The award-winning Scala family (1990-1993) is a worldwide bestseller and has established itself as a ‘classic’ among digital fonts. It was one of the first serious digital text fonts to support small caps, ligatures and different set of numbers. In fact Scala and Scala Sans (1990-1993) are two workhorse-like typefaces sharing a common form principle: the skeletons of both Scala and Scala Sans are identical, therefore they can be combined perfectly. Where many of the modern sans serifs (like Helvetica and Univers) have rather ‘closed’ letter shapes, the same elements in Scala Sans are much more ‘open’. This greatly improves legibility, especially in the smaller point sizes. The italic of Scala Sans is not a slanted version of the roman, but rather a ‘real’ italic. Another part of Scala is very popular among its users: Scala Hands, containing more than one hundred decorative hands and pointers, is included in the Scala fonts and is a free bonus.

Big Bang! Cute Sans with Additional Swashes Introducing the elegant "Big Bang!" Cute Sans with Additional Swashes If you are needing a touch of funnies chic cute sans for your designs, this font was created for you! Big Bang was built with OpenType features cute characters for uppercase and lowercase letters, loads of different swash character for numerical, uppercase and lowercase letters in file with the name Big Bang Swashes, in other side for Bing Bang regular and slant version include numbers, punctuation, ligatures and it also supports other languages :) Accessing the swashes / opentype features / glyphs: This font works best in a program that supports OpenType features such as Adobe Indesign, Adobe Illustrator CS, or Adobe Photoshop CC. You can access the swashes and alternates from the 'Glyphs Panel' in these programs. More Questions? Here are some (potential) answers! You are not permitted to resell this font in any way. Multilingual Support is included for Western European Languages Cheers!

P22 Flora Mambo is based on the distinctive style of 20th century illustrator Jim Flora. Most widely known for his Jazz album covers of the 1940s & 50s, Flora's style shows his fantastic imagination and bold graphic style. The P22 Flora Mambo Set contains 3 fonts- Flora Mambo, a 2-part font that can be used to achieve 2-color text in the style of Flora's iconic 1955 album design, Mambo for Cats and Flornaments, a set of 72 ornaments that features a variety of Flora's illustrative styles from his Jazz album covers to children's books to his fine art prints. Please note that P22 Flora Mambo B is not intended to be used on its own but rather is included with P22 Flora Mambo to create 2-color text. For best results, use with page layout applications. The fonts contained in the P22 Flora Mambo Set are licensed through the Estate of James Flora and JimFlora.com .

Corporative Sans Rounded is the rounded version of Corporative Sans. Its curved terminals provide it with a marked personality and distinctive traits, but turn it into a friendly face at the same time. The font works well at both display and small sizes. Corporative Sans Rounded is the perfect choice for logotypes, posters, signs, branding, packaging and so on! Corporative Sans Rounded comes with Latinotype’s standard set of 350 characters, making it possible to use the font in 128 different languages. Corporative Sans Rounded provides users with a wide range of characters, weights and widths for every project. By combining different variants, designers can achieve the best results. The family consists of 32 fonts: a basic family that includes 8 weights plus italics and an alternative family of 8 weights with matching italics as well. Corporative Sans Rounded was created by LatinotypeTeam and developed by Elizabeth Hernández and Rodrigo Fuenzalida, under the supervision of Luciano Vergara and Daniel Hernández.

Savaneta is an all caps stylish serif font, designed for display and headline. Inspired by the classic metal movable type (circa the 1440s), with the medium serif thickness. Savaneta is a versatile serif combined with calligraphic sense by adding about 300+ alternates characters so you can create a calligraphic design with ease! This font looks strong and feminine at the same time, that possible to be applied for many purposes. Savaneta is perfect for logos, logotype, letterhead, branding, cards, wedding invitations, label design, posters, apparel, quotes, and short body text. It contains over 500 glyphs and is complete with basic Latin characters. P.S: To access the alternates characters, you need a program with OpenType panel like Adobe Illustrator, Adobe Photoshop, or you can simply copy-paste the alternates characters by accessing Font Book (Mac) and Characters Map (Win) Features included: Uppercase Small case Numbers Symbol Standard Latin accents. Stylistic alternates Stylistic set 01-10 Thank you for visiting, and have a nice day!

