French Stencil Sans JNL is another typeface based on vintage French tin/zinc stencils. Slightly rounded corners and a "hand-cut" look add an interesting and charming variation that breaks away from the "standard" design of other metal stencil sets.

If you like a rough-hewn, rugged and vintage typeface, then Shadowlawn JNL will certainly please you. Re-drawn from vintage examples of a hand-cut wood type, the rustic charm of this typeface brings a reminiscence of Old West themes.

In the days of wood type, suppliers offered words such as 'and', 'at', 'for', 'each' and numerous others as stock cuts called "catch words". This collection of twenty-six were re-drawn using a vintage type catalog page as a model.

Designed by Nick Shinn. Digitally engineered by Steve Jackaman. Humanist sans serif with a calligraphic cut and tall ascenders. Light, Medium and Extra Bold designed by Nick in 1985 for Typsettra; Steve added the Book and Bold weights, and the Italics.

Retro Signs JNL collects nearly 50 designs modeled from old water transfer sign decals once manufactured by the Duro Decal Company of Chicago, Illinois and adds in a generous amount of additional phrases newly-drawn in the same hand lettered style. These vintage sign panels are perfect for creating nostalgic signage to fit projects centered around the 1950s and early 1960s.

Molleta Script is an elegant timeless handwritten font. It is the best choice for creating attractive logos, branding, clothing designs and quotes. Each letter adds a unique and beautiful touch to your design, bringing it to life with a classy, elegant look and more flattering. This font is PUA encoded, which means you can access all of the glyphs and swashes with ease!

Fightever is an expressive script font that embodies the boldness and energy of a brushstroke. With its interconnected letters and dynamic design, this typeface brings a sense of movement and liveliness to your projects. The defining feature of Fightever lies in its connected brush style, where each letter flows seamlessly into the next. This interconnectedness creates a sense of continuity and fluidity, resembling the strokes of a brush gliding effortlessly across the canvas. The result is a script font that feels organic and natural, with each letter forming a harmonious composition. Fightever captures the essence of artistic expression. The font exudes a sense of raw energy and passion, as if every letter is infused with the brushstroke's vibrant movement. This dynamic style adds a touch of personality and uniqueness to your designs. Enjoy the various features available in this font. Features: Alternates Multilingual Supports PUA Encoded Numerals and Punctuations Fightever perfect for logos, branding materials, invitations, or any design project that calls for a touch of handcrafted charm. This font will also work on designs related to art, fashion, hand-lettering, or any project that requires a personal touch, this font will bring an authentic and expressive feel. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Jack History is a unique, amazing font inspired by creative, experimental handwritings of which letters are always connected to each other to create surprising, dynamic flows, and adopt unconventional proportions and variations. Some of the letters may actually seem bigger or smaller than the others in free moving and curvy lines to express bravery and freedom nuances of the font. Differences in proportions and letter style changes of the font have become the design’s integral parts. Despite the absence of strict rules, creativity and courage to combine the connected letters in a unique way is all that matters because this script font offers extraordinary attractiveness and uniqueness in all designs. Furthermore, the connected letter flows in various proportions reflect some explorations and innovations in the handwritings. You may then apply this font for big text sizes for a legibility reason and enjoy the available features here. Features: Alternates Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Jack History fits best for any design projects requiring artistic, elegant displays such as wedding invitations, greeting cards, merchandise designs, and more. For such artistic and elegant displays, this script font is also applicable for logo designs, posters, and packaging. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Hello Freeday is a striking display font that combines a bold and clean font weight with playful swinging endings. With its uniform letter proportions and unique character details, this typeface effortlessly balances sophistication and a touch of whimsy. The bold and clean font weight of this font commands attention and adds a sense of strength and impact to your designs. Each letter is meticulously designed with precise geometric forms, resulting in a polished and professional appearance. The consistent proportions of the letters contribute to the font's overall coherence, ensuring a harmonious and balanced visual experience. What sets this display apart is the charming swinging endings found in select letters. These decorative details add a hint of playfulness and movement to the font, injecting a touch of personality and delight into your designs. The swinging endings give the letters a sense of rhythm and flow, making Hello Freeday an excellent choice for projects that require a dynamic and captivating visual presence. The font's bold and clean aesthetic ensures legibility and readability, even at smaller sizes. Enjoy the available features here. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Hello Freeday fits in headlines, logos, attention-grabbing titles, product packaging, greeting cards, branding materials, editorial layouts and website headers. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Team Tribox Design created the font to improve the old font print of Doctrina Christiana. Each letter is designed for better readability even in small sizes, particularly for books, and is designed for poets, writers, and anyone who needs a font used in publishing. The font is personally designed and is intended for use by publishers and those seeking publication. Regine Ylaya: Art Director, Research Inu Catapusan: Font/Typeface Designer, Creative Director, Copywriter Faye Penetrante: Copy Editor

