Debrosee is a font with a modern, luxurious, classy and different style from the others. Debrosee has uppercase, lowercase letters, numbers, and symbols that are elegant, modern and according to the standard. This font suit for modern style letter, example for logo, sport, adventure, fitness, and other masculine styles. This font also supports 17 languages ​​(see in the preview image).

This sometimes-top-heavy, sometime-bottom-heavy, sometimes-centered typecase is based on an old Photolettering face designed by the irrepressible Dave West, originally called "Nickelodeon". That name was already taken, so I chose another with a nod to the 1953 film starring Leslie Caron. Both versions of this font include the complete Unicode Latin 1252 and Central European 1250 character sets.

Oceanfront Property JNL was modeled from the hand lettered title on the cover of the 1932 sheet music for "There's Oceans of Love by the Beautiful Sea". A simple sans, it still reflects the beginnings of the Art Deco Era with its approach to letter forms and varying widths. This type design is available in both regular and oblique versions.

Mahameru is the name of the peak of Mount Semeru, mean "The Great Mountain" in Sanskrit. This font gives a firm and soft character, with the terminal point on straight and curved strokes. The family has 9 weights ranging from Thin to Black and offers a lot of features flexibility that will help you find the best typographic color for your project.

An old rubber stamp printing set called the Aristocrat Sign Marker was the inspiration for this font from Jeff Levine. The letter shapes are truly reminiscent of the 1920s and early 30s with their casual playfulness, hence the font's name of Casual Friday JNL. To add a more nostalgic touch, the characters show slight imperfection of shape, as if hand-lettered.

The title card for the 1938 screwball comedy "Four's a Crowd" (starring Errol Flynn, Olivia de Havilland and Rosalind Russell) offered a classic, thin Art Deco type design with stylized letter forms. This is the basis for Society Column JNL; which derives its name from the newspaper columns popularized in that era detailing the whereabouts of the "upper crust" of society.

The first in a series of typefaces based on the work of legendary lettering artist Alf Becker, whose works appeared in Signs of the Times magazine for almost thirty years. Originally titled "Extreme Thin Gothic", this was Becker’s 185th design for the magazine. Both versions of the font include the 1252 Latin and 1250 CE character sets (with localization for Romanian and Moldovan).

Commodore JNL and Commodore Oblique JNL are based somewhat on the Clarendon family of typefaces that were popular in the 1800s and used on many of the broadsides and notices printed with wood type. The extra-wide design of this font limits the amount of text that a headline can handle effectively, but when applied sparingly it commands attention and sells the message.

In the late 90’s, there were many German cars coming into Malmö (where I lived at the time). I was blown away by the font on the license plates. So strange, so strong, peculiar – but still macho. I built the uppercase from my own photos. After this I completed the font with my own lowercase, small caps and punctuation.

Like many cities in the Midlands and North of England, Stoke-on-Trent has a rich history linked to making and industry. In Stoke’s case it was pottery. In the early 1900s bottle kilns could be seen covering the landscape of the six towns making up Stoke-on-Trent with hundreds of factories producing some of the best ceramics in the world. But by the 1990s most of these had gone. Torn down for development of housing or just left to rot. During the next few decades Stoke continued to change. The industry was in a decline and Stoke itself was seen as another poor midlands city with a dwindling industry. Then in 2008, Spode, one of the largest and most famousceramics factories in Stoke entered into administration. Pens cast aside, drawings left half finished, designs left in the turned-off kilns; Spode factory was abandoned. This was a real shock and the way everything was getting thrown into skips to be put on the tip was heartbreaking. Thankfully people salvaged some of the technical drawings, sketch design, old sample pieces and ceramics that people hard worked so hard on. Potbank has been in development over a number of years taking inspiration from the heritage and designs from the ceramics industry. It has a mixed Clarendon and Antiqua style structure with its main purpose to be used as a printed type.

