The Tough Dude font is a confident, devil-may-care, tough-guy font with attitude that screams "I don't need no stinkin' penmanship." It conveys a self-assuredness that does not preoccupy itself with trying to be necessarily legible or easy on the eyes but rather pragmatic, fast-flowing, and interested in scribbling the message out fast and moving on to the next task. We're confident you will enjoy it.

PH from Fontfabric Type Foundry is a multifaceted font system consisting of different font weights and type of condensation. Every one of these font weights contains a number of extension types - Condensed, Narrow, Regular, Extended and Wide. Along with all of this, you will also discover added groups of extras which could serve as a foundation or add that extra "cherry on the cake" to each unique design.

Swanville developed as part of a train font that eventually became LetterTrain. The letters of Swanville are bold, have a funny “serif” on the top but not on the bottom, and when the letters have interiors, the interior has the shape of the letter. Lower-case letters are smaller versions of the upper-case letters. Because development of this face stopped long ago, it has a limited character set.

Cubby brush Font is a brush font with a natural flow to help you make designs that are fun and stand out. Features: - Uppercase - Numerals - Punctuations (OpenType Standard) - Accents (Multilingual characters) - Works on PC & Mac - Simple installations - Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even works on Microsoft Word. don't wait anymore, put it in your shopping basket :) and follow me, because there will be many promos!

Introducing Graphy, the font that fuses the energetic spirit of street art and the trendsetting vibes of y2k culture. This unique typeface offers three distinct styles: Filled, Anti Counter, and Outline, whether you're working on logos, branding, or social media graphics Graphy Main File Has 3 style: Filled, Anti Counter, and Outline Instructions (Access special characters, even in Cricut Design) Unique Letterforms Works on PC & Mac Thank you, Dharmas Studio

Brendria – Signature is a handwritten signature script font, this font looks classy, luxury, elegant, romantic, wedding, lovely, girly and awesome. Highlights: Standard glyphs (Uppercase, Lowercase, Numeral & Punctuation) Work on PC or Mac PUA Encoded Support Fonts include multilingual support for; ä ö ü Ä Ö Ü ß ¿ ¡ No special software is required, The fonts can be opened and used in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word.

One in the series of fonts celebrating the Halcyon Days of Handlettering. Wigwam evokes, among other things, memories of summer camps and trailer parks of a bygone day. Based on a font presented in the 1933 book Lettering of Today by W. Ben and Ed C. Hunt. Both versions of this font contain the Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

Tisk is a superb blackletter font. The Blackletter typeface (also sometimes referred to as Gothic, Fraktur or Old English) was used in the Guthenburg Bible, one of the first books printed in Europe. This style of typeface is recognizable by its dramatic thin and thick strokes, and in some fonts, the elaborate swirls on the serifs. Use this font for any crafting project that requires a personalized look!

Quebra Expa (Expanded) is an extend display sans-serif font family, available with four widths (Extra Condensed, Condensed, Normal and Expanded) and ten weights, italics versions are available. The main strokes contain small breaks simulating modulated variations on the letterforms, these details are more present on large body sizes. All font versions contain Latin and Cyrillic encoding characters and also ligatures, case-sensitive forms, fractions, oldstyle and finally tabular figures.

Taku comes in two styles, Taku regular and Taku Solid. As one of the most creative faces to date, this is a beautiful piece aimed at a whole range of markets for print and digital work. Super creative, extremely eye catching, and almost obsessively accurate. Taku is a typographers dream, over 300 hours of work on aesthetics and technical details, so you can expect the most high quality typeface around.

Pacific Atoll JNL is a stylized slab serif type design based on the movie title lettering for the 1942 wartime film “Pacific Rendezvous”, and is available in both regular and oblique versions. According to Wikipedia, “…an atoll (sometimes known as a coral atoll), is a ring-shaped coral reef, including a coral rim that encircles a lagoon partially or completely. There may be coral islands or cays on the rim.”

Hiya, kids! Hiya, hiya, hiya! was the customary greeting of Froggy (a rather cheap rubber toy), who played second banana to otherwise-perennial sidekick Andy Devine on the 1950s TV show, Andy's Gang. The Magic Twanger was the thing which, when plunked, brought on the cartoons and other kid-friendly fare. The Opentype version of this font supports Unicode 1250 (Central European) languages, as well as Unicode 1252 (Latin) languages.

Vintage Varsity was inspired by that classic iron-on letterman jacket your "cool" uncle wore in high school (and lets be real, probably still wears today)... Pair with some fuzzy felt textures and you got yourself a killer duo! Strike the fill, throw a stroke on it, and design a retro-slogan t-shirt. Is this starting to sound like a cheesy infomercial? Good, I'm rolling with it. Have fun!

Omorphia is a decorative serif font inspired by Sephardic square type - the only Hebrew style with one vertical serif for each letter. Omorphia contains three script systems, including European extended Latin, Cyrillic, Greek, Hebrew and Arabic. The font has OpenType features as alternates and local substitution for Romanian and Serbian. Alternates themselves are based on cursive, script forms. Omorphia is an excellent choice for branding, packaging, fashion and titles.

