Handmade Roman JNL is a simple and clean serif design. Perfect for headlines or titles, this condensed serif font gets attention without being overly formal.

Disclaimer JNL is a narrow, ultra-compact sans serif design that's perfect for fine print clauses or anywhere space is limited - but word copy isn't.

Capitalist Pictograms is a picture fonts inspired by the classic Capitalist poster. Glyphs can be used to recreate the iconic poster or individually for fun.

LD Appliqué is overlayed with a unique design resembling a decorative sconce, a cutout design, or an ornamented stitch. Check out this very unique font!

Summer Crackers is a simple, fun, and relaxed handwritten font. Whether you’re using it for crafting, digital designing, presentations, or greeting card making, it’s perfect!

Lucifer is Modern Display Font. This typeface is perfect for branding, logos, headlines, Captions. or simply as a stylish text overlay to any background image.

Kumachi is an ultra condensed font with a stamp style, and is perfect for logos, name cards, magazines layouts, headers or oven large scale artwork.

Geffry is a retro inspired display typeface. It's fun and groovy with a bold personality. Perfect for masthead, logo, or anything your creativity takes you.

Cartoons characters Vol. 1 is collection of Victorian-era fanciful cartoon characters in the shape of letters or characters interacting with objects shaped as letters.

We had a dozen or so letters of this of this, picked up at the flea market in Vienna. The rest came from our imagination.

Horror Hustle is a casual display font. It is perfectly suitable for any Halloween-related project or crafty idea! The only limit is your imagination.

Handwritten font with a signature style. Perfect for branding projects, homeware designs, product packaging or simply as a stylish text overlay to any background image.

Loose Leaf JNL is a handwritten script with a disconnected, scrawled look as if either written by a child or done as a casual notation.

A redesign of Typoart's Thannhaeuser Fraktur. You can access the long s either by typing the integral sign [∫] or activating the OpenType feature historical forms.

We have a penchant for types that connect to form a ribbon or band. Here's another one, and no amount of words will excuse it.

How cute can you get? Cattapilla's open type version has extra ligatures and stylistic alternates, perfect for scrapbooking, greeting cards, announcements or any creative project.

Hi! Introducing vintage Winery typeface. Tall condenced font, that is very compact, but has its own style – perfect for label design, or whatever you like :)

Sport Shaded JNL is a classic block font with a cast shadow, perfect for any project for sports teams, college life or high school activities.

This is a connected script font with a trendy flair. You can add little flourishes to the beginning or end letters for a whimsical touch.

This font was made to be clean and legible. It's versatile nature makes it perfect for note taking, posters, or even for long form copy.

LD Cottage resembles the antique writing you would find in an ancient fairytale or story. Enjoy this fun font and let your imagination take flight!

Zumbo is a capital letter font, hand designed. The letters can be freely combined: with or without decoration. 2022 by German typeface designer Joachim Frank.

Cantika is a beautiful font suitable for wedding invitations or souvenirs. Cantika is also suitable to use for other purposes that require an attractive appearance.

Chorettan is a hand-written script. This is perfect for branding, wedding invitations, cards, social media, or maybe for your logo products, and also websites.

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

This typeface was suggested by a 1930s ad for a product called Plantol, designer unknown. It can be either graceful or playful, depending on context.

Cardboard Cutouts JNL is a blocky sans serif font re-drawn from some old "kiddie" stencils from the 1950s or 1960s acquired by Jeff Levine.

This caps only hand lettering could have come from an architect. Speedy written on a 45 degree slope with a bold felt pen or brush.

Gusto comes in three related variants that go from hot-dog to melted chocolate, a gastronomic combination not to be passed up (or thrown up).

Transport New is a redrawing of the typeface designed for British road signs. In addition to the familiar Heavy and Medium weights, Transport New extrapolates and adds a previously unreleased Light weight font originally planned for back-lit signage but never actually applied. Version 3.0 of Transport New features significant improvements including numerous outline and spacing refinements, and a full complement of Latin Extended-A characters. Also, to align Transport New with the 2015 release of Motorway, the other typeface used for UK road signage, Italic fonts for all three weights have been added. Originally designed by Jock Kinneir and Margaret Calvert beginning in 1957 and first published on the Preston bypass in 1958, the original Transport font has subtle eccentricities which add to its distinctiveness, and drawing the New version involved walking a tightrope between impertinently eliminating awkwardness and maintaining idiosyncrasy. The Grotesk roots of the glyphs were investigated and cheekily fine-tuned – uncomfortably close terminals of characters such as 5, 6, C, G, and e were shortened, the S and s were given a more upright aspect and their protruding lower terminals tucked in, overly wide glyphs like the number 4 were narrowed, and some claustrophobic counters were slightly opened up. The question mark was redesigned and parentheses given some stroke contrast. The x height was edged fractionally even taller. The Heavy font is actually more of a Bold, and the Light is pretty much a regular weight, but the original nomenclature has been retained for old times’ sake.