Linotype Mailbox is part of the Take Type Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contests of 1994 and 1997. The typefaces was created by German designer Andreas Karl. An entire alphabet, only lower case letters, with the look of @ -- who doesn’t think of the Internet? If you want to give your headlines or short texts an unmistakable feel of the Internet, you could not do better than Linotype MailBox.

Need beautiful letters for your love letter or wedding invitations? Look no more! Austen Script is an elegant and feminine typeface, named after Jane Austen, one of my favorite writers, who wrote so much about love. It includes uppercase and lowercase letters, numerals, punctuation, stylistic alternates, some ligatures and alternate uppercase letters, and multilingual support.

In the late 60’s, one of the best art publications in the country was Motive magazine, published (amazingly) by the United Methodist Church. Filled to the brim with poetry, essays, line drawing and woodcuts, it also featured some cutting-edge typography. Boxy/Code is based upon my memories of woodcut typography from that great magazine. Since Boxy/Code ’s lowercase consists of the uppercase’s negative spaces, it’s easy to combine the two with Layer Styles in Photoshop in order to achieve the effect I used in one poster above. It also works great if you use a well-known text as a background. This new version is totally redrawn and features all the Latin-accented letters. Uppercase consists of black capitals in boxes; lowercase features the negative spaces of those boxed capitals. Uppercase and lowercase line up exactly for 2-color effects.

Let Ark, an Art Nouveau-infused high-contrast serif, transport your designs into the realm of elegant psychedelia. Ark draws deep inspiration from Heinz Keune's Edda, a remarkable design from 1900. While its vibe might evoke the groovy 70s and the mesmerizing world of trippy album covers, Ark transcends any assumed historical shabbiness. It trims the style into a refined and neatly cut serif, suitable for gallery-worthy presentations, all while maintaining a strong and unmistakable connection to its original roots. The standard letters of Ark maintain a respectable demeanor, only scratching the surface of the font's psychedelic potential. To truly unlock its full potency, try the Swash or Stylistic Alternates, or dig for even more Alternates from the Character palette. Needless to say, that Ark is a natural match for anything trendy, artsy, wierd and fun.

Waite Park JNL is based on the smallest of the die-cut letters and numbers contained in the Webway Sign Cabinet - once manufactured by the Holes-Webway Company of Minneapolis, Minnesota. The largest of the set's sizes (2 inch) was the model for Sign Kit JNL, the medium size (1-1/8 inch) was used to make Sign Production JNL and this font is a version from the 3/4 inch size. Each size of alphabet and numerals have their own unique characteristics, although they all follow the same basic font style, which is reminiscent of classic Art Deco-era sanserif typefaces. The name Waite Park JNL was derived from a division of Holes-Webway that (for some reason lost to time) distributed their sign kits under the name Waite Park Sign Company, located in the Minnesota city of the same name.

Martoni font has two styles, namely clean and rough. It's a work that is purely a result of handwriting and has natural characteristics. It is perfect for invitations, signatures, blogs, social media, business cards, product brands. Martoni has Stylistic standard, Stylistic Initial, Stylistic Terminal and ligatures, and includes uppercase and lowercase letters, numbers and punctuation marks. Accessed by using OpenType smart programs such as Adobe Photo Shop, Adobe Illustrator, Adobe Indesign, Corel Draw and Microsoft Office. - Ligatures: st nt ult ot ul th at ff el fl ut ll al sl et nl ct cl rt rl tt ft of ss an rr on mm - Swash: A B C D E - Initial and terminal: a b c d e f g h i j k l m n o p q r s t u v w x y z

