You may be familiar with a caps and small caps type called Cruickshank. In Germany the same face was called Eureka. We took the small caps, which are not so overblown as the caps, and designed a lowercase to harmonize with it.

Scripty is a hand drawn, calligraphy longhand handwritten font. With careful spacing, the letters can be used together to create words that look like theyπve been written with an old≠fashioned fountain pen, or used alone as embellishment to more plebean text.

Canterbury is a late Medieval Gothic font with a rough edge. This blackletter face is available with four different types of Capital initial letters or combined into one Opentype Pro font with all variations plus historic ligatures, alternates and even a few ornaments.

A simplified blackletter designed by Peter Behrens, architect and graphic artist who came into prominence around 1900. Issued by Rudhard's Typefoundry, Offenbach A. M., this face was typical of many in the Jugendstil period. Its squarish look works well in Craftsman period layouts.

The 1892 MacKellar, Smiths & Jordan specimen book featured this jaunty little face, designed by profilic in-house designer Herman Ihlenburg. Happy, hoppy fun. Both flavors of this font feature the 1252 Latin, 1250 Central European, 1254 Turkish and 1257 Baltic character sets.

Ratatouille was inspired by wooden faces of old with pointed serifs. Very suitable for Packaging greeting cards magazines posters and Advertising Ads. Designed in four weights from Extra-Light to Bold including Italics, covering a large range of editorial and advertising applications.

This beautiful writing, which belongs to the Greek culture, is in a good place among the world writing cultures. I wouldn't have done it if I didn't make the font in this article. Dozens of beautiful fonts all have the same elegant lines.

Thin, elegant and thoroughly Art Deco is the thick-and-thin (slightly flared) alphabet found on page 31 of Samuel Welo’s 1930 instructional book “Lettering Practical and Foreign”. Redrawn digitally as Evening Dress JNL, it is available in both regular and oblique versions.

Emmie is a friendly display face with fat curly terminals, which is great for billboards, branding, headlines and editorial design as well as screen based applications. It has over 450 glyphs and includes opentype features such as discretionary ligatures and stylistic alternates.

Syntax was developed by Hans Eduard Meier in 1968 and presented by the font foundry D. Stempel AG. Its figures are based on Old Face characters but have a distinctive, modern design. The inclination to the right lends the font a dynamic feel.

An Art Deco geometric alphabet found within the pages of the 1939 French lettering book "Modèles de lettres modernes par Georges Léculier" ("Models of Modern Letters by Georges Léculier") is the basis for French Geometric JNL; available in both regular and oblique versions.

Lino is a unique typeface with elegant modern edge, designed by Khalid Al-Mazrouei and published by Kmaz. Lino packs a complete set of uppercase and lowercase letters, numbers and punctuation, it comes in 5 weights: Regular, Thin, Extra Thin, Bold and Solid.

Odishary, classy handwritten font that designed for minimalist design projects. It's perfect for fashion project, logo, branding, quote, posters, movie or cinema. Odishary packed with uppercase, lowercase, numeral & punctuation, accents (Multilingual Support). This font will handle your minimalist design project with simplicity.

An eccentric chamfered sans serif wood type design with a right side engraving line from the 1800s was found within the pages of the Thorowgood foundry of London, England. This font is now available as Chamfer Engraved JNL in regular and oblique versions.

The future is now with Stellator JNL! With all the clean lines and styling one would expect of a futuristic or space age font, your design projects will have a simple, yet effective type design that conveys modern technology and interplanetary travel.

Introducing Baroque Grotesk, a font that seamlessly weaves the grace of baroque aesthetics into the structural simplicity of geometric shapes. It's a typeface that's as comfortable on the grandest stages as it is in contemporary digital spaces, embodying the essence of timeless design.

My Aunt Celia was designed as a quaint, quasi-elegant display face using caps and small caps. The family consists of two fonts: regular and alternate which, between them, provide many special swash characters, tall caps and ligatures for lively, quirky, mixed settings.

The script designed for ParaType in 2006 by Isabella Chaeva. Based on informal handwriting, its characters have rough jaggy contours. In small sizes, the face simulates an effect of handwriting by felt pen on rough paper. For use in advertising and display typography.

Uptown JNL was found amidst the pages of a 1944 edition of the vintage lettering design book entitled "Sixty Alphabets". This lovely Art Deco typeface has slight curvature to the straight lines of the letter forms and a wonderful hand-lettered look.

The 1946 foreign publication entitled "100 Alphabets Publicitaires" ("100 Advertising Alphabets") collects a number of interesting and attractive lettering samples for design inspiration. One such example is Asian-inspired and was re-drawn as the digital type face now named Martial Arts JNL.

