Kiara typeface is a typeface designed for informal titles with very expressive letters. It also contains more than 12 variants (Thin, Light, Regular, Bold, Black) as letter alternatives and options such as "Black Shadow-Black Shadow Alternative".

A 1940s film taken around Coney Island happened to show a sandwich vendor’s stand with its hand painted signs. The stylized Art Deco lettering inspired Snack Stand JNL, which is available in both regular and oblique versions.

The movie poster for the 1952 bank heist drama “Kansas City Confidential” had its title hand lettered in a condensed serif stencil design. This inspired Secret Operation JNL, which is available in both regular and oblique versions.

The unusual, thin line hand lettering on the cover of the sheet music for 1936's "If You Love Me" was the basis for Light Line Deco JNL, which is available in both regular and oblique versions.

The free-form, Art Nouveau hand lettering on the cover of the sheet music for 1915's "She Was All That a Pal Ought to Be" inspired Neurotic Roman JNL; available in both regular and oblique versions.

The hand lettered Art Deco sans serif lettering used for the opening titles of the 1941 melodrama “Penny Serenade” (starring Cary Grant) inspired a digital revival. Romance Song JNL is available in both regular and oblique versions.

Vogie is a sporty and modern sans serif font, comes in 4 widths, 9 weights and is available in regular and oblique. 62 fonts encapsulated in one variable font makes "vogie" more modern and easy to use.

“Stillson” is an Art Nouveau-influenced font found within the pages of the 1881 Barnhart Bros. & Spindler type specimen book. The digital revival is called Office Manager JNL, and is available in both regular and oblique versions.

Amelaryas is beautiful serif font with elegant and premium shape that can be used for logos, branding, invitations, stationery, wedding designs, social media posts, and much more. Complete with ligatures alternates regular italic icon kerning multilingual support

A vintage set of die-cut letters and number by Village Toys (circa 1930s or 1940s) featured a playful, bold serif typeface. This is now available digitally as Toy Letters JNL, in both regular and oblique versions.

The thin and stylish Art Deco lettering of a neon sign above the Greyhound bus terminal entrance in a 1930s New York City photo inspired Transit Station JNL, which is available in both regular and oblique versions.

Browsing through images of old wood type for sale, a Western type design with some interesting character variations made the perfect subject for a digital revival. Western Territory JNL is available in both regular and oblique versions.

Hand lettering from the 1965 movie poster for “The Loved One” – a classic 1960s spurred serif design with added curly-tailed terminals was the working model for Groovy Tuesday JNL – available in both regular and oblique versions.

The hand painted signage from a 1950s era photo of the Miami Diner Restaurant in Miami, Florida inspired the digital version of its 1940s-influenced lettering. Roadside Diner JNL is available in both regular and oblique versions.

The original OCR B was designed for optical character recognition systems and was therefore monospaced. Designer Alexander Branczyk made a more typographically tuned and fitted version, with both regular and bold weights, and called it OCRBczyk™.

The hand lettered show card brush lettering in the trailer for the 1960 musical comedy “Bells are Ringing” (starring Dean Martin and Judy Holliday) inspired Musical Comedy JNL, which is available in both regular and oblique versions.

Roman Stencil JNL is a condensed version of the classic Roman typeface found on many vintage hand-punched brass stencils made for packing and shipping merchandise. This digital interpretation is available in both regular and oblique styles.

Galeb is simple geometric sans font family in 4 weights - Light, Regular, Bold and Black, ideal for corporate and editorial projects. With angled stem endings, Galeb gives enough impression to be used as display font as well.

An ad from the 1930s for a Spanish company called Intex Textiles featured some hand lettering in a bold and unique stencil design. This is now available as Textile Stencil JNL, in both regular and oblique versions.

Public Safety JNL was inspired by a 1940s-era health poster issued through the WPA (Works Progress Administration). The font’s bold, blockish sans lettering commands attention and has been made available in both regular and oblique versions.

Abdo Screen is a very simple Naskh font for satellite channels, presentations, videos and advertisements. it comes in sixth weights Thin, Light, Regular, Medium, Bold and Black. This font also contains some of Stylistic Sets and Ligatures.

The hand lettered actors’ credits on a title card from the 1937 film “Shall We Dance” served as the model for Formal Event JNL – an Art Deco sans serif font available in both regular and oblique versions.