‘Krul’ is a typographic interpretation of the lettering style created by Dutch letter painter Jan Willem Joseph Visser at the end of the 1940s, which decorated the traditional brown bars of Amsterdam. In the beginning, these letters were strongly associated with the pubs connected to the Amstel brewery, given that Visser was the company’s official painter. As the years passed, the style became increasingly popular, and various business owners in Amsterdam and other Dutch and Belgian cities also commissioned its use. In the 1970s and 1980s, Leo Beukeboom, another talented letter painter, continued and expanded this lettering tradition while employed under the Heineken brand. Much of his work can still be found in the Jordaan and De Pijp neighborhoods in Amsterdam. The Amsterdamse Krulletter, or Amsterdam’s curly letter, is strongly inspired by the calligraphic works of the 17th century Dutch writing masters, of which Jan van den Velde was a central figure. However, distinct characteristics of this style, for example, its unusual and beautiful ‘g’, originate from a model that was published by Johannes Heuvelman in 1659, which J. W. J. Visser referenced. Typographic circles have somehow overlooked the Amsterdamse Krulletter and its heritage. The Dutch calligraphic hands preceded and influenced the formal English penmanship which has inspired numerous typefaces in the Copperplate style. In contrast, the models from van den Velde, Heuvelman, and Jean de la Chambre, among others, are a missing chapter in Dutch typographic history, and had never been turned into typefaces until now. Conscious of the cultural and identity issues that arise in reviving a unique style, and concerned about the speed with which the lettering style was disappearing, Ramiro Espinoza focused the project of designing ‘Krul’ on digitally recreating the calligraphic complexity of these beautiful letters. Created through several years of research, ‘Krul’ is not a direct digitization of the Amsterdamse Krulletter, but instead, an interpretation that incorporates numerous alternative characters absent in the original model, and improves upon details where necessary, resulting in an optimal performance on the printed page. The typeface is presented in Open Type format, with an abundance of intricate ligatures, fleurons, and swashes, which permit the creation of numerous calligraphic effects. The very high contrast and rhythm of the strokes in this typeface make it especially suited for media applications conveying a sense of elegance and sophistication. Designers of feminine magazines, advertisements, and corporate identities within the fragrance and fashion industries will find in this typeface to be an extremely useful and appropriate resource.The great Amsterdamse Krulletter is finally back, and we are proud to make it available to you.

Lil’Baby Script Font is a romantic, modern calligraphy typeface, which supports Extended Latin and Greek characters. This font does not only contain a complete set of lower and uppercase letters, punctuation, numbers, but also a set of ligatures. Equally important is the fact that the font has diacritics for multilingual support. Of course, with this typeface, you have access to a complete Greek set of characters, with diacritics and Greek ligatures. Lil’Baby Script is a high-quality calligraphy font that can infuse any project with romantic vibes. Lil’ Baby Script is the perfect wedding font if you want to achieve a dreamy style on your wedding invitation. For a soft, elegant style, you can pair the font with a pastel color palette and creamy papers. Of course, this modern script font is perfect for your graphic design needs like social media quotes, blog headers, posters, stationery, and why not branding, packaging, and logotypes. In addition, this calligraphy font is ideal for the fashion and apparel industry, if you want to achieve a classic chic, yet modern style.

Marilia Pro is an elegant modern calligraphy typeface, which supports Extended Latin and Greek character set. This font does not only contain a complete set of lower and uppercase letters, punctuation, numbers, but also a set of ligatures and two sets of alternates. Equally important is the fact that the font has diacritics for multilingual support. Of course, with this typeface, you have access to a complete Greek set of characters, with diacritics and Greek ligatures. Marilia Pro is a high-quality calligraphy font that can infuse any project with glamorous vibes. Marilia Pro is the perfect wedding font if you want to achieve a fairy-tale style on your wedding invitation. For a whimsical style you can pair the font with a strong color palette and metallic papers. Of course, this modern script font is perfect for your graphic design needs like social media quotes, blog headers, posters, stationery, and why not branding, packaging, and logotypes. In addition, this calligraphy font is ideal for the fashion and apparel industry, if you want to achieve a glamorous chic, yet modern style.

