The unusual type design that comprises Cold Case JNL was modeled from a 1950s set of letter and number stencils manufactured by the Huntington Oil Cured Stencil Company of Huntington, NY (later relocating to South Florida).

M Kai is a design inspired by the popular Kaiti developed in contemporary China. MKai adopts many features of Kaishu, one of the many Chinese writing scripts and calligraphic style. Yet writing style and constructions have been well-unified to meet quality as typeface. Its strokes has relatively heavier stroke beginning and finishing, as well as thinner middle part. It is catered for fine print with little conglutination. Its medium weight makes it more visible at distance and pretty versatile in use. Zhonggong are tightly built with ample character spacing for good individual character recognition. It is best suited for formal body text, set upright (non-slanted), non-condensed.

Garbentas is a contemporary sans-serif typeface that seamlessly blends modern aesthetics with timeless simplicity. Its clean lines and balanced proportions exude a sense of sophistication, making it an ideal choice for a wide range of design applications. The typeface embodies a harmonious combination of elegance and readability, with each character meticulously crafted to achieve optimal legibility across various platforms. Garbentas’ versatility shines through in both digital and print media, offering a sleek and polished look that caters to the demands of today’s design landscape. With a distinct and refined personality, Garbentas elevates visual communication by providing a fresh, contemporary take on the classic sans-serif genre.

Introducing: Silvia Script! A script font with a smooth handwritten style. Comes with 343 glyphs. Simple Script is perfect for branding projects, homeware designs, product packaging, use in name card, invitation cards, etc. Simply as a stylish text overlay to any background image or anything requiring a sprinkle of elegance. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). Thank you for checking! I really hope you enjoy it.

Basilio Calafati (1800–1878) worked as a magician under the name of Salamucci in the Wiener Prater. Later he obtained the license for a roundabout and other amusement facilities in the Wiener Prater. Calafati typeface family is characterised by little contrast and strong emphasis on the horizontals. It is a robust font that has many applications. Its character shapes are simple and relatively unembellished. With regard to metrics and proportions it combines perfectly with the Wien Pro and the Liebelei Pro. Calafati is available in weights light, regular, medium, bold and black. In 2022, Calafati received a major update. The recent family, Calafati Soft, is an 100% offspring of sharp-edged Original Calafati.

Frederic W. Goudy originally designed Pabst in 1902. This lettering was used by the Pabst Brewing Company for their promotional materials. It was later developed into type for ATF. Goudy later licensed Pabst Oldstyle to the Lanston Type Library. Lanston Pabst Oldstyle features several differences from the more familiar ATF version. Some caps are narrower while some lower case characters are wider than the ATF version. The descenders are also shorter in the Lanston version. Logotypes of italic words and, of, and the are included as originally designed as well as ligatures including the unusual tt ligature.

Joseph is a slab-serif face designed by TOMO. With a wood type look - letterpress print, this fatty comes in handy when is time to design an informal —yet strong—looking communication piece. Imagine this typeface on a T-shirt, even a mug! Sweet.

Jumbox is display family containing five weights that are actually layers. Combining them with different colours, Jumbox will bring strong sense of graphicism in your titles, product names, signage, billboards, packaging, web page headings – for wide range of uses. Comes with pack of ligatures.

Ellisea (pronounced L-S-E) blends traditional letter shapes with straight lines to project a strong, unique image perfect for display purposes or medium-length text blocks. Ellisea is best used in printed material but is attractive in small sizes on screen as well.

DB Floragraphy is a collection of enjoyable floral designs with a spring themed feel.

Fresh Press is a pack of handmade goodness - a visual delight in the form of a beautiful and strong script family. Fress Press consists of Regular, Bold, Caps and Ornaments that all play smoothly together. If Fresh Press feels too clean, there’s a Printed version of the whole family with a rough outline and texture. Fresh Press is equipped with Standard Ligatures and Contextual Alternates that maintain a smooth text flow. If that isn’t enough, try Swash, Stylistic or Titling Alternates in any OpenType-savvy program, or manually look for alternates from character map. Fresh Press is a clear and strong choice for any display use from branding to packaging and online to print.

