Paine was designed to be a humanistic sans serif with an overall contemporary feel while at the same time evoking the feeling of earlier transitional faces.

Black spoon is a basic display font made for print. It was created for an Artbook about reptiles. It needed to be round, clear and modern.

Phyllis was designed by Heinrich Wieynck in 1904. The Phyllis font has a suite of alternative initials that provide a flourish to an otherwise modest script.

This typeface was developed by Roland John Goulsbra in 1995. Almost like the printing of a child, the irregular forms of Agrafie make a unique impression.

Backpage Article JNL and its oblique counterpart are a variant to the popular sanserif wood types used in newspaper headlines and on broadsheets in years past.

Named for Antoine Augereau, teacher of Claude Garamond, this much admired rendition of the classic Garamond typeface was created by George Abrams and released in 1997.

Based on Art Nouveau models, Greeting Monotype was created by M.F. Benton in 1927. The Greeting Monotone font works well for titling, packaging and greeting cards.

An all-capitals reversed sans-serif font, designed for easy creation of signs, labels and banners. Various endpieces are included. Upright and italic can be combined.

Based on the free-spirited handwriting style of a friend, this font features automatic ligatures, alternate character substitutions and swashes in applications that are OpenType-savvy.

Roman Wood Type JNL is based on a partial set of wood type in the style of Clarendon Condensed that was seen in an online auction.

This font contains a selection of typographical symbols, covering mainly Astrology, Biology (Botany), Meteorology and Mathematics. Its glyphs are in a sensibly adjusted light monoline style.

A typeface with characteristics of roman and italic, fat face and stencil, modern and script. It was designed by Hans Bohn for Ludwig & Mayer in 1936.

Magnificent Ornaments was inspired by the ornamental styles produced during the Victorian era. There is an assortment of 47 ornaments all located under the character keys.

Introducing vintage and classy display serif with a little touch of 3D to make your work more real so that readers are hypnotized by your work.

A product of the Inland Type Foundry, some say stolen from a hand lettering job done by Goudy. (Goudy was one of those who said it!)

Display Engraved JNL was inspired by the bold, engraved Sphinx Blanc from the Deberney & Peignot circa 1925, and is available in both regular and oblique versions.

The inspiration for the designing of the font Skuul was Letraset in 1981. Font Skuul, for each character has three alternative characters with their automatic replacement.

A revival of one of the popular English Antique styles of the 19th century. The slab serif style was also used by American wood type manufacturers.

An antique hand-cut brass stencil of the phrase "No Hunting on These Premmises" (with the word "premises" misspelled) was the model for Brassmark Stencil JNL.

PT Natali Script™ was designed by Natalia Vasilyeva and licensed by ParaType in 2002. An original calligraphic script. For use in advertising and display typography.

Rancher JNL was inspired by classic wood type. This wide, slab serif typeface is reminiscent of wanted posters, broadsides and other printed matter from the 1800s.

Ventnor is a all caps futuristic sans serif font. It was created to help you designing makes gorgeous logos, posters, blog posts, social media, and more!

If you require an authentic wood type era typeface, Wooddale is your match. This face was revived with care from samples in antique type specimen books.

Phyllis was designed by Heinrich Wienyk in 1904. The Phyllis font has a suite of alternative initials that provide a flourish to an otherwise modest script.

Handmade Stencil JNL was inspired by the hand lettered opening credits of the 1954 film “Human Desire” and is available in both regular and oblique versions.

George Brian designed the Souvenir Gothic font family. Souvenir Gothic is based on the original serif design of Souvenir. Strokes are flared to almost undetectable serifs.

AZ Barista font is inspired from 1920's Poster art, namely Leonetto Cappiello designs. This font was designed for use as a worn and antiqued headline.

Oh Mabuboo is a typeface that combines current technologies with an antique look. The designer's fascination in vintage was the source of inspiration for the design.

Solomonk is a hand-drawn script with extended latin. • All European languages are supported. • Basic alphabet has alternates. (a→α) • Solomonk can be connected and disconnected

Nouveau Era JNL was adapted from the title of a hand-lettered advertisement found on the back of a 1920s-1930s piece of vintage sheet music.

Yma is inspired by 80's neonlight with an hand-written - brushpen style. Elegant & dynamic with a vintage look. There are also some interesting alternates glyphs.

Exogenetic is a monoline, sans-serif typeface suitable for display/headline purposes. It was influenced by circuit boards and robotics. Exogenetic is available in OpenType format.

A rounded geometric font of uniform stroke weight. All strokes have rounded ends and with the exception of the math symbols, there are no diagonal strokes.

The Arta font family was designed by David Quay in 1991. Its hand lettered appearance makes Arty a good choice for advertising and other promotional materials.

A more legible version of Janda Love & Rain, these decorative capitals are paired with neat lowercase letters that give you a girly flair with maximum legibility.

Once, Blackletter was a calligraphy style. Full of ligatures, with letters bumping into each other to create an unapologetic picket-fence pattern. Some even claimed that the regularity improved legibility! But then Blackletter was cast into metal, and only a handful of established ligatures survived, while most interletter connections were disentangled. Everyone since followed suit, and hundreds of years later, digital Blackletter fonts were modelled mostly on the metal fonts that prevailed rather than the original handwriting. Up until now! AJ Quadrata is an authentic revival of the textura quadrata hand, and its major inspiration is a 15th-century Latin manuscript of the Bible from Zwolle, the Netherlands. The typeface is delivered in two flavors. The default cut is a modern take on textura quadrata that can be useful for today and tomorrow. The standard ligatures feature employs nearly all letters. The tittle of i retains its original, hasty squiggle form (except for the Turkish localization). Discretionary ligatures include medieval ligatures da, de, do, pa, pe, po (and their mixed-case counterparts!). Stylistic sets allow to use historic letter variants such as long s and rotunda r, closed-counter a, and alternate capitals. AJ Quadrata Medieval is perfect for setting Latin. Default forms of capital F, H and O are swapped with the alternates. The squiggles above i only appear for disamibiguation nearby m, n or u, as in original manuscripts. Discretionary ligatures and historic variants are promoted to the standard ligatures feature to make room in the discretionary ligatures feature for a variety of scribal abbreviations. Dedicated stylistic sets include medieval punctuation and justification alternates — glyphs with elongated terminals used for lengthening lines that end up too short. The Rubrum styles can be layered and colored to create the illuminated effect on the capital letters. Besides a faithful rendition of extended Latin including Vietnamese, numerous synthetic additions are included: polytonic Greek, Armenian, and Cyrillic (with Bulgarian and Serbian/Macedonian localizations). Both flavors of the typeface can be considered a starting point that can be further customized using OpenType features, including Stylistic Sets (some features differ between AJ Quadrata and AJ Quadrata Medieval): ss01 Alt E ss02 Descending F / Roman F ss03 Uncial H / Roman H ss04 Angular O / Round O ss05 Contextual closed-counter a ss06 Diamond-dot i j / Always dotted i, j ss07 Contextual rotunda r / No r rotunda ss08 Contextual long s / No long s ss09 Dotless y ss10 Serbian Cyrillic ss11 Alt Cyrillic de ss12 Alt Cyrillic zhe ss13 Alt Cyrillic sha ss14-ss17 [reserved for future use] ss18 Scribal punctuation ss19 Alt linking hyphen ss20 Justification alternates