A Belle Époque humanist serif in two styles: crisp, high-contrast Haut-Monde and soft, low-contrast Demimonde… When you design a lot of display pieces, you’re often in need of tall, slim type. Liaisons provides that, in a distinct fin-de-siècle style inspired by the great posters of the Gilded Age from Sweden, Denmark, France, and Scotland. (The ampersand alone is a bit of a love letter to Charles Rennie Mackintosh!) Both styles use the same slim skeleton, and are named after the stratum of society where one might find… a “dancing partner.” HAUT-MONDE is a high contrast face of the sort that says “High Society.” Elegant and sleek, it speaks to the refinement of the moneyed classes of a bygone era. Great for high-end products, too! DEMIMONDE is soft and low-contrast — more reminiscent of hand-lettering on Art Nouveau/Jugendstil/Wiener Werkstätte advertisements and posters. A comfortably chic display face all around! Both typefaces feature full Western and Eastern Latin character sets, as well as full Cyrillic/Slavic ones. And, perhaps best of all, both typefaces feature capitals with high, middle, and low waists, so you can change up the look as you see fit! Part of The Ampersand Forest's Sondheim Series

These fonts will join-as-you-type in your OpenType application as shown in the posters above. Choose Use Contextual Alternates option in your app to get basic recommended baseline joins for teaching. Additionally, use can choose from 7 Stylistic Sets of alternative letterforms that are so important for Teachers. Create 'pen-lifts' too! Fonts display unjoined by default on this website and are delivered that way - joining is controlled by you. A mature ‘joined-up’ hand is the result of correct instruction from an early age. Sassoon Write typefaces are a direct progression from the separate letters of Sassoon Infant or Sassoon Primary and were specially created for teaching cursive handwriting in a flexible way. Designed for older pupils and adults, rather than children. A family of 4 fonts than join, or enter " | " between letters for unjoined text. For use with OpenType compatible applications such as Word. Enables progressive pupil exercises for a smooth transition between separate letters and teaching joined handwriting. Free to download resources Stylistic Sets and how to access the alternative letters feature in these OpenType fonts Purchasers of this font package may use their Order Number to receive a free Copybook PDF by Rosemary Sassoon recommended for effective teaching

Syntax was designed by Swiss typographer Hans Eduard Meier, and issued in 1968 by the D. Stempel AG type foundry as their last hot metal type family. Meier used an unusual rationale in the design of this sans serif typeface; it has the shapes of humanist letters or oldstyle types (such as Sabon), but with a modified monoline treatment. The original drawings were done in 1954; first by writing the letters with a brush, then redrawing their essential linear forms, and finally adding balanced amounts of weight to the skeletons to produce optically monoline letterforms. Meier wanted to subtly express the rhythmical dynamism of written letters and at the same time produce a legible sans serif typeface. This theme was supported by using a very slight slope in the roman, tall ascenders, terminals at right angles to stroke direction, caps with classical proportions, and the humanist style a and g. The original foundry metal type was digitized in 1989 to make this family of four romans and one italic. Meier completely reworked Syntax in 2000, completing an expanded and improved font family that is available exclusively from Linotype GmbH as Linotype Syntax. In 2009 the typeface family was renamed into a more logical naming of "Syntax Next" to fit better in the Platinum Collection naming."

Metal Cry is a font family that was inspired by countless hours spent playing video games, watching old movies or reading comic books. And even more hours closely analysing the design of all these things. The art of creating beautiful letters has slowly declined with the rise of the digital age and its solid-colour, 2D fonts. And most of the time, the care given to typography in cultural products just isn't what it used to be anymore. This was the inspiration for Metal Cry, a family of 4 layerable fonts that can bring a feeling of depth to its letters, and offers endless possible combinations. Metal Cry Outlands is the basic shape of all the characters, it can be used as the bright side of the bevel. Metal Cry Front is the inline border font that can be used as the front side of the bevel. Metal Cry Shadow can be used as the dark side of the bevel. Metal Cry Depth can be used to flash out the inside shape of the letter. But of course, any font can be combined with any other font(s) to obtain various results. The planets in the above visuals are courtesy of 3D artist Thomas Veyrat / veyratom.com

The font family Univers is one of the greatest typographic achievements of the second half of the 20th century. The family has the advantage of having a variety of weights and styles, which, even when combined, give an impression of steadiness and homogeneity. The clear, objective forms of Univers make this a legible font suitable for almost any typographic need. In 1954 the French type foundry Deberny & Peignot wanted to add a linear sans serif type in several weights to the range of the Lumitype fonts. Adrian Frutiger, the foundry’s art director, suggested refraining from adapting an existing alphabet. He wanted to instead make a new font that would, above all, be suitable for the typesetting of longer texts — quite an exciting challenge for a sans-serif font at that time. Starting with his old sketches from his student days at the School for the Applied Arts in Zurich, he created the Univers type family. In 1957, the family was released by Deberny & Peignot, and afterwards, it was produced by Linotype. The Deberny & Peignot type library was acquired in 1972 by Haas, and the Haas’sche Schriftgiesserei (Haas Type Foundry) was folded into the D. Stempel AG/Linotype collection in 1985/1989.