Tavern is a super font family based on our Algerian Mesa design, with Tavern we've greatly expanded the usability by creating light and bold weights plus all new for 2020 with the introduction of extra bold and black weights Tavern is now a five weight family. The addition of the bold weight made it possible to go further with the design by adding open faced shadowed, outline and fill versions. Please note, the fill fonts are aligned to go with the open faced versions, they may work with the outline versions, however you will have to apply them one letter at a time. The Tavern Fill fonts may also be used a stand alone font, however, the spacing is much wider than the regular solid black weights of Tavern. In the old days of printing, fill fonts rarely lined up perfect with the open or outline font, this created a misprinted look that's much in style today. To create that misprinted look using two different colors, try layering the outline fonts offset over the top of the solid black versions. Next we come to the small caps and X versions, for a font that's mostly seen used in all caps we felt a small caps would come in handy. The X in Tavern X stands for higher X-height, we've taken our standard lowercase and raised it for greater visibility in small text and for signage where you want the look of a lowercase but it needs to be readable from the street. In August of 2016 I started the project of expanding this font into more weights after seeing the font in use where someone tried creating a bold version by adding a stroke fill around the letters. The result didn't look very good, the stroke fill also caused the shadow line to merge with the serifs on some letters. This lead me to experiment to see if a new bold weight was possible for this font and I'm pleased to say that it was. After the bold weight was finished I decided to type the regular and bold weights together in a first word thin second word bold combination, however the weight difference between the two wasn't enough contrast. This lead me to wonder if a lighter weight was possible for this font, as you can see yes it was, so now for the first time in the history of this old 1908 type design you can type a first word thin second word bold combination. So why the name change from Algerian to Tavern? Since the original font was designed in England by the Stephenson Blake type foundry I decided to give this font a name that reminded you of the country it came from, however, there were other more technical reasons. During the creation of the bold weight the engraved shadow line was sticking out too far horizontally on the bottom right of the serifs dramatically throwing the whole font off balance. The original font encountered this problem on the uppercase E, L and Z, their solution was a diagonal cut corner which was now needed across any glyph in the new bold weight with a serif on the bottom right side. In order to make the light and regular weights blend well with the bold weight diagonal cut offs were needed and added as well. This changed the look of the font from the original and why I decided to change the name, additional concerns were, if you're designing a period piece where the font needs to be authentic then this font would be too new. Regular vs. Alt version? The alternate version came about after seeing the regular version used as a logo and secondary text on a major product label. I felt that some of the features of the regular version didn't look good as smaller secondary text, this gave me the idea to create an alternate version that would work well for secondary text in an advertising layout. But don't stop there, the alternate version can be used as a logo too and feel free to exchange letters between both regular and alternate versions. Where are the original alternates from Algerian? Original alternates from Algerian are built into the regular versions of Tavern plus new alternates have been created. We're excited to introduce, for the first time, all new swash capitals for this classic font, you're going to love the way they look in your ad layout, sign or logo. The best way to access alternate letters in Tavern is with the glyph map in Adobe Illustrator and Adobe InDesign products, from Adobe Illustrator you can copy and paste into Photoshop as a smart object and take advantage of all the text layer style features Photoshop has to offer. There may be third party character maps available for accessing alternate glyphs but we can't advise you in that area. I know what you're thinking, will there be a Tavern Condensed? It takes a lot of hours to produce a large font family such as this, a future condensed version will depend on how popular this standard version is. If you love Tavern we're happy to introduce the first weathered edge version of this font called Bay Tavern available in February 2020.

Super fresh paintbrush style lettering with a definite graffiti slant. Reverse italic and highly detailed these hand-made letters, splats, swipes, numbers and symbols give an energetic human feel to your custom text. This font is an all-caps style with no real lowercase letters however the single font actually contains 3 full alphabets (78 individual letters) so you can mix and match to create endless unique letter combinations. Fresh Paint also includes several highly detailed paint splatters, brush strokes and swipes to use along with your custom lettering. All glyphs are created from hand made, painted letters, all splatters and strokes are made from real specimens & have sufficient detail to work even at very large sizes.

Inola Hand Lettered Font in modern calligraphy style. It resembles actual handwritten letters that can make a great font for branding, logo design, and graphic identities. Inola includes ligatures and stylistic alternates for some letters and floral symbols to include in your designs, find them all in the glyphs panel. Inola Hand Lettered Font is perfect for logo design, branding, art prints, wedding cards and invitations, packaging, business cards, greeting cards, posters, magazines, social media, home decors, stationary, blogs, and website design, and more. Inola Hand Lettered Font contains all uppercase and lowercase letters from A to Z and numbers from 0 to 9. Latin Extended letters are supported together with other bonus characters.