Judger is a graffiti typeface that we created with the purpose of producing unique works that can be applied to a number of your projects, prioritizing high flexibility in order to make it easier for you to respond to your diverse needs. This typeface is not only versatile, but it will also make your project look appealing, attractive, and cool. When you use this font, viewers will perceive your project as high quality, professional, and well-designed, and your project will be highly rated. This graffiti font is great for product logos, poster titles, headlines, packaging, film titles, logotypes, gorgeous writing, and trendy graffiti designs, among other things. Of course, if you utilize this font in your numerous creative projects, they will be perfect and outstanding. Use this typeface right away for your one-of-a-kind and remarkable projects.

Prelo was designed to be a neutral, highly readable typeface for identity, editorial and information design. With nine weights and nine true italics from Hairline to Black, Prelo is a workhorse typeface full of OpenType features such as small caps, tabular figures, central European characters and historical figures, among others. Like other DSType fonts, most of the diacritics were designed to fit the gap between the x-height and the caps height, avoiding some common problems with the accented characters. The curves are soft and smooth, providing legibility even in very poor conditions, and the neutrality allows this typeface to be used with any serif companion.

This typeface family is developed with the designer in mind. WBP Nel is a narrow sans serif with lots of options. The Regular consists of UPPERCASE and lowercase glyphs, beautiful kerning and a nice ampersand. All other styles are just uppercase and made to give your designs some extra flair. The Brickbuild is a playful, stencil version and the Dots (freebie) is a dotted typeface. The Light and Heavy version complement the Regular beautifully. These two also come with a display variant, the WBP Nel Stamped and WBP Nel Hypno. So you get lots of options to mix and match while designing awesome prints, posters, logo's, websites or identities.

Prelo was designed to be a neutral, highly readable typeface, for identity, editorial and information design. With nine weights and nine true italics, from Hairline to Black, Prelo is a workhorse typeface, full of OpenType features such as Small Caps, Tabular Figures, Central Europe characters and Historical Figures, among others. Like other DSType fonts, most of the diacritics were designed to fit the gap between the x-height and the caps height, avoiding some common problems with the accented characters. The curves are soft and smooth, providing legibility, even in very poor conditions and the neutrality allows this typeface to be used with any serif companion.

Wavespired is a unique font that combines the playful and jazzy lettering of the 1950s cartoon modern style with a modern and sleek design. This font is perfect for creating eye-catching logos and headings that will stand out in any design project. The font is influenced by the retro vibes of the fifties, but with a fresh and modern twist that makes it ideal for today's design needs. The font is legible and easy to read, making it perfect for headlines, titles, and other design elements that need to be easily understood. The font is perfect for any project that requires a fun, retro-inspired design with a modern twist.

Kelasik a new handmade script with a style natural, sweet and simple. Made with great care to provide the natural and modern elements. This font will look beautiful if used single even with other pairing fonts. The great thing about this font is you can find some style when you use it, examples such as natural handwriting style, unique, simple, elegant, and bold. With a style like this, this font will be suitable in use for logo's, branding projects, homeware designs, product packaging, mugs, quotes, posters, shopping bags, logo's, t-shirts, book covers, name card, invitation cards, greeting cards, and all your other lovely projects.

This frivolous 6-font typeface was inspired by playing with my food one evening. I began to wonder what it would be like to draw a typeface with a pipette and liquid... the result is Fluid. A key feature are the contextual alternates that substitute an alternate second glyph when typing double letters, this gives a more natural feel to the resulting text. It’s a fun typeface from my back catalogue that was originally released in June 2018. Enjoy playing!