The general idea: Can You imagine to yourself, what the hydroelectric power station is? The building of this electricity production foundry is half hidden under the water, but the visible above-water part astonishes your sense. It is a construction almost 1,5 km length dammed out the powerful river stream. Besides thousand of electricity conduction lines supports it bears also the highway and the railroad. From a faraway distance the train seems like a caterpillar that has climbed up the stout tree. There are also the navigable sluices, the flood channels and other erections. The idea of this typeface outlines arrived to the authors exactly on the viewing platform, under the impression of the waterfalls, which are escaping from the dam womb, falling from almost 50 meters altitude and becoming white-haired during this flight. Release: in the form of "gorod.Volgograd" font with the one style. We work with other styles now and sometime we will be very glad to introduce the Bold and Italic styles to You. We should explain the font name meaning. "Gorod" is "city of" in Russian and Volgograd is the old, big and famous Russian city. The Volga hydroelectric power station of a name of XXII congress of the CPSU caused the Volgograd sea formation. It expands of 14 km width and more than 600 km along the Volga river-bed. But HEPS isn't the sole Volgograd sight. There are many interesting places here. The most known tourist sight, the visit card of Volgograd is the Mamaev Hill. Being here You can see almost all 100 kilometers of city length. Due to its geographical position, Mamaev Hill has got a great importance during the Great Patriotic War (1941-1945). It became and still is the Main Height of Russia. Soviet people have built the huge stately memorial ensemble here. There are many other witnesses of the heroic past of Volgograd: the Alley of Heroes, the Perished Fighters Square, the Soldiers Field and others. The line of tank turrets is stretched out along all town not far from Volga bank. It marks the line, where fascist troops was stopped in 1943. It is very amazingly when You dive under the ground on a usual tram. Volgograders have built a few underground station for the high-speed tramway. The river tram need a quarter of an hour to get an island in the Volga. And You need the same time to walk across the river station. The Volga-Don navigable channel starts from Volgograd. There are planetarium, circus, some theatres, many museums in Volgograd. One of football matches of Euro-2004 qualifying round took a place in the "Rotor" stadium in Volgograd. Volgograd holds the longest - above 50 km - park in the world. Its avenues, squares, embankments are beautiful, Volgograd central districts are built in unique architecture style called the Stalin Empire. You can enjoy fountains, parks, attractions, water-pools and other Volgograd sights. If You visit Volgograd once You'll never forget it. You can read about the ancient history of Volgograd city on the Tsaritsyn font page. Also we plan to create the Stalingrad font and give You a short story about another period in Tsaritsyn-Stalingrad-Volgograd history.

The idea behind designing ‘Matwin’ font was related to the youngest children of the designer namely the M-A fraternal twin. The name of the typeface (i.e., Matwin or M-A-Twin) was composed by merging three linguistic small syllables. The ‘-Twin’ syllable refers to the non-identical twin of the designer. The ‘M-’ and ‘A-’ syllables refer to the initial letters of the twin’s first names (i.e., Muhammad and Abdul-Wli) respectively. The typeface ‘Matwin’ has a personal trait which makes it as one of the most favorite fonts for the designer among his humble collection of fonts. Modestly, it is the designer’s handwriting and it has been designed to be added to the script font family known as brush un-joined. The brief process for having this typeface alive was done by firstly scanning the real script for each Latin letter, digit, symbol which were handwritten earlier by the designer himself. Then, the combination of these many scanned characters was manipulated using digital programs to produce at the end the complete typeface. The typeface has the essential glyphs comprising the character set required for most of the Latin, Western, and Eastern European languages including the Irish language. It combines +605 characters and this makes it as a pro font. It also entitles it to be applicable for usage in many languages of different communities and nations worldwide. ‘Matwin’ is dedicated for those who search for a genuine handwriting typeface with a natural touch and informal style to be added on their different published and produced products and services. It is more preferable when it is used in artistic, typographic, and other works using the lowercase letters or by mixing both upper- and lower-case letters. Moreover, the typeface is appropriate for any type of typographic and graphic designs in web, print, and other media such as boards and walls. It is also preferable to be used in the wide fields related to publications especially children-related ones, comics, printed or handwritten menus of cafeterias and restaurants at universities and public places, as well as other prints related to services and production industries. It also can create a very personal and friendly impact when used in headlines, books and novels’ covers, posters, titles, messages, envelopes addresses, grocery lists, postcards, ads, fliers, journals, paper arts, public notices, invitations, scrapbooks, notations, products’ surfaces for organic foods and juices, logos, medical packages related to children, Android applications, as well as products and corporates branding and the like. In a nutshell, ‘Matwin’ typeface fits without a glitch those (i.e., designers, typographers, publishers, artists, packagers, service providers, and so on) who have drastic and strong tendency towards imprinting their works with spontaneous and outlandish touches made by this typeface. Please, enjoy it extremely.