Congrats36 font consist of 36 calligraphic greetings letterings. Letterings are original and handwritten. This font makes it possible to use high quality calligraphy in your projects - greeting cards, certificates, invitation cards, letters of commendation etc.

Despatxada letters are the scans of the alphabet of a manual rubber press. Letter by letter. Real prints. Real textures. You will not find another typeface like this. An heroic font in the digital era.

Wakerobin takes its charming swagger from the hand-painted billboard, poster and signage lettering of the mid-19th century. These showy styles did everything they could to stand out from the background cacophony of advertising, with signwriters using sharp and high contrast serif letters, squared block shapes, or art nouveau forms to grab the attention of passersby. Wakerobin embraces the spirit of these letterforms, bringing these various styles together in one typeface - as if users had their own sign painter on hand. Just as lettering artists had to adapt to a variety of sizes - from wide streetcar lettering to compressed forms that squeezed into narrow Victorian windows - the variable version of Wakerobin scales up and down in width to fit whatever environment the user’s working in. The static fonts come in three widths and five weights. As well as its adaptability, Wakerobin is bursting with vintage flavour, making it hard to ignore. Its distinctive, spiky serifs would be right at home on food and drinks packaging, as well as shop windows, adverts, and any other place that calls for some typographic showmanship. It performs particularly well in busy environments, or anywhere with a lot of visual noise - just as its historic predecessors did. And while Wakerobin is first and foremost a display typeface, it’s surprisingly elegant when used at text size, or in the lighter end of the weight spectrum.

Ability is a family of stylish and contemporary handwriting fonts that combine the vigor of hand-drawn fonts such as Affable with the elegance of fonts such as Blythe. What is unusual about Ability is that it enables a word to be formed from a group of letters in a variety of ways: not only the conventional linking of letters as in a cursive script or the placing of letters close to each other on a common baseline, but it uses the overlapping of the swashes and swirls that contribute to the individuality of the characters to integrate the letters into a single word. Ability comes in a number of styles: Legacy - Regular (medium weighted and the basic type of the other styles); - Black (a vigorous and dramatic version of Regular); - Condensed Medium - Condensed Light - Linear 45 (medium-weight font made from a mono-width line) - Linear 25 (light-weight font made from a mono-width line) Suggestions for use: - wedding stationery - greeting cards - valentines day media - beauty products media - lingerie tags - women’s magazine pages - classical music media - award certificates - magazine pages The font is fully professional: carefully letterspaced and kerned. It contains over 235 characters - (upper and lower case characters, punctuation, numerals, symbols and accented characters are present). It has all the accented characters used in the major European languages.

Phoenician/Canaanite The Phoenician alphabet developed from the Proto-Canaanite alphabet, during the 15th century BC. Before then the Phoenicians wrote with a cuneiform script. The earliest known inscriptions in the Phoenician alphabet come from Byblos and date back to 1000 BC. The Phoenician alphabet was perhaps the first alphabetic script to be widely-used - the Phoenicians traded around the Mediterraean and beyond, and set up cities and colonies in parts of southern Europe and North Africa - and the origins of most alphabetic writing systems can be traced back to the Phoenician alphabet, including Greek, Etruscan, Latin, Arabic and Hebrew, as well as the scripts of India and East Asia. Notable features Type of writing system: abjad / consonant alphabet with no vowel indication Writing direction: right to left in hortizontal lines. Sometimes boustrophedon. Script family: Proto-Sinaitic, Phoenician Number of letters: 22 - there was considerable variation in their forms in different regions and at different times. The names of the letters are acrophonic, and their names and shapes can be ultimately traced back to Egyptian Hieroglyphs. For example, the name of the first letter, 'aleph, means ox and developed from a picture of an ox's head. Some of the letter names were changed by the Phoenicians, including gimel, which meant camel in Phoenician, but was originally a picture of a throwing stick (giml).