Introducing Angostura—the sans-serif typeface that’s set to revolutionize your designs! Drawing inspiration from the bold and beautiful American sign lettering of the 40s and 50s, Angostura is a truly unique typeface that’s sure to turn heads. With low crossbars that harken back to the industrial deco signage of yesteryear, and monocular “a” and “g” that pay homage to the mid-century Futura craze, this font is a true original. But that’s not all; Angostura comes in a range of styles, from Ultra-Light to Bold and everything in between, making it a versatile choice for any project. And if you really want to take things to the next level, be sure to check out the spray-paint, wood grain, and stencil variants—these special editions use ligatures to create bespoke letter pairs that add an extra layer of realism and authenticity to your work. So, why choose Angostura? Simple—this typeface is full of character and individuality, allowing you to convey your message in a tone that’s both distinct and memorable. Whether you’re working on a branding project, a website redesign, or a print campaign, Angostura is the typeface that’s sure to take your designs to the next level. So, what are you waiting for? Try it out today and see the difference for yourself! Most Latin-based European, Greek, and some Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greek, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Ukrainian, Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

The Posterama™ typeface family contains 63 fonts and is a true journey through space and time. Designed by Jim Ford, each Posterama family contains 7 weights from Thin to Ultra Black, in 9 distinct families. What makes Posterama so unique and versatile are the eight alternative display families. By making use of a collection of alternative glyphs, Posterama sets an evocative flavor to visualize an entire century of futuristic reference points from art, architecture, poster design and science fiction into one family. Posterama Text is the base family. It has the most robust character set including upper and lowercase glyphs and pan-European language support (including Greek and Cyrillic). Note: all the other Posterama variants described below do not have lowercase letters or Greek and Cyrillic support. Posterama 1901 recalls the decoratively geometric style of Art Nouveau from the turn of the 20th century. Letterforms such as the slender, snaking ‘S’, the high-waisted ‘E’ and the underlined ‘O’ revive the spirit of Charles Rennie Mackintosh and the designers of the Viennese Secession. Posterama 1913 pays homage to the Armory Show, or 1913 Exhibition of Modern Art, which brought the revolutionary work of European artists such as Picasso, Duchamp and Kandinsky to the US for the first time to the shock and astonishment of press and public. Near-abstract, angular characters such as the ‘A’, ‘E’ and ‘N’ hint at cubism’s jagged and clashing planes. Posterama 1919 uses a small, but important, variation to set a tone when the Bauhaus was founded, and the surge in radical European typography that followed. The straight-sided, roundheaded ‘A’ adds a flavor of 1919 – this style of ‘A’ can still be seen in the Braun logo, designed in 1934. Posterama 1927 captures the year of Metropolis, The Jazz Singer and Paul Renner’s pioneering, geometric Futura typeface from 1927, which had a profound influence on design in the US and Europe. Posterama 1933 – With its low-waisted, sinuous designs, the Posterama 1933 typeface family echoes lettering of the Art Deco period, which in turn had its roots in Art Nouveau, the key influence on Posterama 1901. The two fonts make a great team and can be used interchangeably. Posterama 1945 features a few Cyrillic characters to conjure up an era when Russian art and political posters made their mark in cold war propaganda, espionage and also giant aliens and monsters. Posterama 1984 takes its typographic influences from George Orwell’s classic novel, publicity for the dystopian action and sci-fi movies (Blade Runner, Videodrome and Terminator) and games like Space Invaders and Pac-Man that made an impact at that time. Posterama 2001 was inspired by Stanley Kubrick’s science fiction masterpiece, which made extensive use of the Futura typeface. Posterama 2001 finds its cosmic orbit with its nosecone-style ‘A’ from NASA’s much-missed ‘worm’ logotype. There’s an echo, too, in Bauhaus designs from as early as 1920, whose minimalist, geometric lettering also featured a crossbar-less ‘A’.