Morris Sans is a newly revised and extended version of a small geometric family of typefaces originally produced by Morris Fuller Benton in 1930 for ATF. His initial design consisted of an alphabet of squared capital letters with a unique twist that characterized its appearance: corners with rounded exteriors and right-angle interiors. The types were intended for use in the fine print found on business cards, banking or financial forms, and contracts. But over the ensuing decades, this design became a popular element in all sorts of design environments, and several foundries revived the typeface in digital form. Since digital fonts are bicameral, with slots for both upper and lowercase letters, new cuts of the type opted filled the lowercase slots with small caps. In 2006, Linotype commissioned its own version of the typeface-an extension for 21st century use. Under the advisement of Linotype's type director Akira Kobayashi, Dan Reynolds redrew the uppercase and added an original lowercase for the first time. Additionally, a number of extras were brought into the fonts, including six figure styles (tabular and proportional lining figures, tabular and proportional oldstyle figures, and special tabular and proportional small cap" figures). Small caps, which have become an iconic element over time, are accessible in each font as an OpenType feature. To differentiate this version from the original, Linotype's new family is named Morris Sans, in honor of Morris Fuller Benton. All fonts in the Morris Sans family are OpenType Com fonts; they include a character set capable of setting 48 European languages that employ the Roman alphabet, including all Central and Eastern Europe languages, those from the Baltics, and Turkish. This glyph coverage extends to the small caps as well. Morris Sans is a wide typeface, especially in its regular widths; the condensed faces set a more conventional line of text. The new lowercase letters are less geometric than the uppercase, except for those that share the same basic forms (e.g., c, o, and s). Instead of following this geometric trend, the new lowercase tends to strengthen the humanist elements that were present in several characters from the original type, including the uppercase D and the figures 5, 6, and 9. Morris Sans also sports a number of glyphic flares, like the stroke found on the original uppercase Q. Morris Sans is a clean, modern design best suited for headlines, advertising, posters, expressive signage (especially on storefronts), and corporate identity work."

Eksja is a modern slab serif available in four weights, each with a corresponding italic. All the fonts in the family have small caps, the extended latin character set, diacritical f-ligatures, enclosed numerals (numbers in circles) and case-sensitive punctuation. The general design of the typeface has been with a strong human touch in mind. The ends of the serifs have been given a subtle rounding, just enough to take the edge off which, when coupled with the largely humanist structure of the design, creates an open, friendly and approachable design, abandoning the usual geometric severity commonly associated with slab serif typefaces. Eksja contains quite a comprehensive numerals system. Obviously, each font has the standard proportionally and tabularly spaced lining and old-style figures but, crucially, the tabular numerals share the exact same width in each font variant. That means that you can choose to use the thin, regular, bold, black and their italic forms all in the same setting and they will always line up. In addition to the 'normal' numerals there are super-script and sub-script numerals and OpenType fractions that can be automatically composed as you type. There are also the enclosed numerals, numbers inside a circle, that are useful for numerically listing items and, thanks to the wizardry of OpenType, they can contain any number of digits (typically, enclosed numerals are precomposed single digits, only encompassing the 0–9 range, the enclosed numerals in Eksja can go to double digits, triple digits or, in fact, any number of digits*). *The automation of the enclosed numerals is accessed via either "Stylistic Set #1" or "Stylistic Alternates" which requires the use of an application that supports OpenType stylistic sets or stylistic alternates, such as Adobe's InDesign or Photoshop.