Playing with old rub-on letters led to this alphabet. On the Letraset sheets (the older ones still remember...) there were always letters left over that were never or rarely used. I sometimes let interns play with it. To explain, I first rubbed an example myself. Two y's from a Helvetica made a pretty shape. Looking closely, you see a contoured, italic N. I developed the HGB Ypsilon font from this N. A purely decorative typeface – it could be interesting for some logo.

The source of inspiration for Klaver Monogram is a delightfully elegant initial letterset adorned with clover tipped flourishes from a vintage embroidery publication. Originally intended to adorn handkerchiefs and other linens, this digital revival opens it up to a whole new realm of possibilities. This is one of many monogram designs from the late 1800's to early 1900’s that is loaded with panache. Download and view the MFC Klaver Monogram Guidebook if you would like to learn a little more.

Sharland is a beautiful and refined script font. It has a classy, elegant, and modern look that can be used for logos, branding, invitations, stationery, wedding designs, social media posts, and much more! This font is PUA encoded which means you can access all of the amazing glyphs and ligatures with ease! Fall in love with this font and bring your projects to the highest levels!

Introducing Heroline, a retro-inspired font that evokes the 1950s to 90s nostalgia. This font is perfect for creating vintage-themed designs and giving it a touch of nostalgia and personality. Heroline features a soft, solid design with curved corners and a unique letter shape. This font also includes a variety of alternative characters and ligatures, allowing you to create many different looks with the same font.

A great fun typeface with a straightforward childlike simplicity. It really hits home with kids, but if you want to add this extra playful personality to your designs this is the one to use. It has a strong, easy to read structure, which makes it ideal for children’s books, toys and other fun applications. Designer Alexandros Papalexis has discover the kid within. You can too!

Monthstage is a Vintage retro font inspired by retro typography and lettering in the 70s and 80s combined with a bold typography style. This font is perfect for vintage and retro designs, badges, logos, t-shirts, posters, branding, packaging, signage, book covers, and so much more! This font is PUA encoded, which means you can access all of the glyphs and swashes with ease!

Bugatine is a captivating handwritten monoline signature script font. With its graceful curves and fluid strokes, this font exudes an air of elegance and sophistication. Bugatine perfect for branding, logos, invitations, and more. Let your words dance across the page with this mesmerizing font that effortlessly captures the essence of hand-drawn beauty.Handwritten, Handwriting, Script, Monoline, Signature, Vintage, Stylish, Calligraphy, Wedding, Logo, Fashion, Feminine, Magazine, Branding, Elegant

This font is good to use for any modern style magazine/posters etc. The letters in this font will give writing a nice look. It will be a perfect use for anything that needs to look fancy.

The careful balance between the emotional swings and shapes set in strong contrast such as the burly serifs, or generally vertical and orderly appearance within the Duwal Pro determine the special look of this Antiqua typeface. All characters of the Duwal Pro are designed to be open and accessible. The lowercase letters are designed with a large x-height, which is why they are ideal for small font sizes. Many striking details give Duwal Pro a defined and firmer appearance with increasing font size so it is also suitable for use in headlines and work marks. The deliberately constructed and emphasized design of the serifs give the font a strong position and at the same time force the reading direction. Using Duwal Pro in Bold weight, the serifs look clearly striking, the design language is concise and the typeface receives an additional sympathetic force. The Italic weight draws on the expressive but not intrusive design of the Regular, but appears sharper and is ideal for text passages. The font family contains italics, small caps, lots of ligatures, swashes, another format set, contextual alternatives and special characters as well as other open-type features which allow the use of Duwal Pro in 48 languages.

Designed by Hans Samuelson in 2023. With two weights and many variations Klip Klop offers a large set of characters for playful lettering. The flavouring is strong avant garde and the build is strict geometrical with even stroke thickness throughout. One unusual feature is that the bottom and top horizontal strokes are centered on the baseline and capital height. This renders the same optical size between the thin and the medium but different actual heights and baselines. Use it for Headlines or signage in any medium! Klip Klop!

