Plain Talk JNL is similar to Eckhardt Centerline JNL, but lacks the thin inline lettering and has a different A and G. The hand-lettered look of this font makes it perfect for titling applications.

Display Dots Seven is a display font not intended for text use. It was designed specifically for display, headline, logotype, branding, and similar applications. Display Dots Seven has upper and lowercase alphabets, numbers, and punctuation.

My friend in the Czech Republic sent me a card with some hand lettering that was similar to this tall headline font. It has a funky yet elegant appearance. Works nice for Art Deco too.

Display Squares One is a display font not intended for text use. It was designed specifically for display, headline, logotype, branding, and similar applications. Display Squares One has upper and lowercase alphabets, numbers, and punctuation.

Quatsity is a squarish or boxy serifed font with rounded corners. Quatsity is is suitable for titles or signage and legible enough for small blocks of text. Quatsity-Light was constructed in 1995 by blending two very different faces, a typeface very similar to Kwersity (with low contrast) and one similar to Qwatick (with high contrast). The other seven styles were added in 2020.

Display Dots Two Serif is a display font not intended for text use. It, along with its sans counterpart were designed specifically for display, headline, logotype, branding, and similar applications. Display Dots Two Serif has an uppercase alphabet, numbers, and punctuation.

American Writer is suitable for many types of designs. It is meant to be used for body text and is very readable at small text sizes. It looks similar to the type you would see on blueprints or an architect's drawings.

Display Dots Two Sans is a display font not intended for text use. It, along with its serif counterpart were designed specifically for display, headline, logotype, branding, and similar applications. Display Dots Two Sans has an uppercase alphabet, numbers, and punctuation.

No. 507 is an elegant headline font with added angled flourishes. Its unique features are angled terminals, small, pointed serifs, and no contrast in stroke weight. It is similar to No. 506, designed by William H. Page & Company around 1890.

The capitals of Register share a similar construction to Morris Fuller Benton’s 1930 Bank Gothic for American Type Founders, but iron out the broader curves and add ‘ink traps’ to emphasise the machine aesthetic. Register also provides the lower case missing from Bank Gothic. Available in two main widths, each in five weights plus reweighted italics with cursively-derived letterforms, plus a bold condensed, Register has been used for the Sochi Winter Olympics, Source magazine and releases from Transient Records.

This font, similar in style to Phollick, is a light playful font that has a capacity for use in many applications.

CoolKids was inspired by the song “Signs of Life” by Arcade Fire. Since the lyrics talk about some cool kids we wondered what a typeface with the name cool kids would look like. We immediately knew it had to be laid back yet bold and to stand out from the crowd. After designing the bold script we decided to include a light, regular and medium weight to offer you more options for your designs. It comes with initial and final alternates, that show up automatically, to make it feel more natural and similar to handwriting. Every character was carefully drawn and connections are real smooth. This casual font-family speaks most Latin languages, both in their basic and alternate forms. CoolKids is great for creating logos, packaging, posters and much more. More important than to create a font is to use it… so now it’s up to you to create something awesome with it. Feel free to share your designs with us via email to hi@seventype.com We would love to see and share them with the world!

Albyona English Nº 1 is ideal for titlings and headings in novels or fairy tales. It has a sentimental flavour of history, memories and the good-old-days feeling. Suitable for children’s books, fantasy literature, crime novels, natural food packaging and poison labeling, for infancy memories, vanitas kitsch items, dungeon museum bar menu cards, introductions to herbalism and witchcraft manuals. Albyona supports every Euro-Latin language. For the choice of a similar font go to Abendschroth.

All the nine weights of Bogart, as well the matching true italics forms, feature an extended charset of over 1600 glyphs, covering 219 languages using latin, cyrillic and greek alphabets, and sporting a complete set of Open type features. To add flexibility for editorial usage, a text-oriented Bogart Alternate set of nine weights was added to the family keeping the design more similar to its modern old style model and allowing for a heavy readable mid-weight range.