PMN Caecilia™ is the premiere work of the Dutch designer Peter Matthias Noordzij. He made the first sketches for this slab serif design in 1983 during his third year of study in The Hague, and the full font family was released by Linotype in 1990. The PMN prefix represents the designer's initials, and Caecilia is his wife's name. This font has subtle variations of stroke thickness, a tall x-height, open counters, and vivacious true italics. Noordzij combined classical ductus with his own contemporary expression to create a friendly and versatile slab serif family. With numerous weights from light to heavy, and styles including small caps, Old style figures, and Central European characters, PMN Caecilia has all the elements necessary for rich typographic expression. eText fonts - the optimum of on-screen text quality With our new eText fonts that have been optimised for on-screen use, you can ensure that your texts remain readily legible when displayed on smartphones, tablets or e-readers. The poor resolution of many digital display systems represents a major challenge when it comes to presenting text. It is necessary to make considerable compromises, particularly in the case of text in smaller point sizes, in order to adapt characters designed in detail using vector graphics to the relatively crude pixel grid. So-called 'font hinting' can help with this process. This, for example, provides the system with information on which lines are to be displayed in a particular thickness, i.e. using a specific number of pixels. As font hinting is a largely manual and thus very complex technique, many typefaces come with only the most necessary information. What is unimportant for a text printed in high resolution can result in a poor quality image when the same text is displayed on a screen, so that reading it rapidly becomes a demanding activity. Specially optimised eText fonts can help overcome this problem. An extremely refined and elaborate font hinting system makes sure that these fonts are optimally displayed on screens. Monotype has not only adopted font hinting for this purpose but has also thoroughly reworked the fonts to hone them for display in low resolution environments. For example, the open counters present in the letters C, c, e, S, s, g etc. have been slightly expanded so that these retain their character even in small point sizes. Also with a view to enhancing appearance in smaller point sizes, line thickness has been discreetly increased and x-height carefully adjusted. Kerning has also been modified. Don't leave the on-screen appearance of your creations to chance. Play it safe and use eText fonts to achieve perfect results on modern display devices. Many typefaces, including many popular classics, are already available as eText fonts and new ones are continually being published. The eText font you can purchase here are available for use as Desktop Fonts or Web Fonts. Should they be used in Mobile Devices such as smartphones, tablets or eReaders, please contact our OEM specialists at sales-eu@monotype.com.

Being loyal to your same old font will make your designs plain and dull. You need a prominent font to live up your messages without losing the essence of the content itself. Time to welcome Hello Eiffel, a font to help you deliver your desired messages without omitting the whole design. Hello Eiffel is a display font in simple, yet interesting letter shapes with which you can strengthen your desired messages to deliver without distracting attention on the text content itself. Despite its simplicity, Hello Eiffel remains interesting in modern styles to enhance the design’s aesthetic value. Its letters are legible enough to be flexibly applicable for various text sizes, and it gives you a clipart as a bonus. You can enjoy the available features here as well. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Hello Eiffel fits best for various design projects, such as brandings, posters, banners, headings, magazine covers, quotes, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

It can be a tough challenge to find a perfect font for your aesthetic projects to create an everlasting nuance. Handwriting fonts have prominent displays and nuances, but they often rely on old-fashioned script fonts. Therefore, Staylucky is here to give you the best. Staylucky is a script font created to be a visually attractive handwriting which is perfect to express modern, elegant nuances with personalized designs to amaze readers and to protrude your messages. It is made in cursive styles in which the letters are interconnected. Details on each letter show high contrast and curvy wipes on each edge. Its complicated forms made it more suitable to apply for big, short texts. You can also enjoy the available features here as well. Features: Ligatures Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Staylucky fits best for various design projects, such as brandings, invitations, greeting cards, name cards, quotes, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