A few years ago I've discovered the work of one of the most prolific typeface designers of the Bruce type Foundry in NYC during late nineteenth century. Browsing Julius Herriet's work I found a very unique kind of ligatures in his patented "Old Style Ornamented" type design. Some letters were designed with a little top tail that allowed them to connect to each other. After that, I found that he also designed a single italic weight of the same font 7 years later. Since the beginning of the Opentype days I’ve been deeply obsessed with exploring different ways to build ligatures, so that lead me up to this point where I felt the need to create “Plethora”, this new font inspired by Herriet’s work. Extrapolating weights, adding variable technology and playing with additional interconnected letters and alternates. Definitely, Plethora means a large or excessive amount of something, and this font tries to bring back this abundance of details two centuries later. Available in 9 weights, from roman to italic, and also as variable format, “Plethora” supports plenty of latin languages and is a perfect choice for today’s design tides.

A very legible Renaissance Antiqua This typeface is based on the desire to create an Antiqua like those which might have existed at the beginning of the »printing age« — the basic form oriented on the classical Roman and early Middle Ages models, the ductus defined completely by writing with a wide pen and much individual expression in detail. In the spring of 2005 I had the opportunity to closely examine a few pages in the famous book »Hypnerotomachia Poliphili« from 1499. The script used here from Aldus Manutius is exemplary. Most of the book, however, is not very carefully printed. The characters do not stay on the line; the print is at times too strong and at times much too weak. And on these imperfect pages the true character of the letters is recognizable; that is, that they are cut with lively detail which is a result of the patterns provided by full-time writers. After all, around 1499 script was written as a rule and the printed type was oriented on this pattern. I prefer the typeface on the lightly printed pages. The characters are not placed neatly on the line, but the distinct and emerging lively ductus of the individual characters automatically presents harmonious word formations in the eye of the beholder, with the non-perfect line stepping into the background. Also in Charpentier Renaissance, the strokes of the wide pen are still noticeable. The font has very defined softly bent serifs. The forms are powerful and stand solidly on the baseline. Charpentier Renaissance is very legible and yields a solid and yet still lively line formation. The accompanying italic, like its historical models, has almost no inclination. The lower case characters of Charpentier Renaissance Oblique have such idiosyncratic figures that they can also form a font of their own. Please visit www.ingofonts.com

Can one have enough butterflies? I think not, which is why I created these little creatures. Another release of Butterflies, containing more butterflies and perhaps a few other critters thrown in, will be available later in the year.

Mixed Messages JNL brings back a favorite old theme... mixing up various letters and numbers from different fonts to create a printed message that resembles a ransom note or a collage of type with many styles of lettering.

Meet Revla Serif, an unashamedly spirited font, with a spring in its step and a lust for life. Loosely based on a few letterforms from a mid century poster, it takes the feel of Madison Avenue print ads and runs with it. OpenType acrobatics ensure letters don't repeat monotonously, using the contextual alternates feature. Also included for your viewing pleasure - automatic fractions, case sensitive forms and one solitary stylistic alternate, an alternative ampersand. And that's it! Put the fun back into your text with Revla Serif.

Sweet Antihero- Vintage Western font this is bold, strong vintage handwritten western-looking display font. This font is great for your next creative project such as logos, printed quotes, invitations, cards, product packaging, headers, Logotype, Letterhead, Poster, Label, and etc. You can activate Ligature OpenType panel.

This stylish lightface was designed by Bernd Nadall for Barnhart Bros. & Spindler as a caps-only font in 1895. The lowercase was added at Solotype a hundred years later, resulting in a font quite at home in modern advertising.

Poca is made up of right angles and regular strokes. It is a De Stijl typeface provided by Peret. We devised the lower case letters and added some Peret dingbats. Fifteen years later we added a fun bitmap version.

Designed to Swiss principles by Alessandro Butti and Aldo Novarese for Nebiolo in 1952 as an improvement on the squared-off Bank Gothic capitals. The design was revisited by the same designers ten years later; Eurostile was the result.

Claude Garamond (ca. 1480-1561) cut types for the Parisian scholar-printer Robert Estienne in the first part of the sixteenth century, basing his romans on the types cut by Francesco Griffo for Venetian printer Aldus Manutius in 1495. Garamond refined his romans in later versions, adding his own concepts as he developed his skills as a punchcutter. After his death in 1561, the Garamond punches made their way to the printing office of Christoph Plantin in Antwerp, where they were used by Plantin for many decades, and still exist in the Plantin-Moretus museum. Other Garamond punches went to the Frankfurt foundry of Egenolff-Berner, who issued a specimen in 1592 that became an important source of information about the Garamond types for later scholars and designers. In 1621, sixty years after Garamond's death, the French printer Jean Jannon (1580-1635) issued a specimen of typefaces that had some characteristics similar to the Garamond designs, though his letters were more asymmetrical and irregular in slope and axis. Jannon's types disappeared from use for about two hundred years, but were re-discovered in the French national printing office in 1825, when they were wrongly attributed to Claude Garamond. Their true origin was not to be revealed until the 1927 research of Beatrice Warde. In the early 1900s, Jannon's types were used to print a history of printing in France, which brought new attention to French typography and the Garamond" types. This sparked the beginning of modern revivals; some based on the mistaken model from Jannon's types, and others on the original Garamond types. Italics for Garamond fonts have sometimes been based on those cut by Robert Granjon (1513-1589), who worked for Plantin and whose types are also on the Egenolff-Berner specimen. Linotype has several versions of the Garamond typefaces. Though they vary in design and model of origin, they are all considered to be distinctive representations of French Renaissance style; easily recognizable by their elegance and readability. Garamond Pemiere Pro was designed by Robert Slimbach, and released in 2005."