Quirky and irregular FS Split is no ordinary typeface. Its irregular proportions make it unique, with round letters appearing wide, and straight letters narrow. Other quirks include its eclectic crossbars – the uppercase ‘A’ has an unusually low bar, while the bar on ‘G’ is particularly long. The uppercase has many interesting features in fact, including large counters, closed terminals on certain letters like ‘J’, and a cap-height that lines up with ascenders. The lowercase also holds surprises – the dots on ‘i’ and ‘j’ are unusually large, and some characters, such as ‘g’, feature double-storey counters. An extreme but stylish italic The italic versions of FS Split Sans and Serif are particularly striking. While similar in style to their upright, Roman versions, they take on a larger-than-usual 18-degree angle, making the forward-slant more dramatic. Although the main purpose of any italic is to help words and phrases stand out, this unique execution helps to make the italic variants of FS Split stylish fonts in their own right – they would work brilliantly on magazine covers, in titles and headlines, pull quotes, and even used commercially in logos and corporate branding. Serif and sans: a split personality FS Split Sans and Serif have their differences but also their similarities, contrasting and complementing each other perfectly. This ‘love hate’ relationship inspired the name of the typeface family, and means the two variants provide a versatile, typographic palette for use in graphics and branding. While its proportions are similar to the sans, the serif has a bigger contrast between its weights of bold, regular and light, bracketed serifs, and different styles of terminals, some being straight and others ball-shaped. FS Split Sans has more subtlety and simplicity, with a smaller weight contrast, less flamboyant terminals, and more consistent counter sizes. The two variants are distinct yet alike, so can be used successfully either in isolation or together.

Quirky and irregular FS Split is no ordinary typeface. Its irregular proportions make it unique, with round letters appearing wide, and straight letters narrow. Other quirks include its eclectic crossbars – the uppercase ‘A’ has an unusually low bar, while the bar on ‘G’ is particularly long. The uppercase has many interesting features in fact, including large counters, closed terminals on certain letters like ‘J’, and a cap-height that lines up with ascenders. The lowercase also holds surprises – the dots on ‘i’ and ‘j’ are unusually large, and some characters, such as ‘g’, feature double-storey counters. An extreme but stylish italic The italic versions of FS Split Sans and Serif are particularly striking. While similar in style to their upright, Roman versions, they take on a larger-than-usual 18-degree angle, making the forward-slant more dramatic. Although the main purpose of any italic is to help words and phrases stand out, this unique execution helps to make the italic variants of FS Split stylish fonts in their own right – they would work brilliantly on magazine covers, in titles and headlines, pull quotes, and even used commercially in logos and corporate branding. Serif and sans: a split personality FS Split Sans and Serif have their differences but also their similarities, contrasting and complementing each other perfectly. This ‘love hate’ relationship inspired the name of the typeface family, and means the two variants provide a versatile, typographic palette for use in graphics and branding. While its proportions are similar to the sans, the serif has a bigger contrast between its weights of bold, regular and light, bracketed serifs, and different styles of terminals, some being straight and others ball-shaped. FS Split Sans has more subtlety and simplicity, with a smaller weight contrast, less flamboyant terminals, and more consistent counter sizes. The two variants are distinct yet alike, so can be used successfully either in isolation or together.

Quidic is an unusual display typeface. The upper-case letters are strongly vertical, condensed, and bold. Used by themselves, they make headlines and titles that stand out. The lower case letters do not have serifs similar to those on the upper-case letters, but rather have the serif shapes one expects from an italic style. The lower-case is also quite short compared to the upper-case letters. The italic styles of the family are unusual because the lower-case letters keep their shapes and the upper-case letters and numbers change. The family has three styles that differ more by width rather than by weight. Although some Bauhaus fonts have several letter shapes that are similar, there is no other typeface quite like Quidic. The family can be used for many things, but not for text. For a "normalized" version of this typeface, see Qwatick.