Distinction Is a brand new font from Great Lakes Lettering. A high contrast brush script with a ton of usefulness. Make you mark with Distinction.

Stana is all caps, clean and tall display font. There are more than 150 glyphs included.

One of the original Egyptian types. With a tall x-height, very short descenders, expanded version.

Sans-serif reversed capitals in circles, resembling typewriter keys. The font can be used for logos, signs and labels, and for markings on maps and charts.

FG Liz is an unusual handwriting. It looks a bit naive with it cap N's and the big exclamation mark. Perfect for poems and dreamy things!

Introducing Mayaglyph, a modern typeface inspired by the hieroglyphics left behind by the Ancient Mayan civilization. Every character in Mayaglyph is manually created with hand-drawn markings for consistency and balanced visuals, including diacritic marks, symbols, and more! Each character in Mayaglyph is distinctly imperfect in its own way, just as if it was taken right off an ancient stone. Also included is a 'solid' background version, which is ideal for creating beautiful multi-layer designs.

Gionni was designed by Cindy Kinash. This is a hand drawn, tall, light, thin retro inspired font.

Oil Barrel JNL is roughly based on lettering spotted in an online auction of custom brass stencils made for marking different petroleum grades on oil company barrels.

In Shipment JNL is modeled after lettering made from an industrial stencil cutting machine - generally used for marking shipping and inventory information on boxes. Limited character set.

Inspired by the Techno sound of the 1990s, Alexander Branczyk designed a series of new, wild and controversial fonts which mark a complete departure from typographic traditions.

Mustang is a vintage handmade all caps font. It is perfect for: logos, posters, labels, headlines, apparel & more. It comes with characters, numbers, marks and punctuation. Enjoy!

Inspired by the Techno sound of the 1990s, Alexander Branczyk designed a series of new, wild and controversial fonts which mark a complete departure from typographic traditions.

Maclean's is a weekly Canadian newsmagazine with a broad editorial mission. A typical issue covers everything from violence on the other side of the globe to the largest pumpkin grown in a local county. In 2001, Maclean's invited Rod McDonald to become part of the design team to renovate" the 96-year-old publication. The magazine wanted to offer its readers a typographic voice that was professional, clean, and easy to read. Above all, the typeface had to be able to speak about the hundreds of unrelated subjects addressed in each issue while remaining believable and uncontrived. A tall order, perhaps? Now add in that this would be the first text typeface ever commissioned by a Canadian magazine. McDonald, who some have called Canada's unofficial "typographer laureate," took on the challenge. McDonald used two historic models as the basis for Laurentian's design: the work of French type designer Claude Garamond, and that of the English printer and type founder, William Caslon. From Garamond Laurentian acquired its humanist axis, crisp serifs and terminals that mimic pen strokes. Caslon's letters are less humanistic, with a more marked contrast in stroke weight and serifs that appear constructed rather than drawn. These traits also made their mark on Laurentian. Using these two designs as a foundation, McDonald drew Laurentian with the narrow text columns and small type sizes of magazine composition in mind. He gave his letters strong vertical strokes and sturdy serifs, a robust x-height and a slightly compressed character width A tall order, per McDonald's genius is evident in the face's legibility, quiet liveliness and in the openness of the letters. The result is a typeface that not only met Maclean's demanding design brief, but also provides exceptional service in a wide variety of other applications. Laurentian is available in three weights of Regular, Semi Bold and Bold, with complementary italics for the Regular and Semi Bold, and a suite of titling caps."

This cute, slightly tall unicase handwriting has a slightly bubbly personality while still being completely legible and neat.

This font is a tall, slim handwritten serif. Happily, it has less calories than a real snickerdoodle, too!

Hanah Hebrew without cantillation marks, very much used in everyday modern Hebrew. I have added Alternate Stylistics with just some additional cantillation marks which in some cases may be necessary. Use the Character Map (Windows) or Character Viewer (Mac) to access these characters. Unlimited Fractions can be obtained. You may be interested in these Hebrew fonts as well, NEWMARK HEBREW, HEBRON HEBREW,YOM TOV HEBREW, KOMUNIDAD HEBREW SCRIPT and PAGEANTRY HEBREW. Check them out! These fonts require OpenType-aware software.

Magritte is a serif display font with surrealist sensibilities. This is an ideal font for dreamy, unexpected branding, advertising, and merch. It has uppercase and lowercase alphabets, dozens of beautiful ligatures and dingbats, and even includes support for Modern Greek. Magritte has 600 glyphs in Latin and Greek consisting of: the complete Latin alphabet (with all accent marks), the complete Modern Greek alphabet (with all accent marks), 50 ligatures and stylistic alternates, 24 fun dingbats and arrows, numerals including oldstyle figures and fractions, extensive symbols, punctuation, and diacritical markings. The OpenType ligatures are the fun part. To get the most out of Magritte, use software that supports Open Type fonts (Adobe programs, Corel Draw, Affinity Designer, etc). This type family has tons of built-in OpenType ligatures and alternates, which are what make it so customizable and decorative. You can always access the ligatures, alternates, and dingbats through your software's glyphs panel. Languages Magritte includes the Latin and Greek alphabets with all accent markings. The most common languages it supports are: English, Catalan, Danish, Dutch, French, German, Greek, Italian, Norwegian, Portuguese, Spanish, and Swedish.

A sans serif with splayed ends, descenders of the lower case dropping below the baseline, very tall x-height.

A hand-cut antique brass stencil for marking barrel tops of dill pickles was the source of inspiration for Surface Stencil JNL, available in both regular and oblique versions.

Amalfi a hand written pointed pen font that is filled with personality. The font comes with upper and lowercase characters in both Roman and Cyrillic, numbers, marks and punctuation.

Garuspik is an original ulra condensed, narrow, tall font with 3 styles: display, round and square. It is particularly well suited to create text blocks, advertising slogans, headlines, and other original and interesting text compositions. For convenience and variation the Uppercase are very tall, lowercase are moderately tall. Garuspik looks especially good when set in all uppercase. So, for convenience and simplicity, the smcp feature changes all characters to uppercase only. In addition, another OpenType feature changes the form of some uppercase, if they stand before to lowercase. And of course, there are all the necessary and popular features such as frac, ordn, locl and others.

Based on the lettering used on Alan Turing’s famous code-breaking machine at Bletchley Park, the “Bombe”, and the subsequent British answer to the German Enigma machine, the Typex. Research done at Bletchley Park on their restored and antique machines provided the inspiration. The unusual shapes for the capitals have all been retained - the square O, the monospaced characters and other eccentricities that make it unique. This reference material was then extended to the numerals (which did not exist in the original) and a full international character complement. The initial design of the bombe was produced in 1939 at the UK Government Code and Cypher School (GC&CS) at Bletchley Park by Alan Turing, with an important refinement devised in 1940 by Gordon Welchman. It was based on a device that had been designed in 1938 in Poland at the Biuro Szyfrów (Cipher Bureau) by cryptologist Marian Rejewski, and known as the "cryptologic bomb" (Polish: bomba kryptologiczna). The Bombe was used to break the German Enigma code on a daily basis, and was a vital part of the Allied war effort. The British “Typex" (alternatively, Type X or TypeX) machines were an adaptation of the commercial German Enigma with a number of enhancements that greatly increased its security. It was used from 1937 until the mid-1950s, when other more modern military encryption systems came into use.