While throned before your keys, under your drumming fingers awaits the most astounding standard computer typeface ever devised: BuGlobal. In addition to all the usual alphanumeric characters and symbols, this lone font lets you type more than 400 accented letters appearing in more than 80 English-variant languages worldwide, 70 common math and science symbols, and dozens of other useful characters —more than half a thousand all told— all within the digital parameters of one standard computer typeface, without needing any alternate keyboards or other clumsy digital luggage. Here is a sample: You can add any accent appearing in more than 80 English-variant languages used around the world to any letter appearing in all these languages simply by typing ANY letter then the accent. This includes more than 400 diacritic-laden letters in all —without needing to remember several keystrokes to type any of these letters as a few of them appear in standard computer typefaces. You can type more than 50 math/science symbols that do not appear in standard computer typefaces. These new symbols include several kinds of arrows plus constants, centerlines, dimensions, and graphs and scales that when retyped create continuous scales and graphs. Common symbols such as ballot boxes, rating stars, checkboxes, hearts, fancy fleurons, and similar motifs that do not appear in standard computer typefaces. Dozens of flashy arabesques like ========= [in BuGlobal these equal signs are kerned together so when you type them you create a continuous double line]. In this typeface more than 30 symbols that never appear twice in a row are kerned together so when you continuously type them you create all kinds of flashy arabesques that will make your typing more attractive. No other standard compute typeface allows you to do this. As for Beauty, BuGlobal’s characters are designed according to several axioms of ocular perception until each profile is as iconically simple as Shaker furniture. These axioms make BuGlobal’s letters easier to read compared to other typefaces, and a few of them are: Each letter should look much like the others but for one defining detail. The letters should be as similarly wide as possible. The letters’ midbars should be the same height and thickness. The higher the lowercase letters are compared to capital letters, the more legible and easily readable are their texts. BuGlobal has a typeface user’s guide, titled A Lovely Face, in which a description of each ocular axiom compares BuGlobal with Baskerville, Georgia, Palatino, and other commonly-used standard computer typefaces so you can quickly see why the other typefaces are inferior. You can download a pdf file of this typeface user’s guide, for free, at BuGlobal’s website, butlerfontforge.com, at any time so you can learn all about BuGlobal’s many amazingly new features before possibly buying it. BuGlobal’s plain letters are perfect for texts, its italics are gracefully emphatic, its bolds are ideal for titles and headers, and its arabesques are a fancy way to make your texts look dressy —all of which will add more shimmer to your semantic plumage. One good typeface is more useful than an infinity of poor ones. Robert Bringhurst

POWERPLAY a monospace lowercase alphabet with a 3D twist. Designed by André Toet in 1976 (during his study at Central School of Art & Design, London, UK) and he redesigned this in 2011. The name Powerplay is based on the Battersea Power Station, London. The remarkable architecture of the building is also used as a decor for films and for one of the covers by Pink Floyd (Animals, the flying pig). Concept/Art Direction/ Design: André Toet © 2017

Bactrian (Bactrian: Αριαο, ariao, [arjaː], meaning "Iranian") is an extinct Eastern Iranian language formerly spoken in the Central Asian region of Bactria (present day Afghanistan) and used as the official language of the Kushan and the Hephthalite empires.Bactrian, which was written predominantly in an alphabet based on the Greek script, was known natively as αριαο [arjaː] ("Arya"; an endonym common amongst Indo-Iranian peoples). It has also been known by names such as Greco-Bactrian, Kushan or Kushano-Bactrian.

Original Foundry: TypeType Original typeface name: TT Cottons Pinatas Cottons is a friendly hand-drawn typeface with condensed proportions. Each separate style of Pinatas Cottons was drawn by using different instruments. For instance, the black style was painted with a real brush, and the thin one was created with a pen. We tried to keep this analog feeling of hand drawing while we digitalized each style of the typeface. Pinatas Cottons is your ideal design helper.

Cycladic is a distinct display monospace typeface. The Cycladic name is derived from the Greek kyklos meaning “circular” and reminiscent of writing in ancient Greece with a geometric circular style. Cycladic is great for fashion, events, branding, nautical and suited for luxury work, display, invitations, writing, architecture, posters, logos, titles and headings. Cycladic is designed by Thoma Kikis and is currently available with Latin, Cyrillic and Greek character sets in 4 styles including Regular, Rounded, Rough and Outline.

