Based on an engravers’ pattern plate, this outline form deriving from an English roundhand was fitted to linecasting matrices by Intertype about 1940.

Rollgates - An Modern Sans Serif and minimalist character! it's perfect for logos, name card, magazine layouts, invitations, headers, or even large-scale artwork.

JH Naskh Expanded font is designed based on Naskh calligraphy; it is typical for book covers including spine, headlines, short text paragraphs, poetry…..

In Carpenteria each letter is hand-designed based on a geometrical old mechanical style. You can use it for posters or impact graphics.

Argone is a handmade, organic, display family and comes in four weights. It also has a version with lower case letters – Argone LC

Named in homage of Toronto writer and spoken word performer Monica S. Kuebler, Koobler is an interesting interpretation of the classic roman font.

Chinese Herbs JNL gives an outline and cast shadow treatment to the lettering found in Chinese Menu JNL. Based on some old signage.

AntsyPantsy, BuggyFont, and MousyFont are based on the same design; only the building blocks—ants, bugs, and a stylized mouse—have been changed.

Developed at ParaType in 1996 by Alexander Tarbeev, based on PT Compact, 1991, by Vladimir Yefimov. For use in advertising and display typography.

JH Lea cursive is a school kids typeface; it is designed based on cursive handwriting , typical for children books, first hand calligraphy experience.

Shabby-chic calligraphic script based on hand-drawn characters. Will work well in boutique and vintage environments, conveying a romantic, hand-made touch.

Melay Script is a monolined calligraphic typeface, with large and beautiful upper-case letters and a decorative style. It has elegance and confidence.

Desk Jockey JNL features the same font found in Jeff's Levine's Mailbox Letters JNL (based on self-adhesive lettering), but without the rectangles.

Train OnTime and Train Delayed are based on the text used to display the destination info on the front and rear of trains.

Introducing my new font named "Droptune". Dark riffs, strong rhythm, low frequencies - it's all about heavy music, and, I hope, about this typeface :)

AntsyPantsy, BuggyFont, and MousyFont are based on the same design; only the building blocks—ants, bugs, and a stylized mouse—have been changed.

Washington Heights JNL is a sans serif type design based on a vintage hand-made directional sign for the New York subway system.

Lonestar is a revival of the old classic slab serif font named Hellenic which was very popular in the middle to late 1800s.

This font family is based on the letterforms of a fin-de-siècle sans serifs, and comes in two versions - Roman and Shadow.

The Vtg Stencil series of fonts from astype are based on real world stencils. Have a look at the Vtg Stencil Ornaments A .

Blackwood is a sans serif headline face with a woodgrain effect. Based loosely on Grotesk, it has strong, solid forms with distinctive style.

Developed for ParaType (ParaGraph) in 1995 by Alexander Tarbeev, based on letterforms of various screen fonts. For use in advertising and display typography.

Woodlawn JNL is based on an open face wood type. A bold outline sans, this design is excellent for headline and titling applications.

FG Ellinor is inspired by a handwriting I saw on a receipt once. I liked it so much I named it after me :)

It is the athenian version of the ancient Greek script. Ancient Greek numerals are included. It's not Unicode, it's a Latin based font.

AntsyPantsy, BuggyFont, and MousyFont are based on the same design; only the building blocks—ants, bugs, and a stylized mouse—have been changed.

Manaslu is based on handwriting with a marker. This font is suitable for cartoons, advertising or anything with need of a personal tone.

Designed as the main header text for the online, interactive, horror novel, DEAD ENDS. Based on historical documents of colonial-era New England.

In the course of the re-vitalization of its Typoart typeface inventory, Elsner+Flake decided in 2006 to offer the “Kis Antiqua” by Hildegard Korger, in a re-worked form and with an extended sortiment, as an OpenType Pro-version. After consultation with Hildegard Korger, Elsner+Flake tasked the Leipzig type designer Erhard Kaiser with the execution of the re-design and expansion of the sortiment. Detlef Schäfer writes in “Fotosatzschriften Type-Design+Schrifthersteller”, VEB Fachbuchverlag Leipzig, 1989: No other printing type has ever generated as far-reaching a controversy as this typeface which Jan Tschichold called the most beautiful of all the old Antiqua types. For a long time, it was thought to have been designed by Anton Janson. In 1720 a large number of the original types were displayed in the catalog of the „Ehrhardische Gycery“ (Ehrhardt Typefoundry) in Leipzig. Recently, thanks to the research performed by Beatrice Warde and especially György Haimann, it has been proven unambiguously that the originator of this typeface was Miklós (Nicholas) Tótfalusi Kis (pronounced „Kisch“) who was born in 1650 in the Hungarian town of Tótfal. His calvinistic church had sent him to the Netherlands to oversee the printing of a Hungarian language bible. He studied printing and punch cutting and earned special recognition for his Armenian and Hebrew types. Upon his return to Hungary, an emergency situation forced him to sell several of his matrice sets to the Ehrhardt Typefoundry in Leipzig. In Hungary he printed from his own typefaces, but religious tensions arose between him and one of his church elders. He died at an early age in 1702. The significant characteristics of the “Dutch Antiqua” by Kis are the larger body size, relatively small lower case letters and strong upper case letters, which show clearly defined contrasts in the stroke widths. The “Kis Antiqua” is less elegant than the Garamond, rather somewhat austere in a calvinistic way, but its expression is unique and full of tension. The upper and lower case serifs are only slightly concave, and the upper case O as well as the lower case o have, for the first time, a vertical axis. In the replica, sensitively and respectfully (responsibly) drawn by Hildegard Korger, these characteristics of this pleasantly readable and beautiful face have been well met. For Typoart it was clear that this typeface has to appear under its only true name “Kis Antiqua.” It will be used primarily in book design. Elsner+Flake added two headline weights, which are available as a separate font family Kis Antiqua Now TH Pro Designer: Miklós (Nicholas) Tótfalusi Kis, 1686 Hildegard Korger, 1986-1988 Erhard Kaiser, 2008

A light weight slab serif font, useful for posters and large ads, based as it is on wooden fonts designed in the 19th century.

Exablock is a display typeface based on a 6x6 grid, highly modular and geometric. Diacritics appear as negative space cut into the glyph form.

JH Mars is a modern style typeface; it is designed based on old Koufi, Maghribi & Diwani scripts, typical for corporate identity, headlines, branding & signage...

Ashby is a Spencerian based handwritten script, with elegant capital letters. Written with a flexible nib, which results in some beautiful line width variation.

Eroded, skeletal and gaunt, Obsessed was one of Zang-O-Fonts first typefaces, and is loosely based on a couple of Art Deco faces.

Based on the original design by Robert Hunter Middleton. Digitally engineered by Steve Jackaman and Ashley Muir from the Ludlow drawings, circa 1931–1942.

Developed for ParaType (ParaGraph) in 1997 by Alexander Tarbeev, based on PT Pragmatica, 1989, by Vladimir Yefimov. For use in advertising and display typography.

Odditype is a font that surely lives up to its name... Odd, quirky, techno...yet not. Its use is as broad as your imagination.