Please note: the wispy effect in the illustrations were applied to characters from the font but is not part of the font itself.

An art deco style typeface inspired by the poster from the 1971 film, Velvet Vampire. Such a playful font for a horror flick!

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

Most of the letter keys are from animal drawings done by a six or eight year old child who has now grown up.

How much more multi-cultural can you get, than a Japanese-style Roman font from Denmark? Looks like an LCD font gone awry!

Breesh font is a dancing handwriting, quickly trace with a pointed brush. The inspiration come from both asian calligraphy, italic and copperplate alphabets.

Brownies script will be a good thing for your design and matches well for uses ranging from wedding invitation, bakeries, and much more.

Scat Dingbats from Laurie McCanna is a set of eclectic icons originally offered with the Scat typeface but useful as general purpose symbols.

A page from an old manual for sign painters yielded the hand-lettered alphabet that served as a model for Claim Check JNL.

RiptCure is a futuristic, but usable typeface for everything from logotypes to magazine headlines. Several weights are included, including an interesting Ultra Light.

Thomas Maitland Cleland’s careful and scholarly creation of a typeface from 15th Century Florentine inscriptional capitals; designed for the Bruce division of ATF.

Kylemott was developed from an earlier font called Quadlateral. It was a look at the curve and line used in an angular fashion.

RendtPhysic. Exactly what’s needed for your next starship lettering job. RendtPhysic is designed to be used in conjunction with RiptCure also from DooleyType.

Paramilitary JNL from Jeff Levine was modeled after a set of brass interlocking stencils and offers another choice in digital stencil typeface design.

Introducing Bronc Stomper; Bronc Stomper got its start from an old logo design used by the New York and Harlem Railroad in 1904.

PL Brazilia from Albert Boton is an elegant extended sans serif face in two weights. Usable in headlines on books, journals and posters.

Social Gathering JNL is modeled from the Art Deco hand-lettered title of a vintage piece of sheet music entitled "Three of Us".

A second VGC face, this one by S. Biggenden, borrowing from the structure of MICR figures to lend computer associations to the page.

Lomidrevo is a grunge stencil family derived from Valibuk. In the free demo version, you can see numbers and lowercase letters without kerning.

More cartoon illustrations, sales builders, ornaments, embellishments and miscellany come your way with Message Helpers JNL; all re-drawn from vintage source material.

Daily Tabloid JNL was redrawn from a set of wood type that was popularly used for newspaper headlines, posters, broadsides and the like.

A revival of the Ludwig & Mayer typeface Motor and Lichte Motor from 1930. Motorcross Pro includes over 800 glyphs and supports 131 languages.

Inkpad Letters JNL joins a number of fonts that were reproduced by Jeff Levine from inked impressions of various rubber stamp printing sets.

Dangits JNL is another collection of images from Jeff Levine's early dingbat fonts, all cleaned up and improved for the professional designer's needs.

This cute font create with love and inspired from cute moment. Let's try this font for your colourful moment and cartoon style. Cheers

Antwerp On a visit to Belgium and the Netherlands while still an MA student at Reading University, Eleni Beveratou made some important discoveries. First, there was the letter ‘g’ from the Didot family seen at Plantin Moretus Museum in Antwerp, which seemed “almost like a mistake”. Then there were strange details such as the serifs on the “l”, “h”, “k”, “b” 
and “d” in Egmont Cursive and other typefaces by Sjoerk Hendrik de Roos, found in volumes of poetry she picked up from a chaotic bookshop in Amsterdam. These were characters that stood out from the text but seemed to blend harmoniously with the rest 
of the letters. “And there it was, the spark. 
I decided to design a typeface that would capture the details of the process of writing.” A guiding hand Eleni shared her initial thoughts with Phil Garnham and Jason Smith. They liked what they saw in her tentative first sketches, and gave her the chance to develop her ideas further. Phil, in particular, provided valuable input as FS Olivia took shape. Eleni’s main influence – the handwritten – would give the font its character. “When creating a typeface,” says Eleni, “it’s fair to say that it reflects some of the designer’s personality. And that’s certainly the case with 
FS Olivia. “Although technology is part of my everyday life. I am a great admirer of traditional graphic design where you can touch and feel paper and ink.” Irregular “What I particularly like,” says Eleni, “is that a printed item can develop its own personality sometimes as a result of imperfections in the print. “FS Olivia has some of 
these characteristics as it’s inspired by handwriting, 
and yet it also includes some 
very modern features.” Feminine and fascinating, FS Olivia captures the expressive twists and turns of (the poet’s?) pen on paper, with low junctions, 
deep top serifs and semi-rounded edges. Round outstrokes contrast with 
the rough corners of the instroke, while strong diagonals and inclined serifs create a richly textured pattern. Polytonic It’s only fitting that there should be a version of this poetic font for one of the birthplaces of poetry and song. Eleni, who hails from Athens, developed an extensive range of glyphs that could be used for the Greek language, in both modern and ancient texts. For the latter, there is a version of Olivia for displaying polytonic Greek (a system that utilises a range of accents and “breathings”), which brings the 21st century technology of OpenType to the presentation of poetic texts from Ancient Greece. Just think what Homer could have done with that.

Antwerp On a visit to Belgium and the Netherlands while still an MA student at Reading University, Eleni Beveratou made some important discoveries. First, there was the letter ‘g’ from the Didot family seen at Plantin Moretus Museum in Antwerp, which seemed “almost like a mistake”. Then there were strange details such as the serifs on the “l”, “h”, “k”, “b” 
and “d” in Egmont Cursive and other typefaces by Sjoerk Hendrik de Roos, found in volumes of poetry she picked up from a chaotic bookshop in Amsterdam. These were characters that stood out from the text but seemed to blend harmoniously with the rest 
of the letters. “And there it was, the spark. 
I decided to design a typeface that would capture the details of the process of writing.” A guiding hand Eleni shared her initial thoughts with Phil Garnham and Jason Smith. They liked what they saw in her tentative first sketches, and gave her the chance to develop her ideas further. Phil, in particular, provided valuable input as FS Olivia took shape. Eleni’s main influence – the handwritten – would give the font its character. “When creating a typeface,” says Eleni, “it’s fair to say that it reflects some of the designer’s personality. And that’s certainly the case with 
FS Olivia. “Although technology is part of my everyday life. I am a great admirer of traditional graphic design where you can touch and feel paper and ink.” Irregular “What I particularly like,” says Eleni, “is that a printed item can develop its own personality sometimes as a result of imperfections in the print. “FS Olivia has some of 
these characteristics as it’s inspired by handwriting, 
and yet it also includes some 
very modern features.” Feminine and fascinating, FS Olivia captures the expressive twists and turns of (the poet’s?) pen on paper, with low junctions, 
deep top serifs and semi-rounded edges. Round outstrokes contrast with 
the rough corners of the instroke, while strong diagonals and inclined serifs create a richly textured pattern. Polytonic It’s only fitting that there should be a version of this poetic font for one of the birthplaces of poetry and song. Eleni, who hails from Athens, developed an extensive range of glyphs that could be used for the Greek language, in both modern and ancient texts. For the latter, there is a version of Olivia for displaying polytonic Greek (a system that utilises a range of accents and “breathings”), which brings the 21st century technology of OpenType to the presentation of poetic texts from Ancient Greece. Just think what Homer could have done with that.