Specimen VI is a refined hand by artist Aileen Fretz of Plume Calligraphy: thoroughly modern yet absolutely timeless. We have our sights set on this one becoming an instant classic. OBSERVATIONS Specimen VI takes its inspiration from the old world, while remaining thoroughly contemporary. It is unique while maintaining legibility. DEFINING CHARACTERISTICS At 2,580 characters, we dare say it is one of the most robust script fonts on the market today. The font includes extensive Opentype programming that authentically replicates Aileen’s unique handwriting pattern. As you type, watch the letters automatically adjust between connected and disconnected forms. Specimen VI also features formal titles, prepositions, social media wordart, and web navigation wordart, serif and sans serif Roman numerals, in and out-stroked letterforms at beginning and end of words, multiple alternate lowercase t cross-strokes, realistic double-letter ligatures, seamlessly connecting calligraphic letters, multiple styles of alternate capital letters, including swashes, and basic Latin encoding. Specimen VI is a typesetters’ dream. POTENTIAL SIGHTINGS In the pages of your favorite wedding tome; the signage, robe embroidery, and dinner menus of that coveted boutique hotel on the Italian Riviera, the labels of an artisanal hand-poured candle line, your new favorite Rosé, hand-crafted Belgium chocolate truffles, the indie cosmetic line fit for royalty, in any instance that you may be in need of a refined modern script.

Night Scream is a spine-chilling display font that brings a horrifying twist to your designs. With its big letters and bold weight, this font commands attention and instills fear. The details of the letters are carefully crafted to resemble menacing plant roots, adding a nightmarish and eerie touch to the font. Each letter in this font is bold and impactful, demanding to be noticed. The large size of the letters adds to the font's imposing presence. The root-like details in Night Scream give the font an organic and otherworldly appearance, reminiscent of sinister, twisted plant life. These details add an element of the unknown and create an atmosphere of dread, immersing the viewer into a world of dark and chilling horrors. For the best legibility you can use this font in the bigger text sizes. Enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Night Scream fits in headlines, logos, movie posters, flyers, invitations, branding materials, print media, editorial layouts, headers, and any project that requires a terrifying touch. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

This font is based on an alphabet published by Luca Pacioli in his 1509 mathematical treatise De divina proportione. In this book, Pacioli describes how to build the Roman alphabet geometrically using lines, squares and circles. Pacioli was not the first or the last man in his era to describe the building of letters mathematically. Felice Feliciano did this before Pacioli, and Albrecht Dürer further developed these forms years after. According to Pacioli, the thick strokes should be 1/9th of the height, and the thin strokes should have 1/2 the weight of the thick strokes. I felt that this beautiful alphabet needed to be restored to its full geometric glory and set out to construct an accurate replica using Pacioli's instructions. Included in the font you'll find the letters that have the grid overlay and also the letters without the grid. The letters J, W, U, and Z were not included in the book, so I have created my own versions of these characters that fit into Pacioli's grid. Pacioli shows two different Os in the book, so I have included the second O as well as a second J, Q, and Z as OpenType stylistic alternates. Also included in the font are border patterns and a fleuron taken from the cover of the book.

Scary Notes is a spine-chilling display font designed to evoke fear and horror. With its big letters and bold weight, this font demands attention and is sure to send shivers down your spine. The details of the letters are meticulously crafted to resemble brush strokes, adding an unsettling and handcrafted touch to the font. Each letter in Scary Notes is bold and commanding, creating an impactful presence that cannot be ignored. The big size of the letters adds to the font's intensity. The brush details in this font give the font an organic and chaotic appearance, reminiscent of chilling hand-painted writings. These details add a sense of unpredictability and terror, immersing the viewer into the world of horror and fear. For the best legibility you can use this font in the bigger text sizes. Enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Scary Notes fits in headlines, logos, movie posters, flyers, invitations, branding materials, print media, editorial layouts, headers, and any project that requires a terrifying touch. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Wakerobin takes its charming swagger from the hand-painted billboard, poster and signage lettering of the mid-19th century. These showy styles did everything they could to stand out from the background cacophony of advertising, with signwriters using sharp and high contrast serif letters, squared block shapes, or art nouveau forms to grab the attention of passersby. Wakerobin embraces the spirit of these letterforms, bringing these various styles together in one typeface - as if users had their own sign painter on hand. Just as lettering artists had to adapt to a variety of sizes - from wide streetcar lettering to compressed forms that squeezed into narrow Victorian windows - the variable version of Wakerobin scales up and down in width to fit whatever environment the user’s working in. The static fonts come in three widths and five weights. As well as its adaptability, Wakerobin is bursting with vintage flavour, making it hard to ignore. Its distinctive, spiky serifs would be right at home on food and drinks packaging, as well as shop windows, adverts, and any other place that calls for some typographic showmanship. It performs particularly well in busy environments, or anywhere with a lot of visual noise - just as its historic predecessors did. And while Wakerobin is first and foremost a display typeface, it’s surprisingly elegant when used at text size, or in the lighter end of the weight spectrum.