DB Easter Fun Doodles is a collection of enjoyable Easter and spring themed sketches and doodles.

DB Flower Power is a collection of cute flowers in bloom with a spring themed feel.

LiebeKlara is LiebeFonts’ most delicious gourmet creation yet. The mouth-watering look of savory swashes and the fine aroma of masterfully sprinkled contextual alternates will make everyone happy—your spouse, family, and friends. LiebeKlara is festive enough to sit on wedding menus, but still warm enough to give everyday dinner invitations the personal flavor they deserve. LiebeKlara likes company—for example when her girlfriend LiebeErika comes over and they have some LiebeOrnaments with their LiebeMenu. LiebeKlara also likes travelling! She speaks most Western languages fluently and with a cute accent. Try it for yourself—LiebeKlara is calorie-free but (or because) she is very delicate. We hope you like her as much as we do! Bon appétit! LiebeKlara comes with a tasty variety of ligatures and alternative forms available through OpenType features. (Please make sure your software supports OpenType if you wish to use the advanced features.) The font contains over 580 carefully hand-crafted glyphs—so it’s more like two or three fonts in one.

This roly-poly romp through the alphabets is based on a showing from Carl Holmes' 1950s book, ABC of Lettering, published by art-for-the-masses magnate Walter T. Foster. Named as an apt companion to my East Coast Frolics.

Barnhart Bros. and Spindler called this Faust Text when they introduced it in 1898. A quarter of a century later, they brought back a number of obsolete faces and renamed them. This one became Missal Text in their 1923 catalog.

Express® is based on the lettershapes of Express typeface designed for Ludwig & Mayer in 1957 by Walter Hoehnisch. A tall, bold script with even inclination. Cyrillic version developed in 2001 by Natalia Vasilyeva. For use in advertising and display typography.

Howdy pardner, stick 'em up! Sharp Shooter is a ruff rider that won't take no guff. He'll shoot first and send a 'get well' card later. This font makes a whimsical webfont, best for board games and awesome for apps!

Here's our interpretation of the classic typeface Arrow, designed by Walter Diethelm for Visual Graphics Corporation in 1965. It's clean, crisp, understated and elegant. Both versions of the font contain the complete Unicode Latin 1252 and Central European 1250 character sets.

The Vadstenakursiv font was inspired by letterforms first used in the Vadstena nunnery, Sweden, founded by Birgitta, later canonized Saint Birgitta and buried in Rome 1373. These letterforms were also used in documents for different guilds, and on commercial documents.

Based on sketches of an alphabet from examples of South Western cattle brand marks. I always liked the idea of these brands for a font. A few years later a basic font - just the capitals - was used for some logo designs.

Spectral Bridge is a strong serif inspired by timeless elegance and luxurious appeals. Feel free to mix & match with style, alternates, and also ligatures. Combined sharp and soft appeals, make a versatile typeface that will fit any project such as branding, lettering, quotes, print design, and much more.

BUCK HEAVY is an extremely monumental, architectural and brutal unicase font, designed for maximum visual and emotional impact. Use it in big and really big scales. It's great for headlines, prints, branding, editorial and websites — everything that strives for being really bold, vibrant and super strong and masculine.

This family was inspired by numerous documents and books printed in Paris during the end of the 1700s. Mainly, documents printed by P.G. Simon & N.H. Nyon, “Printers of the parliament” were used for the Normal and italic styles and “Caps”. “Titling” characters were coming from a collection of hymns printed by Nicolas Chapart. In France these Fournier characters, as Baskerville in Great Britain, were the most often in use in the late 1700s, just before the Didot designs. This font supports strong enlargements, specially the capitals of “Caps” file and “Titling”, remaining very smart, elegant and fine.