A usable version of the classic artists’ stencil font, picks up from where Josef Albers left off. Pared down for maximum minimalism, yet remarkably readable.

A great new display face. The slight serif gives extra character to this solid looking design, whilst the outline version has an open, clean look.

Ruina inline is an alternate version of Ruina, containing inline and also oblique, a very expressive font that can be seen in any casual design

A new look of Appetite typeface. Swashed initials, and true italic. Try these tasty letters! Look at the new Appetite version — Appetite Pro — Release 2016!

It is the unicode version of the runic script. Can be used with virtual keyboards. You can download the keyboards here. https://www.babelstone.co.uk/Keyboards/Runic.html

Designed by Morris Fuller Benton in 1907; an improved version of the familiar nineteenth century blackletter as he had executed it in his Wedding Text.

Franklin Stencil JNL is based on the classic and perennial workhorse design of Franklin Gothic Condensed and is available in both regular and oblique versions.

Playwright JNL and Playwright Slant JNL are versions of the perennial Art Deco font Broadway—with a look as if lettered by a sign painter.

Copperplate Deco is my sparingly decorated version of my Copperplate fonts. They can be used as standalone fonts. Yours once more very glitzy Gert Wiescher

Vintage French tin stencils with various phrases were the model for Paris Stencil JNL. The type design is available in both regular and oblique versions.

Finally the light version of Wilhelm Berg’s hot-metal classic which had found its way from Schriftguss to Typoart can be released for nowaday’s use.

Alphonse Nouveau JNL is based on the lettering style of famed Art Nouveau illustrator Alphonse Mucha, and is available in both regular and oblique versions.

CoalhandLuke is a handwritten font I made by using a piece of charcoal. The Pro version contains an additional set of Cyrillic and Greek characters.

The hand lettered title card from the 1935 melodrama “Magnificent Obsession” inspired the digital revival Movie Classic JNL; available in both regular and oblique versions.

Omnidirectional Arrows JNL is a series of arrow dingbats in different shapes and directions in both solid and outlined drop shadow versions from Jeff Levine.

The hand lettered title credits for the 1950 French film “Lady Paname” inspired French Cinema JNL, which is available in both regular and oblique versions.

Vintage wood type with a strong Clarendon influence served as the model for Slabserif Wood JNL, which is available in both regular and oblique versions.

The hand punched lettering of an antique French shipping stencil was the inspiration for French Shipping Stencil JNL; available in both regular and oblique versions.

Modeled after an image of an almost complete set of Latin Condensed wood type, Cattle Trail JNL is available in both regular and oblique versions.

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.

Chinese characters have simplifed and more complex, "traditional" variants. Zenith imagines what an un-simplified, traditional version of the Latin alphabet might have looked like.

Altero is a font family for larger-than-life words. It supports 112 languages, features a total of 334 glyphs and includes an italicized version.

An old extended Grotesque for use in advertising and display typography. Cyrillic version with adding Bold style created for ParaType in 2003 by Isabella Chaeva.

Dynamic and sportive. A well-balanced experiment for sparkling headlines. Glance Slab is an experimental design that plays on the tension between connection and detachment. In this typeface, serifs may be detached and some strokes may not connect to their stems. This creates a dynamic impression of balance and movement. The elegance of an ice skater and the determination of a quarterback: Glance Sans has it all. Where a curve meets a stem and where serifs seem to “hover” near their respective letters, the nonjoining elements create an impression similar to a stencil typeface. But here, the function of the gaps differs from strictly stencil designs: while the gaps provide a “sparkling” effect in Glance Slab that’s clearly visible in large sizes, they take on the role of ink traps when set smaller, making for surprisingly legible body copy. With its strong visual character, this font family is quickly recognizable, making it perfectly suitable for branding and any large-scale application, such as posters, billboards, and event signage. Glance Slab consists of seven weights from Thin to Black. Each style has a character set of about 570 glyphs, which includes circled numbers and arrows (positive and negative versions), ligatures, extended language support, and many other features.

ATF Poster Gothic is an expansion of a typeface designed in 1934 by Morris Fuller Benton for American Type Founders. The one-weight design was a slightly condensed display companion to Benton’s ubiquitous Bank Gothic family. This new family of aggressively rectilinear headline types expands the design’s possibilities, offering 30 fonts. The all-cap design sports square corners in the counters, creating tension between angular and curved details; this feature, and the generally rectangular shape of the whole alphabet, makes ATF Poster Gothic distinctive on the page or screen, while its relationship to Bank Gothic makes it seem somehow familiar. Vertical strokes on the C, G, J, and S, as well as on several of the numerals, are cut off at an angle, which suggest the curves those strokes might typically display if the characters were less boxy in design and more along the lines of late-19th-century headline faces. Certain weights also recall the style of lettering used on athletic team jerseys, television crime dramas, action & adventure movie titles, and engraved stationery. With three widths and five weights, ATF Poster Gothic is distinctive and versatile at the same time. The full family is also available in a “Round” version, with corners subtly rounded for a softer, more “printed” feel.

Twenties nostalgic oldstyle revival supervised by F.H. Pierpont at Monotype with echoes of Jenson, Caslon, and Goudy.