Trajan The original template for this one-weight, all-caps font was the inscription on Trajan’s Column, carved in AD 113 to celebrate the emperor Trajan’s victory in the Dacian Wars. College student Jason Smith copied the stone lettering from the cast on display in London’s Victoria & Albert Museum. In Roman times, the signmaker would paint letters onto stone with a wide brush for the stone mason to chisel out later. The signwriter would end each stroke with a flick of his brush, which the mason would also carve into the stone. Ecce (as they would have said in Rome): the serif was born. Hand-crafted “I first drew this typeface when I was 17,” says Jason. “I drew it with a very sharp 9H pencil on polydraw film. “Then, using a Rotring pen, I inked the letters in and scraped back the serifs so they were perfectly sharp. These letters were then reduced on a PMT camera. I’d designed my first typeface, although it wasn’t digitised till much later.” Digitised Years after Jason had drawn the original typeface, its transfer into digital form made further refinements necessary. The serifs and weights needed thickening slightly, creating a crisp, new version whose delicate elegance is best appreciated in larger sizes. A classically-inspired font, timeless and perfectly-proportioned, to reflect the refinement of premium brands.

Supernova is a new family that combines the spontaneity of a script typeface with the versatility of multiple weights and cuts. The development of script typefaces has largely been limited to variations in shape and proportion (and with the advent of OpenType technology, the addition of alternate letterforms). Their application has continued to be primarily linked to their emotional attributes, while roman types predominate in body texts. Supernova takes a step in a different direction and was conceived as a script typeface family comprised of several weights and cuts, including a versatile, eye-catching display version and a highly legible body-text version with five weights.

Mode is a typographic experiment exploring how same sans serif form adapts to different circumstances and what are the possibilities in variations of Thin / Black, Contrast / Negative contrast. Two main groups are Mode 0 (with rounded shapes) and Mode 1 (with angular shapes). Each of them varies from Thin to Black in six cuts, in the same manner it varies from contrast shapes to negative contrast. Mode comes in total of 72 cuts regular and italic, it speaks majority of Latin based languages and is equipped with smcp, c2sc, Old style and all caps numerals. Mode is made by DAGGERtypo during a period of 2019/2020

We are proud to present our new font. Name of the font is TOY STORY. Toy Story is a fun handwritten font filled with handwritten charm and personality! It is the perfect choice for crafters with lawn mowers, as it is extremely smooth for optimal cutting performance. Toy Story is a fun font that's bold and smooth enough to cut with the Cricut & Silhouette crafting machine, for Titles for children's books, scrapbooks, logos, icons, phrasesor quotes for winter greeting cards (Halloween or New Year holidays), photo overlays, short phrases, children's books, gift shop tags, presentations on social media Pinterest, Instagram, Facebook, or others. Thank you!

The name Type Warmers JNL traces its lineage to small catalog booklets issued by Indianapolis' Cobb Shinn for his line of letterpress cuts; of which a few can be found included within this typeface. Presumably type could "warm up to" these stock illustrations and work hand-in-hand to deliver the message, hence the "Type Warmers" sobriquet. Originally known for illustrating many attractive and comical postcards of the early 1900s, Shinn moved into the field of purchasing stock art and redistributing them as electrotypes or "cuts", the predecessor to today's digital clip art. A number of the cartoons he sold can be found in the Shinn Kickers JNL font.

Prospector JNL is based on a lettering example found in an old Speedball-pen lettering handbook.

Nawin is an informal Arabic typeface inspired by handwriting. The idea behind this design is to create a type family attractive and ownable for children but at the same time a design that keeps excellent letter recognition for reading. Handwriting has been a great source of inspiration in this particular typeface. By emulating the movements of the pen, we have obtained letter shapes that express spontaneity. A bright group of letters create a lively and beautiful paragraph of text. To get closer to handwriting and the variety of letter shapes that we draw while writing, this typeface offers a large number of alternative characters, which differ slightly from the default ones. Because we have programed the «Contextual Alternate» feature in the fonts, these alternate characters appear automatically as you set a text on your computer. For instance, in the Arabic variability on vertical proportions between letters Alef and initial Lam, create movement in text and avoid the cold mechanical feel of repetition. In the case of the Latin a part from having an entire alternate basic alphabet, there are also different letterforms for characters with diacritics, this way variability becomes even greater. Nawin is quirky and elegant at the same time. Letter recognition is relevant when reading continuous text. For this reason, in the Arabic, we have added another contextual alternate feature with alternate characters that help to avoid confusion when letters with similar or the same shape repeat inside one word. This is the case of medial «beh and Yeh» repeated three times continuously in the same word. The alternate characters change in shape and length, facilitating distinction to the reader. Since this typeface is inspired by handwriting and the free movement of the hand while writing, we considered ligatures a good asset for this design. The Arabic has a wide range of ligatures that enhance movement and fluidity in text making look text alive, while the Latin achieves this same effect via contextual alternates.