Based heavily on Gill especially in the mid weights, Astoria has a subtle top left serif which makes it not quite a Roman and not quite a Sans. Designed specifically as a text face it still works very well as a headline font.

The two Wetetque faces are dual-line fonts made with simple lines. The family has two styles and is caps only, but the lower case in each style is different from the upper case, giving the family has four sets of letters.

The 1897 specimen book from Barnhart Brothers and Spindler showed a enchanting little face called Dotted Roman. Here's a faithful revival, ready to warm up the 21st century. Both versions support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

The 1895 specimen book from American Type Founders included the pattern for this face, originally called Outing—Art Nouveau with a laid-back vibe. Both versions of this font support the Latin 1262, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

The 1920s Art Nouveau movement spawned a number of beautiful hand lettered pieces of sheet music from that era. Attractive and narrow, the characters found on the title page of one such piece of music was the inspiration for Easy Money JNL.

PhrackSle is a a Fraktur face with a difference: it has a uniform stroke rather than a calligraphic-pen stroke. It comes in four weights: thin, plain, bold, and extrabold. (For a version of the design done with a calligraphic stroke, see PhederFrack.)

Stone Print is a "green" typeface. It uses less space than the most popular text typefaces without sacrificing legibility. Made for the reader, the environment, and whoever pays the bills. Together with Cycles, SFPL, and Arepo it makes up a superfamily of typefaces.

Neon Extra Condensed was designed by Giulio da Milano and released in 1935. This all-capital typeface is similar to designs released in the early 1990s. The Neon Extra Condensed font is good as a headline face for magazines and book covers.

Rafter is a new, sans font family, with modern, narrow line, graphically attractive with both upper and lower case letters. Spaced and mastered for optimal readability, Rafter plays well in a wide range of projects and applications. The typeface provides multilingual support.

Oksana Sans Wide is designed for short and big texts. It has six weights from Thin to Heavy. Supports Western, Central, Baltic Latin and European Cyrillic code pages. Old-style digits, some ligatures, alternative characters and Ukrainian hryvnia sign are also included.

Glittering writing, fractured into multiple tetragonal splinters, rectangular modules slightly spaced, like quartz and pixels. A Kapla style construction, with stencil properties (except Border and Outline version ) designed by Benoît Bodhuin . Mineral Solid has 4 stylistic titling alternatives (Border, Outline, Blunt and Smooth).

Gingar – a headline face, playful and classic – a proper font. Gingar includes swash-characters and ligatures in a wide range of weights from UltraLight to ExtraBlack, plus Italics. Typeface for life, fashion, food, wellness, magazines, corporate design projects and more. Rock with Gingar!

An instructional page from a vintage lettering book displayed online showed the construction of an Art Deco sans design with varying widths and stylized character shapes. This was the basis for Eccentric Sans JNL, which is available in both regular and oblique versions.

Oksana Greek has only basic Latin and monotonic Greek characters from multilingual Oksana. It has six weights with real italics, and Alt faces with Old Style figures, ampersand, alternative characters -a-g-k-y- and Greek -Ε-Ξ-β-ε-θ-φ-.

Simeon is well suited for setting an short and medium amount of text with an historic impression. OpenType features: - over 650 glyphs - Central European faces - stylistic alternates and historical forms - ornaments, signs, zodiac, symbols - proportional & mediaeval numerals - numerators, denominators and fractions - Roman numerals

A late nineteenth-century type specimen catalog from Farmer, Little & Co. yielded this droll little typeface, originally called "Arbor". The distinctive decorations of the face suggested a fool's cap, and thus the font got its current name. And don't call me Surely.

This is the Bruce Foundry’s Old Style No.20, which was loosely based on the Miller & Richard Old Style. It was recut at Lanston under Sol Hess’ direction in 1909, and survives as the second text face in the Sears Roebuck Catalogue.

Inspired by a trip to Sequoia National Park, this bold, all cap font is reminiscent of the great west and wide open spaces. Upper case letters are solid while lower case letters feature shadow lines. Great for titles, branding and logo work.

Oksana Cyrillic has only basic Latin and european Cyrillic characters from multilingual Oksana. It has six weights with real italics, and Alt faces with Old Style figures, ampersand, alternative characters -a-g-k-y- and Cyrillic -а-в-д-з-у-ў-.

Federal Streamliner was inspired by lettering seen on the side of a 1950s/60s era train. It speaks of the designs of the 'streamline' era and is ideal for retro projects invoking the 30s, 50s or 60s needing a simple distinctive display face.