Dough is inspired from making dough, and you can feel the freedom of making letters in a unique and outlaw style. This font can be used in colored illustrations, kids activities and more.

Neona is a font in the spirit of the standard 'no frills' sans-serif 4-inch-high neon sign text used in cheap bars, coffee shops, bakeries and tattoo parlors around the world.

Brighton was designed by Alan Bright with a feeling of warmth in the design. Its charm lies in the simple construction of its letterforms which makes it suitable for nearly any typographic requirement.

An example of an antique sans serif wood type displayed in Rob Roy Kelly’s “American Wood Type” was the working model for Sandalwood JNL, which is available in both regular and oblique versions.

Dungarees is a font on caffeine... It's a normal sans-serif typeface gone wild: jagged in some places, smooth in others. It makes documents not only fun to read but really interesting too!

Animosa is a font family high in spirit and even in temperament. It supports 114 languages, features a total of 508 glyphs and includes an italicized version for each of the 5 weights.

Big Display Sans JNL is an all-caps version of Ludlow’s metal type “Samson”, originally designed by Robert Hunter Middleton in 1940. This digital version is available in both regular and oblique versions.

Designed by Francesco Simoncini and W. Bilz, this design follows Times New Roman in structure, but differs in some details. Unlike Times New Roman, the boldface is a weighted version of the roman.

Show Card Sans JNL (available in both regular and oblique versions) is based on a chart showing the basic construction of sans serif lettering in the 1922 instruction book “Modern Show Card Writing”.

Keishue is a modern handwritten typeface, beautiful and luxurious. This elegant and beautiful font is stylish and versatile so you can use in a plethora of designs in both digital and print applications.

Stencil Work JNL was re-drawn from a vintage paper stencil with one inch high Roman letters and numbers, often found in stationery, drug and variety stores in the 1950s through the 1980s.

Rockabilly is a modern, minimalist serif that works beautifully in modern design pieces, clean lines; serifs are modern, and a little vintage. Looks great in logo work, magazine titles, books and printed materials.

Advertisements in the September, 1936 French movie publication “La Cinématographie Française” featured a hand lettered slab serif type design that is now available as Cinema Serif JNL in both regular and oblique versions.

In 1928, the application of pure geometric form to sanserifs and slabserifs was in full swing. Morris Fuller Benton applied geometry to the Modern letterform to arrive at Parisian and Broadway for ATF.

The hand lettered words "favorite songs" in the masthead of the 1940s British music collection "Albert's Favourite Song Album No. 4" inspired Song Vendor JNL, which is available in regular and oblique versions.

Triunfo is a modern slab serif font family with sports flavor. It comes in 21 variants of weight and wide that allows you to choose the best option to use in your work.

This is an idea to reproduce the masks of the Mexican wrestlers of the late 60s and 70s. The typography is based in keeping the shape of the face in the wrestler's masks.

Ad Lib was created by Freeman Craw for ATF in 1961. Sporting irregular character shapes, this informal typeface makes a good impression when a 1960s look is desired in advertising and display work.

Hello Beauty is a script in a hand-lettered, modern, calligraphy style. It is suitable for a variety of uses such as in design, weddings, events, t-shirt, logos, badges, sticker, and more.

Here's a Morris line; a traditional and legible font in small sizes, but almost abstract in big sizes. Named after my son Morris and it's got nothing to do with a certain musical...

Nana is a classic joining script with long ascenders and descenders, that is based on a set of unique but forgotten initials that were designed in the roaring 20s and 30s in Paris.

A Geometrical font. This idea flashed to me in one of the boring classes we had in college. Since its my special masterpiece we come really cheap at its price of just $8.

A vintage newspaper front page from June 6, 1944 proclaimed “France Invaded” in a bold, condensed wood type that has been revived as News Event JNL – available in both regular and oblique versions.

Looking back on my production to date, neither so little nor so large, it does not come as a surprise to find myself now introducing Lady René. A brief review of my career would read as follows: graphic designer graduated from Buenos Aires University, a 10-year professorship in Typography in the same institution, an illustrator in the making. For almost 15 years now my work has focused on the design of editorial pieces, predominantly books and CD sleeves. Typography proper has always been central to my research projects. All my obsessions eventually embodied as much the search for a perfect, spotless text as for a daring and provoking one. In my view, "how-to-say-something" ranks highest amongst a graphic designer’s responsibilities. It was in this vein that I called in the written word to illustrate, to draw, to narrate. Why not reverse the saying and proclaim that “a word is worth a thousand images”? If so, one single word could trigger endless meanings, associations, ideas, and memories in every reader’s mind. Language, we know, has a strong power and is a living expression of a culture. In my illustrations, letters and drawings reunite in one synergy said and unsaid, the finiteness of the message and the freedom of the free reading. And this is how and when, Lady René, my first born type font sees the light of day conceived out of a love of illustration and a reverence for the written word, recalling the whimsicality of the handmade drawing and reflecting its sensitive, warmth and spontaneity. Enabled by the characteristics of Open Type and the hard, outstanding work of designer Ale Paul, Lady René succeeds in composing texts in a simple, organic way by means of its contextual and stylistic alternates, swash characters, ligatures and connecting words. A bundle of decorative miscellanea completes the set of signs, enabling the user considerable freedom to create new typographic landscapes. Lady René is then prepared, very much like a character in a short story, to come to life in the reader’s mind. I expect you will enjoy her as much as I did creating her. Laura Varsky