Caress is a handwritten Sans serif for cartoons, kids stuff, and that feels fun, fancy, and cool. Highlights: Standard glyphs (Uppercase, Lowercase, Numeral and Punctuation) Work on PC or Mac PUA Encoded Support Fonts include multilingual support ä ö ü Ä Ö Ü ß ¿ ¡ No special software is required, The fonts can be opened and used in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even works on Microsoft Word.

From the pages of the 1939 French lettering book “Modèles de lettres modernes par Georges Léculier” (“Models of Modern Lettering”) comes an attractive and unusual set of initial drop caps made from square letters adorned with multiple vertical lines. Originally designed as white letters on black backgrounds, an additional set with black letters on white backgrounds comprise Deco Drop Caps JNL; available in both regular and oblique versions.

About SFT Sushka SFT Sushka is a narrow headline typeface that will look particularly good on the packaging of something delicious. 10 different widths and a variable font make it possible to fit the font into various limited spaces. Soft shapes and rounded notches make SFT Sushka cozy, friendly, and appetizing. But if you need a more concise and readable version, the Flat Subfamily without notches is available for you. The family forms a gradient from very narrow and quirky to wider, softer, and more fluffy styles. Therefore, the variation is not just in width and thickness, but in the overall mood as well. You can use the variable font without any concerns about unexpected intersections in the letters! Its structure is no different from static fonts. And last but not least, SFT Sushka allows for a very tight line spacing even in languages with diacritics! SFT Sushka has wide language support: 200+ Latin and 60+ Cyrillic languages. Language support Latin: Abenaki, Afaan-Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese-Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Azerbaijani, Bashkir-(Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bislama, Bosnian, Breton, Cape-Verdean-Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Cornish, Corsican, Creek, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut), Guadeloupean-Creole, Gwich’in, Haitian-Creole, Hän, Hawaiian, Hiligaynon, Hopi, Hotcąk (Latin), Hungarian, Icelandic, Ido, Igbo, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Jamaican, Javanese-(Latin), Jèrriais, Kaingang, Kala-Lagaw-Ya, Kapampangan (Latin), Kaqchikel, Karakalpak-(Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Kurdish-(Latin), Ladinlatinlatino-sine-Flexione, Latvian, Lithuanian, Lojban, Lombard, Low-Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, Māori, Marquesan, Megleno-Romanian, Meriam-Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese-Creole, Nahuatl, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Onĕipŏt, Oshiwambo, Ossetian (Latin), Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami-(Inari-Sami), Sami (Lule-Sami), Sami (Northern-Sami), Sami (Southern-Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish-Gaelic, Serbian-(Latin), Seri, Seychellois-Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio-(Latin), Somali, Sorbian (Lower-Sorbian), Sorbian (Upper-Sorbian), Sotho (Northern), Sotho-(Southern), Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok-Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen-(Latin), Tuvaluan, Tzotzil, Uzbek (Latin), Venetian, Vepsian, Volapük, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zarma, Zazaki, Zulu, Zuni. Cyrillic: Adyghe, Akhvakh, Aleut (Cyrillic), Altaic, Andi, Archi, Avar, Bashkir, Belarusian (Cyrillic), Besermyan, Bosnian (Cyrillic), Bulgarian (Cyrillic), Buryat, Chechen (Cyrillic), Chukchi, Chulym, Chuvash, Dargwa, Dungan, Enets, Even (Lamut), Gagauz, Godoberi, Ingush, Kabardino-Cherkess, Karaim, Karakalpak, Karata (Karata-Tukita), Karelian, Kazakh (Cyrillic), Ket, Kildin Sámi, Kirghiz, Komi-Zyrian, Koryak, Kumyk, Lak, Lezgian, Macedonian, Moldavian (Cyrillic), Mongolian, Mordvin-moksha, Nanai, Nganasan, Oroch, Ossetian, Russian, Rusyn, Saami, Serbian (Cyrillic), Soyot-Tsaatan, Tabasaran, Tadzhik, Tatar Volgaic, Tindi, Touva, Tsez, Turkmen (Cyrillic), Udege, Udmurt, Uighur (Cyrillic), Ukrainian, Ulch, Uzbek (Cyrillic), Veps, Yukagir.