Discover TOMO Prisma Grotesk, a contemporary typeface that beautifully blends elegance and functionality, making it perfect for a wide range of applications. This typeface is a polyglot of design, speaking the language of both modernity and classic taste, ideal for corporate branding and advertising. Its geometric construction and modest design lend a sense of understated sophistication. With its sans serif styling, Prisma Grotesk is incredibly legible, suitable for everything from body text to headlines. Whether you're crafting an editorial piece or designing a magazine layout, its neutral yet striking appearance adapts seamlessly. Designed for the digital age, Prisma Grotesk is a neo-grotesque typeface, providing flexibility and adaptability across various media. It's perfect for identity and package design, where a distinctive and memorable appearance is key. In the realm of branding, Prisma Grotesk stands out with its neo-grotesque style, offering a contemporary twist on the grotesk tradition. A casual, approachable feel, suitable for both corporate and creative environments. Prisma Grotesk is not just a font but a comprehensive tool for designers seeking a reliable, elegant, and functional typeface. Elevate your design work with Prisma Grotesk – where contemporary style meets classic elegance, and versatility meets functionality. This typeface is not just a choice; it's a statement in design excellence. www.tomofonts.com

"Lilla Letter Lover" is a captivating font designed specifically for children's books. This delightful typeface brings an element of playfulness to reading, while also enhancing phonemic awareness. The font's remarkable strength lies in bridging the gap between handwritten and printed letters. For early readers, this transition can be challenging, but "Lilla Letter Lover" simplifies the process. It merges the familiar aspects of handwritten letterforms with the clarity of printed text, providing a seamless reading experience. This feature ensures that children can comfortably navigate both forms of writing, enhancing their overall literacy skills. The whimsical charm of "Lilla Letter Lover" instantly captures young readers' imaginations. Each letter is thoughtfully designed with basic shapes and simplicity in mind, for an experience where letters come to life, fostering a love for reading and storytelling. Additionally, "Lilla Letter Lover" offers a unique opportunity for sight-based spelling learning. The visually distinctive presentation of words helps young readers to develop a strong visual memory of spelling patterns. This visual association enables them to recognize and recall words with ease, strengthening their reading and writing proficiency. In summary, "Lilla Letter Lover" is not just a font; it is an enchanting gateway to make reading a joyous adventure for children of all ages.

Fifth Reign is a decorative medieval typeface. This wonderful typeface of brings us to the golden times of epic knight sagas. Fifth Reign is the typeface of a Royal House, of vikings, kings and queens. Use it for a Middle Ages game, a fantasy headline, or as a logotype for anything of historical theme. With usage in any modern software, the letters will automatically overlap and embrace in an elegant way. To make heraldic symbols, copy these icons: 🐉 🐎 👑 🗡 🦁 🦅 🦌 + ♖ × ✝ ⚓ ＊ ⚔ † ‡ Alternatively write %A %B %C ... etc to create the heraldry. (Download required.) Dragon, Horse, Crown, Sword, Eagle, Deer, Cross, Anchor are some of the logos. The Fifth Reign family consists of three styles: The weights Thin, Bold and Medium, made to balance against each other and allow for usage in any scale. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering Greek and Cyrillic, as well as all Latin-based languages, from North Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

The Younger Futhark, also called Scandinavian runes, is a runic alphabet and a reduced form of the Elder Futhark, with only 16 characters, in use from about the 9th century, after a "transitional period" during the 7th and 8th centuries. The reduction, somewhat paradoxically, happened at the same time as phonetic changes that led to a greater number of different phonemes in the spoken language, when Proto-Norse evolved into Old Norse. Also, the writing custom avoided carving the same rune consecutively for the same sound, so the spoken distinction between long and short vowels was lost in writing. Thus, the language included distinct sounds and minimal pairs that were written the same. The Younger Futhark is divided into long-branch (Danish) and short-twig (Swedish and Norwegian) runes; in the 10th century, it was further expanded by the "Hälsinge Runes" or staveless runes. The lifetime of the Younger Futhark corresponds roughly to the Viking Age. Their use declined after the Christianization of Scandinavia; most writing in Scandinavia from the 12th century was in the Latin alphabet, but the runic scripts survived in marginal use in the form of the medieval runes (in use ca. 1100–1500) and the Latinised Dalecarlian runes (ca. 1500–1910)

Head­line Font | Dis­play Font | Raw Hand­writ­ten Script Font Gothic Hand Dirty with 2 styles (regu­lar, bold) & 58 glyphs.

Bluset Monospaced enlarges the re-worked and expanded text- and headline typeface family Bluest Now with 6 new cuts. The concept for Bluest Now was based, in its original form, on a corporate design typeface by Elsner+Flake in 2004, ordered by the Landor Agency for a large German energy corporation. Regularly re-worked and brought up to modern standards, the typeface is still used to this day. Because of its large x-height and its well-balanced appearance, Bluset Now Mono is also excellent for use in small typesizes. The three Roman cuts, Regular, Medium and Bold, and the corresponding obliques, allow a clear differentiation of base- and display applications for every typesize. The character complement has been created for 72 Latin-based language areas and thus allows a neutral text exchange across language borders. Translation Inga Wennik