Here's another gem from perennial Speedball penmaster Ross F. George, originally called Split Caps. George's original design has been enhanced with the addition of lowercase characters, borrowed from another of his alphabets, and adapted to the style of the caps. This font derives its name from one of the catchphrases of the estimable Stooge-in-Chief, whose signature hairdo can be found in place of the Section mark. Both versions of the font include complete Latin 1252, Central European 1250 and Turkish 1524 character sets, with localization for Moldovan, Romanian and Turkish.

Giambattista Bodoni of Parma designed and cut his typefaces circa 1790. The Bodoni types were the first of the Modern type designs in which hairlines contrast sharply with bolder stems, and serifs are unbracketed. The Bauer Bodoni font family derives from a cutting for metal type in 1926, retaining many of the original features. As with all versions of this typeface, the contrast between thick and thin strokes of Bauer Bodoni should be taken into consideration as the thin strokes can appear to fade out under certain printing processes.

Postulat is a contemporary slab serif typeface. The family contains 16 fonts: 8 romans with matching italics, from Hairline to Bold. The character set include contains more than 600 glyphs which support most Latin and Cyrillic languages. The font uses a combination of smooth and extremely simple straight shapes. The author abandoned the use of teardrop-shaped classical elements, replacing them with straight ones, which makes Postulat more dynamic and modern. These unique features give the font a unique personality. Postulat is the perfect choice for headlines, logos, branding, packaging, publications and websites.

Riccia actually started with the idea of a Rotunda a. Specifically the lower part of it. This element has a lot of character and I wanted to transfer it to a modern sans serif. The curly endings made it possible to spread that idea to the entire alphabet. Apart from those strong elements the proportions are inspired by classic grotesques. The weights are layed out in the usual way I create my families. 9 weights up to a strong Ultrabold, all with italics. Ideal for magazine and corporate usage.

The vast resource of hand lettered vintage sheet music titles offers many interesting and unique variations on even the simplest styles of lettering. A simple thick-and-thin serif design circa the 1920s-1930s evokes a reminiscence of the Art Nouveau period combined with a touch of what was to come during the Art Deco era. Most charming is the fact this lettering is free of the formal rules and constraints of metal type, where designers are generally forced into conformity with uniform stroke widths, serif placements and character shapes.

Like a phoenix rising from the ashes, the new Ashtronaut font is on fire and blasting off into outer space. This futuristic new font combines basic geometric forms like circles and dashes to form uppercase shapes that are softer and more traditional and lowercase letters with sharp and abstract characteristics. The result is a minimalist style that creates distinct and innovative new glyphs and letter combinations. The basic Bold variety is the strongest of the bunch. Try overlapping it with the other styles — Inlines, Outlines, and Bulbs — in different colors for dramatic and exciting effects.

With its animated contours, and set in an appropriate size, the Garamond Rough typeface attempts to simulate printed hot metal typesetting. Its roughened edges make it appear softer and less crisp, and, thus, takes the harshness out of the type image. The size of the offered type complement as well as the number of its affiliated symbols makes it ideal for differentiated text setting. Furthermore, its display types make surprising visual accents possible. The origins of the design of Garamond Rough go back to the middle of the 16th century. They are ascribed to Claude Garamond who was one of the first typographers who designed typefaces specifically for the setting of books. During the course of the past centuries and decades, many different variations and new design interpretations of the Garamond typeface were developed to accommodate the most diverse typesetting and printing practices in many different countries. As such, today’s designers can take advantage of a comprehensive digital repertoire for text and display applications. Translation Inga Wennik

The original source of design for Sign Sans JNL was an image online of an old New York drinking establishment called the Lenox Lounge. The metal channels encasing the neon had an unusual "feel" to some of the letters. While the original E,G and U of the sign looked "interesting", they didn't quite fit the font's layout. Those letters were scrapped for more traditional versions of them.