Elegant and round Having harboured a desire for a rounded font within the Fontsmith library for some time, Phil Garnham recognised that FS Emeric offered the perfect skeleton around which to design it. Most new rounded fonts rely on scripts or other in-app automation to form their characters. For all their warmth and approachability, they too often conjure images of jelly sweets and sausages. Not so FS Aldrin, where every curve and transition has been crafted by hand, giving a distinctive look and elegant feel. Design highlights FS Aldrin enjoys wide-open ‘lunar’ counters and soft, tube-like terminals. These improve legibility, especially on backlit signage and screens. The open proportions and circular strokes are juxtaposed against a more serious technical aspect that exists within each counter shape. The lighter weights feel precise and efficient, perfect for notes on blueprints or technical drawings. The heavy weights are equally crafted but more playful by their rotund nature, and are perfect for strong headlines or packaging projects. UI icons A suite of 268 icons complement the typeface beautifully and extend the design language in all directions. They cover a range of commonly used applications and themes ranging from ecommerce to weather, and also serve as a solid starting point for a bespoke brand icon set or UI. In addition, born of FS Aldrin’s astronomical theme and playful nature is a special collection of space-themed icons, including rockets, shuttles and lunar modules (hint: if you type the word BUZZ with ligatures enabled, an astronaut appears). Earth to Buzz Buzz Aldrin was the pilot of Apollo 11’s lunar module, the one that put man on The Moon for the very first time. Early on in the project’s life, FS Aldrin emerged as the ideal hook on which to hang the font’s space helmet (hardly surprising given Phil’s fascination with space travel and astronomy). An approach was made to Buzz’s management to see if he would sanction the association. Not only was the great man himself happy to see his name on a typeface, he also asked to use it in his upcoming keynote talks, book launches and online projects.

Compendium is a sequel to my Burgues font from 2007. Actually it is more like a prequel to Burgues. Before Louis Madarasz awed the American Southeast with his disciplined corners and wild hairlines, Platt Rogers Spencer, up in Ohio, had laid down a style all his own, a style that would eventually become the groundwork for the veering calligraphic method that was later defined and developed by Madarasz. After I wrote the above paragraph, I was so surprised by it, particularly by the first two sentences, that I stopped and had to think about it for a week. Why a sequel/prequel? Am I subconsciously joining the ranks of typeface-as-brand designers? Are the tools I build finally taking control of me? Am I having to resort to “milking it” now? Not exactly. Even though the current trend of extending older popular typefaces can play tricks with a type designer’s mind, and maybe even send him into strange directions of planning, my purpose is not the extension of something popular. My purpose is presenting a more comprehensive picture as I keep coming to terms with my obsession with 19th century American penmanship. Those who already know my work probably have an idea about how obsessive I can be about presenting a complete and detailed image of the past through today’s eyes. So it is not hard to understand my need to expand on the Burgues concept in order to reach a fuller picture of how American calligraphy evolved in the 19th century. Burgues was really all about Madarasz, so much so that it bypasses the genius of those who came before him. Compendium seeks to put Madarasz’s work in a better chronological perspective, to show the rounds that led to the sharps, so to speak. And it is nearly criminal to ignore Spencer’s work, simply because it had a much wider influence on the scope of calligraphy in general. While Madarasz’s work managed to survive only through a handful of his students, Spencer’s work was disseminated throughout America by his children after he died in 1867. The Spencer sons were taught by their father and were great calligraphers themselves. They would pass the elegant Spencerian method on to thousands of American penmen and sign painters. Though Compendium has a naturally more normalized, Spencerian flow, its elegance, expressiveness, movement and precision are no less adventurous than Burgues. Nearing 700 glyphs, its character set contains plenty of variation in each letter, and many ornaments for letter beginnings, endings, and some that can even serve to envelope entire words with swashy calligraphic wonder. Those who love to explore typefaces in detail will be rewarded, thanks to OpenType. I am so in love with the technology now that it’s becoming harder for me to let go of a typeface and call it finished. You probably have noticed by now that my fascination with old calligraphy has not excluded my being influenced by modern design trends. This booklet is an example of this fusion of influences. I am living 150 years after the Spencers, so different contextualization and usage perspectives are inevitable. Here the photography of Gonzalo Aguilar join the digital branchings of Compendium to form visuals that dance and wave like the arms of humanity have been doing since time eternal. I hope you like Compendium and find it useful. I'm all Spencered out for now, but at one point, for history’s sake, I will make this a trilogy. When the hairline-and-swash bug visits me again, you will be the first to know. The PDF specimen was designed with the wonderful photography of Gonzalo Aguilar from Mexico. Please download it here http://new.myfonts.com/artwork?id=47049&subdir=original

West Fork JNL is based on the classic wood type Latin Extended (Hamilton, 1888) and is available in both regular and oblique versions.

Record Promotion JNL is based on a stencil version of the same classic font that inspired Album Cover JNL and Record Jacket JNL.

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

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.

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.

Inspired by the typefaces used for company insignia on aircraft in the 1930's and 1940's, Streamliner is light, friendly and open.

Cross Stitch Solid is based on upper case characters 14 stitches tall and contains the characters A-Z, numbers 0-9, and ampersand.

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.

Lenorah JNL is a block-like design with spur serifs and is one of a number of wood type revivals by Jeff Levine.

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

A thorn-laden split flare serif typestyle inspired by the lettering of Ben Shahn on the cover of the novel, Rendezvous with Destiny.

A revival of one of the popular wooden type fonts of the 19th century, suitable for display, or text, closely related to Latin.