Sales Event JNL is an inline sans that was modeled from examples of old wood type. Its casual, cheerful style well suits point-of-sale signage or banners, fun headlines and relaxed themes. The font is available in both the regular inline version and the black (solid) version.

Introducing Kantata Aksara - Ethnic Type, created by ikiiko. Kantata Aksara inspired by indian culture has beautiful gestures, with a touch of tradition. Kantata Aksara is a display typeface with unique shape and stylistic. This typeface is perfect for an cultural logo, ethnic stuff, yoga & meditation stuff, beauty product, packaging product , magazine, quotes, or simply as a stylish text overlay to any background image. What's included? Uppercase & Lowercase Number & Punctuation Alternates Multilingual Support Works on PC & Mac Enjoy our font and if you have any questions, you can contact us by email : ikiikowrk@gmail.com

Darjeeling combines British Elegance and Indian Flavor. It is flared like Optima, with a scent of Bodoni. By layering “Regular” and “Ornaments” over each other you will create astounding pieces of colorful typography. Additionally there is “Regnaments” which combines the two other styles. Darjeeling is great as a display font, but also perfectly legible at text sizes. Use the ornaments only to add spice to Your design. Make sure to use applications supporting all these lavish OpenType features like small caps, various sets of figures, fractions and the 102 discretionary ligatures.

Bulk Weight JNL is a stripped down version of Inline Square JNL (based on 1930s sheet music hand lettering) with the inline removed. What is left behind is a thick, bulky, ultra bold lettering style suitable for attention-getting headlines. Bulk Weight JNL is available in both regular and oblique versions.

Lakester is a layered type family. It comes with 4 font systems that can be layered to create different effect (regular,shadow,inline,inline 2) . Inspired by vintage american west poster, it's loaded with 300 glyphs. This family works best for logotype, gig poster, letterhead, dropcap, titles, and any artworks.

I come from a family of educators- my mom, husband, stepmom, brother-in-law, and sister are all currently teaching and I have taught in the past. This font was created after speaking to several elementary school teachers who were struggling to find just the right font to use on worksheets and projects in their classroom. They liked many features of other fonts, but needed small things altered in order to make a "perfect fit" for their class. Hand-drawn by me, this font hopefully addresses several of those issues. As penmanship styles vary across the globe, I am sure this font will not work in every classroom. But hopefully this style will work for many teachers to give their early readers a highly legible, neat, accurate font. It is best used with kerning turned on to allow for accurate letter spacing.

During the heydey of automobile travel hundreds of motels, motor courts and tourist cabins sprung up along the roadways in order to offer weary drivers (and most often their families) rest with a night's lodging. Tourist Cabin JNL takes the inline portion from the inline font Asbury Park JNL and creates this pleasant monoline design. The original design inspiration (from which the inline portion of the letters was taken) was a 1930s WPA (Works Progress Administration) Federal art project poster with the hand-lettered words “Work with Care”

Font family based in the russian constructivist with three variants, solid, inline and shadow.

The 1937 sheet music for the tune "Sweet Stranger" has the title hand lettered in a round cornered Art Deco sans with an inline featuring square corners. Now available as Curtain Up JNL, it is available in regular, oblique, solid and solid oblique versions (for those who prefer a version without the inline).

Based on the Deberny & Peignot, circa 1925. Originally the inline was a capitals only font.

Ormond JNL and Ormond Inline JNL are two Deco-inspired Roman typefaces with rounded serifs.

A revival of one of the popular wooden type fonts of the 19th century, suitable for text or display, narrow, short descenders, diamond shaped ornamental points at median.

Inlines that go over, under sideways, down! Deck out your headlines in grand style with this unusual inline face, based on Dektiv, a seventies-style classic from "Homage to the Alphabet." Both versions include the complete Latin 1252, Central European 1250 and Turkish 1254 character sets, as well as localization for Moldovan and Romanian.

Kubera was designed to be a display and text face. It has six weights with same height. Kubera Serif is modernized letterform. It has square serif, high contrast stress, with large x height. Serifs are given soft corners, rather than pointy ones. Kubera Serif font family is designed by Gunjan Panchal based in India.