Designed as a companion to its roman namesake, Aragon Sans is a novel approach to the humanist sans serif. Using the underlying blueprint of true and trusted 16th century forms, its humanism is deeply rooted in fine typographic tradition. By also using the same idea as its roman counterpart, where the stems gradually thicken as they go higher, it becomes a unique breed of sans serif, conservative, and legible in small text, and attractively modern in titling setting.

At the end of the 1931 gangster film “The Public Enemy” a hand lettered card offers up an afterword on the demise of Tom Powers (James Cagney’s character in the film) and how a “public enemy” is neither a man nor a character but a problem society must deal with. The text is in an Art-Deco influenced sans serif, and has been digitally recreated as Afterword JNL, which is available in both regular and oblique versions.

Louis is a faithful digital rendition and expansion of a design called Fanfare, originally drawn by Louis Oppenheim in 1927. Redrawn digitally by Rod MacDonald, and engineered in-house by Canada Type, Louis includes the many alternates that came with the original design, and then some. It was also expanded into three variations, including a soft-cornered style, and a rough woodcut one. And of course, the codepage support covers the majority of Latin-based languages.

Arbotek has the original skeleton that the author used for the development of his typeface Arboria, a real 'architect typography', with a basic and radical approach to pure geometric forms. The three basic styles - Thin, Light and Light Rounded - try to approach the cartographic technique annotations and their output on plotters. The voluptuous style, Ultra, keeps the same structure of the Light versions, but develops as a historic Art Decó variant of this 20s and 30s graphic style.

Spilled Ink is a handwritten typeface designed to complement illustrations. Inspired by the idea of spilled ink that spreads and fills the shape of letters. Therefore, the symbols do not have sharp corners and looks smooth, soft and cute. Spilled Ink is intended for use in headlines, so lowercase have the same height as uppercase, allowing them to be used as alternates. Make your stories fabulous with Spilled Ink! Scripts: Latin, Greek, Cyrillic, Hebrew Language count: 480+

PT Quadrat Grotesk™ was designed for ParaType in 2001 by Vladimir Pavlikov. An expanded sans serif with square letterforms due to what the face was named. Based on the shapes of one of old Russian wooden types. Wooden types were used for placard display composition at large sizes. Their printouts retained wooden texture and traces of handling. These features are reflected in the shapes of Quadrat Grotesk. It is a good typeface for display and advertising typography.

Typefaces with very thin verticals and fat, square serifs were popular in the 19th century for display. Hollywood helped associate this style with the Old West, but reference books identify some of it as Italian style. WyomingSpaghetti, part of an extended family of typefaces, has a name which combines these two associations. Most typefaces of this type are very condensed, but this one is not. The letter o is nearly circular, which is rather unusual in this style.

These four typefaces, Berlinette NB, Lyonette NB, Marseillette NB and Parisette NB, were designed from the same basic shape, a geometric form that avoids strict horizontals and uses more offbeat triangular shapes. Parisette is a fanciful type that is both bouncy and biting. The frivolity and quirk of the narrow width is offset by the razor-sharp, hatchet horizontals, which require protective gloves when type setting. This is a good typeface for enigmatic signs at postmodern student demonstrations.

The object of Grover was to join two distinctive typeface designs: the basic European gothic of the late nineteenth century and the ‘rounded’ style found in 1960s America. The result is a clear, friendly face with subtle yet unforgettable features. Named after Grover Washington, Jr., the jazz saxophone player, Grover is geometrically constructed and yet very human in appearance. Sans and slab serif variations, true italic weights, as well as small caps afford Grover versatility and unique display characteristics.

A vintage piece of sheet music for "Waitin' at the Gate for Katy" (from the 1934 movie "Bottoms Up") provided the hand-lettered, Western-influenced lettering which is now available as Badlands JNL. Some of the characters originally had overly-thick vertical strokes which stood out from the rest of the letters, so they were "standardized" in order to provide a more aesthetically pleasing overall design. Available in both regular and oblique versions to fit your design needs.

