Hey there, cats and kittens. Have you heard the news about the grooviest typeface in town? That’s right, I’m talkin’ about Sinzano—the typeface that’s cool, collected, and interlocking! Now, you might be asking yourself, “What’s so special about Sinzano?” Well, let me tell you, this typeface is a real wild one. It’s got some serious style, with letterforms that interlock like a bunch of jazz cats jammin’ on stage. And don’t even get me started on the ligatures—they’re fascinating, man! Sinzano comes in three different styles, so you can choose the one that’s right for you. Sinzano Regular is a slender, slightly flared headliner, perfect for making a statement. Sinzano Sans is a similar concept, but with straight, flat ends, for a more modern vibe. And if you’re looking for something a little more modest, Sinzano Display is a companion typeface that’s broader and rounder, with just a touch of interlocking. So, if you’re ready to add some serious style to your designs, head on over to Sinzano, baby! This typeface is the real deal, and it’s gonna knock your socks off. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Based on Italican Oblique.

A whimsical font with robust curlicues. Designed for display lines on show programs, posters, print ads etc. Many—but not all—of the letters are based on rounded Lombardic medieval forms.

Based on a revival of one of the popular wooden type fonts of the 19th century, suitable for display, lower case missing but not always designed for this type of face.

Lagoena Font was designed by Zainul Faozi from San Studio. This was inspired by road markings. This font fits on any project You make, on posters, logos, ads, banners, and more.

Brigitta is the complementary joining script that can be mixed with Annabella. Also written with a Japanese brush on rough paper, first scanned and then carefully finished by hand on screen.

Medium Roman is an engravers, all-capitals font for invitations and stationery. Particular characteristics of the Medium Roman font are the tail on Q and the spurs on J and U.

David Philpott was inspired by the flax growing on the side of the motorway out of Wellington, New Zealand, and crafted this very distinctive, natural typeface family based on the plants.

KARDELEN means,snowdrop flower in Turkish BEAUTY Kardelen font is created for expression of pure beauty GEOMETRY Every glyph on kardelen has a ratio to one another,which makes it rational

Albertus® Nova is a faithful digital revival of Berthold Wolpe’s earlier design of Albertus and is one of the five designs in The Wolpe Collection of typefaces. This new design enlarges the typeface set from its previous two weights into a robust set of five ranging from thin to black, all with extended language support including Cyrillic and Greek. Berthold Wolpe began working on Albertus in 1932, at the encouragement of Stanley Morison. Morison saw an example of Wolpe’s engraved lettering and liked it so much that he commissioned a typeface based on the design. Since then, the original Albertus typeface has been used on book covers, in branding, on signs and in video games.

This font set is based on Frank Lloyd Wright's hand-lettering found on the Chicago Midway Gardens working drawings from 1913. This type of architectural lettering is a bit more casual than standard lettering found on most blueprints. It evokes the personality of Frank Lloyd Wright and complements the other fonts in the P22 FLW font series. Midway One and Midway Two can be used interchangeably to give a more naturalistic feeling of hand lettering. Midway Ornaments features over 100 decorative border elements that can be combined is many ways for surprising and effective decorative motifs. Midway One and Midway Two have been remastered and now contain over 400 characters including support for Western and Central European languages.

Annotate is a handwritten, monospace blockletter font complete with letters, numbers, & extended punctuation. The font is based on the handwritten annotation architects and engineer make on plans and sketches. By using a gridbased spacing and blocklettering, engineers can rely on an easily-readable and copy 'n print friendly annotations on techninical drawings to prevent any possible mistakes in the production process that are a consequence of misreading text. The clarity and uniformity allow to add a hand-written touch to any project without having to make concessions on the readability. Annotate will distinguish your text from the rest, ideal in logos, printed quotes, product packaging design, headers and many more usecases. Designer: Ignace De Keyser

SECONDS OUT! ROUND ONE!  The champ comes out swinging, there’s a left hook, a right hook, another left, another left to the chin, a box to the ears, a punch to the stomach, the challenger is reeling, he’s on the ropes, there’s another left to the chin and here’s the knockout, RIGHT IN THE KISSER! The Kisser. The Mouth. You know, what you kiss with? SMAK! It’s a font with a fat lip or one that makes you look like you’re talking’ with a fat lip. Or if you’re more of a lover than a fighter, it’s a big wet kiss from your loved one when the clock strikes midnight on New Year’s Eve. Either way, you win!

