beach pebbles. The result is a bold, super-rounded display typeface. It's pared back to just the most basic, smooth outlines without counters, for a friendly and organic look. It’s ideal for logos, branding, headlines or just abstract type shapes in print, in displays, on the web, on T-shirts, wherever. Enjoy.

The 1920s were part of an era in songwriting where snappy wordplay and clever (if not long) titles prevailed. The lettering on one such piece of sheet music with the song title "In A Shady Nook by A Babbling Brook" offered up a bold, condensed sans serif design which is now available digitally as Brookside JNL. Available in both regular and oblique versions.

Introducing Springsteel, a new display sans serif with an unusual construction: curved lines on the outside with only a few straight lines on the inside. The resulting typeface shows a great deal of tension and dynamics. Preferably, it should be used at larger sizes, at smaller sizes only for special effects. It was spaced and kerned by Igino Marini/iKern.

Pelita is a sans serif family which is divided into 2 sub-families, Regular and Grande. Pelita is designed with a terminal that forms a curved angle on one side so as to give the impression of representing firmness and softness. The grande version is a modified version of the main version, but is designed more streamlined with curves and more extreme angles.