Figgins and Caslon may be names familiar to many as Type Founders. Indeed they are, but they are perhaps less well known for the emergence of Sans Serif type styles which have become part of our lives since 1889. The first hundred years of this style is celebrated with this design by Adrian Williams, completed in 1989. It echoes many features of the Gothic, Grotesque and Sans Serif models of the period, based particularly on the 1870 Figgins.

Named after and inspired by an area in central Stockholm, this typeface also draws on design characteristics from faces such as Bodoni, Didot, Centennial and Walbaum as well as Mrs Eaves. The currently available Regular version of the typeface includes small caps, default and old style figures, standard ligatures as well as an extensive set of discretionary ligatures. Also included is a set of alternative lower case characters. These styles can be accessed as Opentype Features.

Milwaukee, is a geometric typeface with an embellished-like touch. Designed in 2011, in capital English & Greek characters, including numerals, and basic punctuation marks, as well as CE characters. It was initially inspired by Byzantine and Japanese typography and later from the cityscape of Milwaukee, thus its name. This typeface comes in four weights and is suggested for logos, short titles, social media marketing, book covers, posters, labels and more applications you will choose to go with.

Handsome in its own way, More versatile than one could say. Four alternates to each letter, Because in this family Spontaneity do matter. (And just in case someone wonders, Yes, there are alternates for numbers!) Seven cuts the family holds. Six of them Are for saying with words. And the very last, (Before someone asks) Holds some very cool dingbats. ​Books, app​s​, ​mags, To just name a few, ​Now go with Somehand And try something new​ :)​

Pescadero Pro is named for the valley in California's rugged central coast. Early Spanish settlers called the area Pescadero (fishing place) as they observed it was a favorite fishing spot for the local natives. Designed by Steve Matteson, Pescadero is delicate and detailed for attractive documents but robust enough for serious reports and titles. The design is based heavily on calligraphic inscriptional lettering. Pescadero Pro's OpenType features include proportional figures, tabular figures, old style figures and initial swash caps.

Secombe is a lively fun family of typefaces in the spirit of the turn of the last century. It's a boisterous fun design, named in honor of the late Harry Secombe (or if you prefer, Neddy Seagoon). Secome is a family of two 'small capitals' display faces, offered in a regular solid form and the 'Grande' form, engraved and shadowed. Ideal for posters, book covers and any other design work where a feel of the 1900s is needed.

Snow Job JNL was inspired by the hand lettered titles for the 1964 Rankin-Bass animated holiday classic "Rudolph the Red Nosed Reindeer". Because of the variable heights of the characters they float about the baseline in a free-form design. Available in both regular and oblique versions, the typeface gets its name from both the winter theme of the TV special along with the old term for deceiving someone with compliments while hiding one's true intent.

Presenting… a Western style alphabet from the 1960 edition of Samuel Welo’s “Studio Handbook for Artists and Advertisers”… Extra bold, featuring slab serifs and concave corners, this type style could easily have been found on building signage in the Old West… but in redrawing it digitally, it’s been named Modern West JNL because at one time, this would have been considered a modern style of lettering. Modern West JNL is available in both regular and oblique versions.

A photo of the now closed [circa-1953] Lowell Municipal Pool (at 1601 N. 28th St.) in Boise, Idaho shows the words “Municipal Pool” formed into the cement of the entrance to the above-ground swimming facility. Both the lettering and building entrance designs harken back to the Art Deco era and the sign features stencil-like characters. This inspired a typeface aptly named Municipal Pool JNL, and is available in both regular and oblique versions.

26 Flowers is a digital revival and restoration of a beautiful collection of 26 individually unique ornamental letters from historical texts. Each of the 26 letters of the alphabet are contained in a square frame with a different flower in the background and an antique letter in the top right corner; hence, the name 26 Flowers. This highly ornamented typeface is perfect for leading off paragraphs or in any text dealing with the subject of flowers.

FF Meta® Georgian is based on the same humanistic shapes and proportions as the original 1991 FF Meta design. The narrow proportions, slight variation in stroke thickness and sheared terminals that are hallmarks of FF Meta are also present in the Georgian design. Each of the two weights in the family contain all the characters needed to set modern Georgian, as well as additional symbols for the Old Georgian, Megrelian, Svan, Abkhazian and Ossetian languages.