The ten font Turbinado™ Set was designed to be clear and easy to read with a friendly personality, ideal for advertising and packaging in both text and display settings. Included are three weights of brushed casual script, each with a dry version, two condensed all caps faces, another hand printed caps face and an Elements package with 100 brushed elements that include swashes, botanicals, shells, arrows, repeatable patterns and a few other doodads that play well with the fonts. Like our most recent release Fave, all of the fonts use the OpenType standard ligature feature to automatically differentiate consecutive lowercase letters and numbers, using separate glyphs rather than a single ligature so they can be set on a curve or colored separately, etc. They also automatically differentiate like characters that are separated by another letter when standard ligatures is enabled. The script fonts have alternate characters like swash glyphs for ends of words and a few ligatures too; single crossbar to unite the At and Att letter combinations etc. The two condensed faces also have a third set of less uniform glyphs that can be used to create a more quirky, fun and bouncy effect (see the ‘she sells seashells’ graphic above) when the discretionary ligature feature is on. The script fonts have 10+ lowercase t (and double t) crossbar alternates that can be selected from the OpenType glyph table manually, or you can enable the contextual alternates feature to automatically insert a bigger crossbar as the surrounding letters allow throughout a text box or document. Hello? Are you still there? :) And for those intrepid typographers who would rather fashion their own lowercase t to custom fit a specific design, all of the lowercase t ascenders and crossbars are also available separately in the glyph table, and can be combined manually.

I was working at Bozell Worldwide, an advertising agency, on their yearly promotional pitch. An art director was looking for a condensed informal headline treatment to be used on one of the new ad campaigns. I took several different font designs and started to condense and scale the proportions in the hopes of finding several good solutions. They finally settled on a version of Times Roman, scaled horizontally to about 50 percent proportions. I liked the look so much that I later went back to the drawing board and refined the concept by adding slanted serifs and a varying alignment on all the letter forms giving the typeface a very casual and informal appearance. At about that time, I was reading a book by Jack Kerouac, and was so inspired by his writings on the ‘beat generation’ that I decided to name the font ‘Beatnik’. Afterwards, I added a set of true small capitals and old style figures. I'm currently working on additional weights and variations to expand this ‘hip’ new font series. Groovin' baby.

No matter if you're professional or beginner, your work should be fun. And if you are a coder/programmer, your coding font should be something you enjoy looking for very long time. Square and crisp coding fonts might be easy on the pixels, but are they easy on your eyes? Do they keep you entertained at work? Codelia is a monospaced humanistic typeface designed for coding with focus on comfort and fun without sacrificing legibility or coding functionality. It's fun but not a joke. Its round shapes are easier on the eyes and make the code look less intimidating. It is not designed to make maximum use of every pixel on screen, but to make you forget about pixels. The italic is full of personality but sober enough to not draw unnecessary attention. Codelia works great for coding, but also in presentation, education as well as packaging and branding. Codelia is available in two families, one with coding ligatures and one without; ligatures in the latter are still present in Diescretionary Ligatures feature (dlig).

April Blossom is a sweet, brush font with a playful character. This fun will look gorgeous on all your branding materials, cards, quotes, and any other lovely projects you are working on.

Picture yourself on a New York subway station platform with the location name set into the tiles on the wall. Borough Hall JNL evokes the feeling of urban industrialism at its best.

Bazilic is an informal decorative typeface. It would look nice in greeting cards, children’s books and magazines, on candy and food packages, holiday posters and flyers. Bazilic was based on informal lettering.

Based on some examples of a Clarendon-inspired wood type design, Clarenwood JNL is a bold and effective titling font which harkens back to old times and advertising on a grander scale.