Nawin is an informal Arabic typeface inspired by handwriting. The idea behind this design is to create a type family attractive and ownable for children but at the same time a design that keeps excellent letter recognition for reading. Handwriting has been a great source of inspiration in this particular typeface. By emulating the movements of the pen, we have obtained letter shapes that express spontaneity. A bright group of letters create a lively and beautiful paragraph of text. To get closer to handwriting and the variety of letter shapes that we draw while writing, this typeface offers a large number of alternative characters, which differ slightly from the default ones. Because we have programed the «Contextual Alternate» feature in the fonts, these alternate characters appear automatically as you set a text on your computer. For instance, in the Arabic variability on vertical proportions between letters Alef and initial Lam, create movement in text and avoid the cold mechanical feel of repetition. In the case of the Latin a part from having an entire alternate basic alphabet, there are also different letterforms for characters with diacritics, this way variability becomes even greater. Nawin is quirky and elegant at the same time. Letter recognition is relevant when reading continuous text. For this reason, in the Arabic, we have added another contextual alternate feature with alternate characters that help to avoid confusion when letters with similar or the same shape repeat inside one word. This is the case of medial «beh and Yeh» repeated three times continuously in the same word. The alternate characters change in shape and length, facilitating distinction to the reader. Since this typeface is inspired by handwriting and the free movement of the hand while writing, we considered ligatures a good asset for this design. The Arabic has a wide range of ligatures that enhance movement and fluidity in text making look text alive, while the Latin achieves this same effect via contextual alternates.

Arapix is a 12 pixel high multilingual Latin-Arabic pixel font with incredible capabilities. The Arapix is an almost traditional Naskh. It is elegant and easy to read even in very small sizes. It includes almost every feature you would expect from a high range Naskh font. Its humanistic look and feel fit perfectly to its Latin counterpart. Arapix was originally designed for a web project that didn't see the light a few years back. It started with the idea of fitting both Latin and Arabic into a 12 pixel vertical grid. The latin glyphs fit properly within the vertical limits, but when it came to the arabic glyphs, it proved to be more challenging. Arabic letters with lower diacritic dots like the (Yeh-fina) or letters with accents above like the (Alef-Hamza-above) need much more space than any Latin letter. Add to this the fact that accents needs to be positioned above and below the glyphs. It is technically impossible to fit a (Yeh-fina-kasratan) or a (Alef-Hamza-above-shadda-damma) into 12 pixels. Initially the accents were dropped and not included in the design. Although it seemed impossible at the start, Sylvain found a solution in the end, including as many contextual alternates and contextual kerning as needed to avoid every collision between letters and diacritics, letters and accents, and diacritics and accents. The contextual kerning was added to achieve an even letter and word spacing in longer text. Arapix is amazingly legible in small size on screen and in print. On the other hand, it also works perfectly as display titling font due to its unique and contemporary pixel approach. It can be used for screens with very low resolution as well as for high resolution screens and prints. The new Arapix comes with various new features and new glyphs including Persian and Urdu letters, stylistic set, old style figures, contextual kerning, contextual alternates and a few icons too. Enjoy the new Arapix and have fun with it.

This family of two character monograms and initial letters was inspired from a French portfolio containing about two hundred examples of "Chiffres - deux lettres", destinated to engravers and jewelers, published in Paris in 1864, drawn by French engraver, C. Demengeot. Unfortunately, a large part of the pages were lost, so we have had to redraw about two thirds of the complete monogram family. Each package contains numerals and two complete sets of two-letter monograms, for example the A-B set, containing AA AB AC... corresponding to caps keys alphabet and BA, BB, BC... corresponding to lower case keys alphabet. We have added an Initial set, with two choices of single characters. Warning: I and J have strictly identical monograms.