Jacoby Modular is a geometric sans serif display typeface with six styles. Jacoby Modular is a dynamic, bold typeface with a sculptural feel.

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

Steinschrift Pro is a condensed sans serif font which comes with West and Central European as well as with a Cyrillic character set.

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

Sea is a versatile sans serif font that works well in a variety of sizes and applications. It's friendly, but robust and professional.

A New Typographic workhorse with robust round over corner curvature construction. Rounded condensed sans serif. 331+ Characters Upper & Lowercase Adobe Latin 3 - CE

Magnold is a modern bold and elegant serif font. Magnold is well-suited for advertising, branding, logotypes, packaging, titles, headlines and editorial design.

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

Ellen is a charming elegant serif face. Great for headline display and text use. Many alternates and ligatures are included with this font.

Shunsine is a distinct and elegant display serif font. Its stylish alternates and ligatures make this font the perfect match for any project.

Okaycat presents "Macchiato". This playful casual font is fashion forward. Elegant simple line serifs pair well with line drawings or simple ink drawings.

ATF Franklin Gothic® A new take on an old favorite Franklin Gothic has been the quintessential American sans for more than a century. Designed by Morris Fuller Benton and released in 1905 by American Type Founders, Franklin Gothic quickly stood out in the crowded field of sans-serif types, gaining an enduring popularity. Benton’s original design was a display face in a single weight. It had a bold, direct solidity, yet conveyed plenty of character. A modern typeface in the tradition of 19th-century grotesques, Franklin Gothic was drawn with a distinctive contrast in stroke weight, giving it a unique personality among the more mono-linear appearance of later geometric and neo-grotesque sans-serif types. Franklin Gothic has been interpreted into a series of weights before, most notably with ITC Franklin Gothic. But as the original type was just a bold display face (later accompanied by a few similarly bold widths and italics), how Benton’s design is expanded to multiple weights and styles as a digital type family can vary significantly. Benton designed several gothic faces that harmonize with one another, including Franklin Gothic, News Gothic, and Monotone Gothic, that can serve as models for new interpretations of his work. With ATF Franklin Gothic, Mark van Bronkhorst looked to Benton’s Monotone Gothic—originally a single typeface in a regular weight, and similar to Franklin Gothic in its forms—as the basis for lighter styles. ATF Franklin Gothic may appear familiar given its heritage, but is a new design offering a fresh take on Benton’s work. The text weights are wider and more open than some previous Franklin Gothic interpretations, and as a result are quite legible as text, at very small sizes, and on screen. ATF Franklin Gothic maintains the warmth and the spirit of a Benton classic while offering a suite of fonts tuned precisely for contemporary appeal and utility. The 18-font family offers nine weights with true italics, a Latin-extended character set, and a suite of OpenType features. Download the PDF specimen for ATF Franklin Gothic.

Monotype Modern, the first typeface produced by Lanston Monotype, was released in 1896, the same year the company introduced its hot metal typeseting machine. It is a Victorian variation on the vertically stressed, high-contrast Bodoni model.

This typeface finds a perfect balance between technical excellence, careful design of letter forms for extended reading, and a measured dose of charm and personality. Its informal feel allows for successfully typesetting a wide range of applications, from magazines and fiction books to advertising and websites. Calligraphy, be it done with the broad-edge pen, brush, or other tools, has been fundamental in the development of Pollen. Its influence is clearly visible in the construction of the top serifs contrasting the curved bottom serifs and the fluid aspect of terminals and tails, such as on “g” and “r”. The shapes of the diagonal letters are based on a less formal calligraphic model, but still uses the broad edge pen. ­The letters were then subject to a further process of pencil drawing and digital re-interpretation, which gave them the final shape. The designs of “e” and “c” are derived from drawings made with only one continuous line, with the pencil always touching the paper. The letters “g” and “y” express the intention to bring informal elements to a typeface intended for long text reading, usually characteristic of casual writing. Pollen consists of 3 basic styles with an extended OpenType Pro character set and large language support, perfectly serving the most common typographic needs.

Introducing Promenade – a calligraphic serif that started on paper with a flat nib pen (see the 6th image), and blossomed into a full serif with italics. At its core, this font is just... beautiful. It's elegant, it's crisp, it's delicate, but can still hold its own. As I was creating the graphics, I just couldn't get over the flow of the letters – especially the italic. It's got class, but also isn't afraid to rock a pair of Doc Marten's. Funny enough, Jen from Tonic (they make beautiful websites) saw a preview of this font and said, "I'd take that font to prom." Which of course spurred a conversation about how this font would take a Mercedes G-Series instead of a limo, and wear Doc Marten's instead of heels, but still wear the most gorgeous dress, and that is 100% Promenade (and inspo for the name – thanks, Jen!). I've also been loving combining the regular and italic, especially for logos (see the "Friendfolk" logo) One thing to note about Promenade is the letter spacing. It was spaced for clean reading and intentional balance, so I recommend setting the spacing a little tighter if you want to create the display look found in many of the logo mockups(around -20 to -40 should do!).