Mangal™ is an OpenType font for the Indic script Devanagari. Mangal can be used to write Hindi, Sanskrit, Marathi, Nepali, Punjabi and other Indic scripts. Mangal is based on Unicode, contains TrueType outlines and was designed by Raghunath Joshi for use as a UI font. Copyright ™ 2001 Microsoft Corporation. All rights reserved. Character Set: Latin-1, Devanagari.

Introducing vintage label font named No Remorse. This font has a multilungual and cyrillic characters support (check out all available characters on previews). The font family has six styles: Regular, Inline, Shadow, Inline FX, Shadow FX and Aged. This font will look good on any vintage styled designs like a poster, T-shirt, label, logo, etc.

A single-weight display font, Steel Grrrder Groove is a constructivist inline stencil design best used in short display settings or as an introductory drop cap to grab attention. The design is sharp, angular and slightly condensed with a striking inline groove giving it an air of chiselled chunkiness. It’s groovy but in a slightly robotic way.

Modakshar was inspired by traditional Indic handwriting scripts which ‘hang’ from a common upper horizontal bar. Adapting this motif to Latin letterforms was challenging. The typeface was first conceived in the 1970's as a design project in school. The current digital design was completed in 2002. Basic motif was inspired by traditional Indic script handwriting.

is an entertaining font with pointed endings, contains inline and many dingbats, besides having a free version!

Inline lettering from a vintage piece of sheet music inspired Delancey JNL, an Art Deco-flavored design.

Handlettering on a 1929 brochure for the P&O British-India Steamship Line inspired this tiddly typeface. Art Deco sensibilities combine with a playful attitude to yield a delightful and amusing headline font. The PC PostScript, TrueType and OpenType versions contain the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

Homework Dashed font was specially conceived/designed for teaching cursive writing. This resource allows tutors and parents to create worksheets for individual or class teaching. Associated with the Homework font, students can learn and exercise their handwriting abilities. All capital letters, excluding I, F, T and P, link to any following small letter: the sequence of the previous letter stroke always follows the angle of the initial stroke of the subsequent letter. This, in the real world, means that words built with the font can be handwritten without having to lift the pen from the paper (except to cross t and f and dot i and j) or interrupt the writing flow. All the letters are base aligned and all small letters have the same ‘x’ height. Homework Dashed font is a tool with which teachers and tutors can create repetitive alphabetical writing exercises that can be printed on lined sheets.

ISO GPS framed font for producing geometrical tolerances and other ISO GPS specifications in different documents types such as CAD, word processor documents, spreadsheets or slideshow presentations. Full set of symbols and modifiers from ISO 1101:2017, ISO 1660:2017 and ISO 17863:2013. Includes recently added symbols such intersection plane indicators and collection plane indicators. Fully compliant with ISO 3098 series and ISO 7083. Use this in conjunction with the IMA ISO GPS No Frame font to cover all ISO GPS specification indications. Single user licence is provided with this font. Contact Iain Macleod Associates Ltd (www.macleod.co.uk) for multiuser licences, site-licences or corporate licences.

Aviano slab is an extended slab serif and the newest member of the popular insigne series Aviano. The same classically proportioned letterforms are now available in a slab serif variant for powerful impact.

A casual, inline party font. Hubbub is always relaxed and confident in every social situation. comes in regular and bold.

This font was made possible by creating a custom brush in Illustrator. I started with a flat brush dipped in India ink to create the stroke. From a scan of that stroke I made a vector tracing which I then I altered as necessary to get the desired dimensions. The lower case letters have a thinner stroke than the capitals.

Nanquim is a versatile font, available in three sketchy options. At display sizes the line art is very eye-catching. At smaller sizes it turns out like textured faces. Always with a pleasant handmade feel. Nanquim characters were hand drawn with pen and India ink on film, like we use to do when preparing artwork for screenprint. Hope you enjoy!

Return Pass JNL is the solid version of Forward Passed JNL and can be used as a standalone font or in combination with Return Pass Fill JNL (the inline version with the main letters stripped away) for a dual color design. In some applications the inline fill may appear to create a cast shadow effect, so it may be necessary to manually adjust any overlaid copy.

Lusta plays with the interchangeability of an inline and an outline, negative and positive space. Often one single character will epitomise the design of a font, and here the S served as the conceptual starting point. The inline/outline was then applied to sans and serif variants, and extended into a multi-line prisma and an offset layered shadow version, probably inspired by Face Photosetting’s Stack.