Jasna is designed by Naghi Naghashian. This Font is developed on the basis of specific research and analysis on Arabic characters and definition of their structure. This innovation is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement and provides more typographic flexibility. This step was necessary after more than two hundred years of relative stagnation in Arabic font design. Jasna supports Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages. Jasna Font is available in two weights, Jasna Regular and Jasna Bold. Jasna design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. Jasna is not based on any pre-digital typefaces. It is not a revival. Rather, its forms were created with today's technology in mind. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Jasna's simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Jasna was developed for multiple languages and writing conventions. E The highest degree of geometric clarity and the necessary amount of calligraphic references. This typeface offers a fine balance between calligraphic tradition and the contemporary sans serif aesthetic now common in Latin typography.

Sirba, a serif typeface family with a friendly personality, was conceived especially for the demands in complex text environments like dictionaries, academic texts, annual reports, novels and magazines. It has many design features that were particularly designed with Sirba’s purpose in mind. Because of its open counters, the large x-height and its short ascenders and descenders, this typeface conveys a pleasant reading experience and high legibility even in small sizes. Sirba is a low-contrast typeface, contemporary but with a classical touch, revealing its beauty in design details, such as the asymmetrical bottom serifs, curved bracketing and calligraphically reminiscent terminals. Furthermore, the capitals appear integrated into the text, thanks to the low cap height, and the constant width of all tabular numbers between the weights make this typeface very usable in annual reports and tables. Sirba is available in the four classic styles plus a special heavy (Black) version, which is particular in that its proportions are designed so the counters remain big enough when set in very small text sizes. This means that Sirba Black’s spacing and letter width are rather generous in comparison to other typefaces of that colour. This ensures excellent legibility. During the design of the typeface family, much attention was given to the italic and regular as counterparts of each other. The italic distinguishes itself just enough while reading without creating strange spots within the text when looking at the text as a whole.

Parsi Font family is designed by Naghi Naghashian. This Font is developed on the basis of specific research and analysis on Arabic characters and definition of their structure. This innovation is a contribution to modernization of Arabic typography, gives the font design of Arabic letters real typographic arrangement and provides more typographic flexibility. This step was necessary after more than two hundred years of relative stagnation in Arabic font design. Parsi supports Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages. Parsi Font is available in Light, Regular and Bold. Parsi design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. Parsi is not based on any pre-digital typefaces. It is not a revival. Rather, its forms were created with today’s technology in mind. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Parsi's simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Parsi was developed for multiple languages and writing conventions. E The highest degree of geometric clarity and the necessary amount of calligraphic references. This typeface offers a fine balance between calligraphic tradition and the contemporary sans serif aesthetic now common in Latin typography.

Say it with authority and style with Boppa Delux, a big, bold display font in four weights. For use in OpenType aware applications, Boppa Delux includes small caps, alternates, case sensitive forms, and more.

Schema is a family of hand-drawn architectural lettering designed by Ethan Dunham. Schema comes in three weights, light, regular and bold. This font works well both in mixed case and upper case settings.

Based on retro vinyl records in the middle of 20th century. There are three other fonts designed by in the same concept. -Word From Radio -African Elephant Trunk -Moon Star Soul -Rebel Train Goes

Wisconsin is a complete character set including three stylistic sets in nine weights offering a new singular aesthetic to each. Three differents attitudes in one font, a real typographic weapon. Supports all latin languages

Art Nouveau serif capitals and numerals in the 1917 instructional book “A Roman Alphabet and How to Use It” were the inspiration for Show Card Roman JNL; available in both regular and oblique versions.

Meshuggeneh means 'crazy fool' in Yiddish. The typeface before you is kind of crazy as well: it is 3D, twisted, with light and shadows in all directions. Meshuggeneh comes with all diacritics, oy veh!

Anubis, the first DSType font at MyFonts is back in an improved Pro version. AnubisPro, a slab serif font with a contemporary feel, with Central Europe diacritics, swashes and ligatures, available in OpenType format.

A square but fair font, or as they say in Germany "kradratisch, praktisch, gut". Because of the simpleness in this font, I decided add two styles less square to the family: funky and zit.

Made in collaboration with my 14-year-old daughter, this font embodies her desire for people to rise up and resist injustice in this world. The font is neat, legible, and yet slightly playful.

Gently rounded in shape, Kassena is reminiscent of the round thatched huts of the Zulu people. The triangular motif is inspired by the designs used in the decorative crafts of the Nguni African tribes.

Resiliency font family offers 6 font; 3 weight in regular and italic that provides a variety of looks and possible combinations. Resiliency offers great looks on esports themed designs and other sports in general.

An experimental type family designed at ParaType in 1995 by Alexander Tarbeev. Based on PT Hermes, 1993, by Tagir Safayev. Inspired by the art of Jackson Pollock. For use in advertising and display typography.

Berthold Wolpe’s innovative design undertaken for Monotype in 1932 suggests the texture of letters cut in wood. Albertus can be seen as Morison’s improvement of Othello, Monotype’s 1928 copy of Neuland, executed by Pierpont.