VetteLetters is proud to bring you the TpKurier-family. It is cooked up by our German chef Martin Lorenz currently living in lovely Barcelona! Chef Lorenz about the TpKurier recipe: “TpKurier is the second redesign we did of Courier. The first redesign in 2000, although based on a five-unit grid, was drawn completely by hand. Six years later we designed another grid version of Courier, and the TpKurier family was born. This version is completely constructed up till its last detail. We didn't want to correct ‘mistakes’ deriving from the use of the grid, but instead make them visible (see “S”). TpKurier is based on a very simple grid, composed a proportion of four units high by two units wide. A series of other links between them make it possible to form a font from this grid. We felt it was important to consistently work within these limitations so that any unexpected asperities would help provide the font with its character. Even though it is a rough constructed typeface it was important to us to design real italic lower case letters and not just a sloped roman (see “a”, “g” or “s”). The first family published contained a serif and sans-serif version of the TpKurier, with italic and bold.”

Condell Bio Poster is part of the bigger Condell family: a project that involves series of typographies that started to be conceived and developed since 2006. It also includes a bigger legibility version and a sans serif. Condell Bio is very versatile and can be used in the agroindustrial production. Thanks to its strongness and its charm, it can be used in different projects where a short and powerful message is required. For instance in a brand marketing campaign. The Condell project follows in terms of time the design of Comalle (a font also designed by Juan Pablo de Gregorio in 2006), but if we compare them, Condell seems to look for a major range of uses rather than a mere stylistic inspiration. And even if it keeps in its shape some organic forms, Condell seems to be much more similar to a sans serif traditional typography. Condell's fat and soft forms and its nice endings, inspired through spontaneous brush strokes, give it a very peculiar pleasant connotation. Its Italic (10 degrees inclination) have been produced singularly, not automatically calculated by the software. Condell Bio Poster is composed of 2 styles: the regular and the italic. Each one of them have 599 characters and is composed of 206 languages.

Inspired by an old retail stencil lettering guide, Stenciled Message JNL is a bold Roman serif typeface available in both regular and oblique versions.

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

Artz is a highly stylized sans serif with a Deco look in Narrow, Plain and Wide. It has oldstyle numbers and many special characters.

A revival of one of the popular wooden type fonts of the 19th century, condensed, bold, curved serifs, a very useful design for display.

Serif meets grafitti and comic. It's bound to be wild! Comes with 4 different versions of each lowercase letter along with some fancy swashes!

JulianaJoy is a condensed elegant sharp serif typeface for headline display and text use. Several alternate characters are included with this original font design.

An elegant sans serif typeface with style. Fashionable, classy but still modern! Designed and shared by Vikers | RerdSystems. Perfect for logos, posters and more.

Linotype Aroma No.2 appears straightforward in form, completely sans serif, yet with a trace of humanistic features that gives it that extra edge.

Sports Jock JNL brings you a serif-style sports font built on the classic design of an early-1900s block font with chamfered angles.

Comment is a unique yet still basic sans serif created to provide a consistent, attractive appearance in print, especially in small-to-medium sizes.

Rabona is a typeface for designers; easy to implement, clean and utilisable. A quintessentially modern geometric san-serif, filtered through a gently humanist lens.

Ingriana is an informal, serifed typeface family with nine styles that is highly readable at small point sizes. Nothing else is quite like it.

Case Closed JNL is a bold, slab serif stencil font inspired by a set of brass stencils spotted for sale in an internet auction.

A basic sans serif letterform was used to create the impression of broken glass in this unique typeface. Created by talented designer Vic Carless.

TAN AEGEAN is an elegant display serif. It's classic and versatile with a touch of playfulness, it's perfect for any of your design needs.

Display Roman JNL is derived from examples of some vintage sign letters, and features a condensed style with somewhat square letterforms and slab serifs.

Rolhausen is a Sans Serif Typeface which is suitable for you who needs a typeface for headline, logotype, apparel, invitation, branding, packaging, advertising etc.

Yahukimo is a serif font with a modern style, perfect for posters, web design, magazine covers, album covers, branding, and many other creative ideas.

Mummbler is your tiny, crunchy and lovely serif font with tall ascenders and deep descenders. Romantic, perhaps - but definately worth your next print project!

A revival of one of the popular wooden type fonts of the 19th century, suitable for display, geometric slab serifs unbracketed, short descenders,condensed.

Bold yet distinctive, Capstan is a stand out slab serif ideal for signage, headlines, branding and other applications intended to convey strength and character

A revival of one of the popular wooden type fonts of the 19th century, suitable for display, short ascenders and descenders, pronounced slab serifs.

Crosstown JNL is a serif treatment of Midtown JNL, an Art Deco typeface displayed in the pages of an old 'how to' lettering book.