Sardis is based on a family of wood type called "Lydian," designed for American Type Founders Company by Warren Chappell in 1938. The strokes have angled ends, referencing the use of a calligraphy nib.

Cayenne is an all-caps hand-lettered font in three weights, two dotted versions and an outline and an inline font.

Designed for Adobe in 1993, Viva is an inline display face. The Viva font family is useful for advertising, packaging and brochures.

Indoo is a modular geometric design that owes much to the typeface designs of Theo van Doesburg (1883-1931) and the De Stijl principles of abstraction, simplicity, clarity and harmony. That inspiration, combined with the lettering of signage often found in the Indian quarter of Paris, led to the connecting block letter motif of Indoo. The text fonts are joined by a common horizontal stroke positioned at the baseline. There is an accompanying Ornament font for building borders that includes various stylized fleurons and the like. Each font has a drop shadow companion that allows you to build three-dimensional and multi-colored lettering.

Linotype Sinah is part of the Take Type Library, selected from the contestants of Linotype’s International Type Design Contests of 1994 and 1997. Designed by the German artist Peter Huschka, Linotype Sinah is a rounded, ornamental font with many strokes ending in teardrop forms. The letters of this wide-running font do not share a common base line. The capital S and the lower case l both drop under it although neither have descenders. Overall, Linotype Sinah has an almost Asian or Indian feel. The font must be used with generous line spacing and is intended exclusively for headlines or shorter texts in point sizes of 12 or larger.

Linotype Sinah is part of the Take Type Library, selected from the contestants of Linotype’s International Type Design Contests of 1994 and 1997. Designed by the German artist Peter Huschka, Linotype Sinah is a rounded, ornamental font with many strokes ending in teardrop forms. The letters of this wide-running font do not share a common base line. The capital S and the lower case l both drop under it although neither have descenders. Overall, Linotype Sinah has an almost Asian or Indian feel. The font must be used with generous line spacing and is intended exclusively for headlines or shorter texts in point sizes of 12 or larger.

This font was created with inspiration from the wood blocks carved for chapbooks, posters, calendars or newspaper in the late 1500’s and early 1600’s. We have tried to keep their innocence and rough style. It has been conceived as an homage to the “Pilgrim fathers” landing in Plymouth Bay in 1620 and celebrating the first Thanksgiving with Native Indians in autumn, 1621. The font, consisting of two English capital alphabets (so, without any accented characters): Initials and caps, and a lot of separate figures added, is especially improved by strong enlargments, 72 pts and more, and has very good results when printed.

Bring a little tropical island vibe to your next project with Kuloko (Hawaiian for 'Inline')! Kuloko features offset handwritten characters with a bold marker like aesthetic, which gives the font a nice tropical tiki appearance. Kuloko's funky look is sure to capture attention in headlines on websites, social media graphics, logos, branding and so much more! Also included is a handwritten inline version of Kuloko for greater design variety!

Linotype Bengali, a revival This project by Neelakash Kshetriymayum and Fiona Ross commissioned by Monotype is at heart a revival of the now ubiquitous original Linotype Bengali typeface designed by Tim Holloway and Fiona Ross (1978-1982) based on Ross’s research for her doctoral studies in Indian Palaeography. The new Linotype Bengali is informed by more recent research by Ross and Kshetrimayum resulting in additional glyphs that serve contemporary needs in a variety of genres – the original had been specifically designed for newspaper composition and in now outdated digital formats. The new design makes use of OpenType features with the employment of contextual vowel signs for Bengali – a feature that Ross and Holloway had first introduced in Indian scripts for the Adobe Devanagari typeface – and has sophisticated contextual mark positioning. Furthermore, whereas the original design had existed in only two typestyles, extensive work has been undertaken to produce this new design in 5 weights: Light, Regular, Medium, Bold and Black. It has been an important aspect of this project to remain true to the original design concepts, and so to achieve optimal readability for sustained reading at small type-sizes, but the additional weights enable differentiation in document design, and afford users scope to produce textural variety in their outputs. This revival design is intended to widen the hitherto very limited palette of typographic choices in the field of textual communication in Bengali, Assamese and other languages that make use of the Bengali script.