Lutfey is a chunky & cute typeface, visually featuring bold, firm and gentle characters. It’s has smooth lines on each side, especially on the outside, with subtle ink-trap details at every corner.

Voynich is an eerie, alien font based on the mysterious tome known as the Voynich manuscript. For more information on the manuscript, please see the Wikipedia article at http://en.wikipedia.org/wiki/Voynich_manuscript

Hand lettering on the cover of the 1932 sheet music for "Sleep, Come On and Take Me" was the basis for Overnight JNL, which is available in both regular and oblique versions.

Quartz was originally published on the shop Font Forestry, but they are planning on closing - So now Quartz will live on Hustle Supply Co. Quartz is a minimalist All-Caps Sans Serif typeface that comes in 7 different weights. It's perfect for projects looking for that minimalist / clean aesthetic. Quartz includes regular, oblique, thin, bold & outlined versions. Western European Characters are included. Thanks!

A ragged jagged experiment that's sure to fit the needs of any mad scientist or extreme skier dude (you know the type). Features two sets of variations: one set on the uppercase keys and a different set on the lowercase keys. Mix and match them for best effect. No twisted or mangled points in this font. All paths guaranteed technically sound.

That’s what people call ‘an experimental typeface’. Yes it is! It consists in letterforms designed in very strict geometrical parameters. I was not thinking about ‘reading’ when I’ve drawn this typeface — rather on different way of projecting our mental image of the words. Do not try to set a book with this type, please! One single version, one single font designed in 2000.

Blackout is the first and signature font to the Blackout Foundry. Inspired by gothic structures, but maintaining a constructive form. Everything in balance, simple, and straightforward. The font has hard corners on one end, and subtle curves on the other. It is intended for anyone wanting to have a moody appeal to their work, but still maintains a legible format.

Alore is a modern serif font family in geometric design, based on the complimenting design of AB ONE. By focusing on the small details during the design, a font was made that comes with a very dynamic style, combining modern elements with classical serif elements. Use Alore for a wide range of your projects, from headlines all the way to messages and text.

The Penman fonts are partially based on the 19th century penmanship of one of the designer’s ancestors, and originally created for a personal mailing with an “old-times tradition” flavor. The fonts are lightly pair-kerned, in order to control punctuation and numeral spacing. Auto-kerning should be turned on, and tracking should be checked to make sure all characters join well.

The Penman fonts are partially based on the 19th century penmanship of one of the designer’s ancestors, and originally created for a personal mailing with an “old-times tradition” flavor. The fonts are lightly pair-kerned, in order to control punctuation and numeral spacing. Auto-kerning should be turned on, and tracking should be checked to make sure all characters join well.

An extreme headline font with six optical variants. Black 24 is loosely based on ITC Grouch (1970) by Tom Carnase. It has some 2000 hand-adjusted kerning pairs for TNT (that’s Tight, Not Touching), a very popular type treatment from the seventies and eighties. Take your pick, or get them all, so you don’t have to buy another one later on.

This set of four fonts, organized as a font family, consists of toy train cars with letters on them. Upper and lower cases have different typefaces on them, so there are eight different type styles available. Some of the letters on the cars are from Salloon, TiredOfCourier, Glitzy, Qwatick, and PhederFrack. To add variety using more cars without letters, use the XLaserTrain font.

It has a lovely, refined appearance. This letter displays an unique and curving style. The gorgeous and elegant Elena Verlin Font is perfect for any project you are working on. This font is ideal for use on invitations for weddings, birthdays, anniversaries, and other special events. Because it can be applied on logos and products, it's also ideal for branding.

Derived from the world famous Rennie Mackintosh Font, the Venezia version gives a very modern look to this classic font, especially when filled with a gradient fill in a graphics package such as Photoshop or CorelDraw - although it even looks great "out of the box". The Venezia name comes from the native name of the city of Venice - one of several Italian cities Mackintosh visited on a sketching tour of Italy early in his architectural career. Venice was also one of the venues of an exhibition of Mackintosh's work on a European tour.