Furry is a collection of 35 cute farm, wild and pet animal illustrations. All illustrations are drawn by hand and of the highest quality.

Type Catalog JNL was originally a design drawn by Jeff Levine around 2006. Type Catalog JNL has a distinctively retro look for many applications.

French Stencil JNL was inspired by images of a set of metal stencils from France that were offered for sale in an online auction.

DoodleBat Christmas Doodles is a collection of Merry Doodles and clipart. With Santa Claus, and his merry elves you'd think it was Christmas already.

The Bludgeon font was designed by Jon H. Clinch. The lively expressive and inky splashing letterforms of the Bludgeon font have a splattered appearance.

Ramshackle JNL was modeled from a 1940s lettering stencil and takes its place amongst the many vintage stencil font designs redrawn by Jeff Levine.

Eight was desinged to be heavily geometric. The main lines were intended to be entirely comprised of lines of eight different but set angles.

Fleuron Ornaments was inspired by old world designs and patterns. There is an assortment of 47 ornaments all located under the character set keys.

Hortensia™ was designed by Natalia Vasilyeva and licensed by ParaType in 2001. An original calligraphic script. For use in advertising and display typography.

This 3D lettering font was done with my inky ballpoint pen. Comes with ligatures for double lettering and alternate letters in upper- and lowercase.

Fleurons are embellishments and here is my seventh set. This time I give you all kind of different labels. Your labeled designer Gert Wiescher

Illinoise is a mutation of one of the most beautiful screen fonts ever. But, there are no straight lines. Everything is shaking. Let's party!

Fluid is an elegant decorative typeface, a contemporary approach of Chinese calligraphy. As if a robot was holding a brush, practicing its digital "Qi".

Sheet Music JNL was based on lettering found on an old piece of 1930s-era sheet music being sold at a local rummage sale.

Elegant Ornaments was inspired by typographic ornaments from historic sources. There is an assortment of 47 ornaments all located under the character set keys.

More treasures from the heyday of letterpress printing are found in Letterpress Retro JNL, with plenty of great cartoons, catch words, embellishments and more.

The Vtg Stencil series of fonts from astype are based on real world stencils. All styles offering an extended Latin character set. » pdf specimen «

Thistle Borders are yet another "trouvaille". Great borders made out of thistles, teasles and flowers from the meadows of Victorian times by Gert Wiescher

This font is intended to be used with all of the lowercase letters. Alternate glyphs for each letter are contained in the capital letters.

The Swing Bill font was designed as a display face for sport material or pop music posters, but has also been seen on TV.

Plant Assortment was inspired by plant renderings from historic sources. This font contains an assortment of 47 plants located under the character set keys.

Rudolf Koch’s personal form of the geometric sanserif started at the Bauhaus in 1926; this typeface was designed for Klingspor in the following year.

Modest Ornaments was inspired by simple typographic ornaments from historic sources. There is an assortment of 47 ornaments located under the character set keys.

Originally created in 2003, this font was archived awaiting a decision whether to complete it or delete it. I finally decided to finish it.

Decomic Oblique is one of the handmade fonts of illustrator Paul Hoppe who lives in New York. The font was digitized by Boris Kahl.

PT Vesna™ was designed by Natalia Vasilyeva in 2000. Licensed by ParaType. An original calligraphic script for use in advertising and display typography.

Schwabacher was the predominantly used typeface in Germany from about 1470 until about 1530. It has round character forms other than Textura or Fraktur.

A classic sans grotesk wood type design, Final Edition JNL was modeled from actual headlines found in online examples of an old daily newspaper.

Developer-friendly The studio has developed a wide array of weights for FS Untitled – 12 in all, in roman and italic – with the intention of meeting every on-screen need. All recognisably part of a family, each weight brings a different edge or personality to headline or body copy. There’s more. Type on screen has a tendency to fill in or blow so for each weight, there’s the choice of two marginally different versions, allowing designers and developers to go up or down a touch in weight. They’re free to use the font at any size on any background colour without fear of causing optical obstacles. And to make life even easier for developers, the 12 weight pairs have each been designated with a number from 100 (Thin) to 750 (Bold), corresponding to the system used to denote font weight in CSS code. Selecting a weight is always light work. Easy on the pixels ‘It’s a digital-first world,’ says Jason Smith, ‘and I wanted to make something that was really functional for digital brands’. FS Untitled was made for modern screens. Its shapes and proportions, x-height and cap height were modelled around the pixel grids of even low-resolution displays. So there are no angles in the A, V and W, just gently curving strokes that fit, not fight, with the pixels, and reduce the dependency on font hinting. Forms are simplified and modular – there are no spurs on the r or d, for example – and the space between the dot of the i and its stem is larger than usual. The result is a clearer, more legible typeface – functional but with bags of character. Screen beginnings FS Untitled got its start on the box. Its roots lie in Fontsmith’s creation of the typeface for Channel 4’s rebrand in 2005: the classic, quirky, edgy C4 headline font, with its rounded square shapes (inspired by the classic cartoon TV shape of a squidgy rectangle), and a toned-down version for use in text, captions and content graphics. The studio has built on the characteristics that made the original face so pixel-friendly: its blend of almost-flat horizontals and verticals with just enough openness and curve at the corners to keep the font looking friendly. The curves of the o, c and e are classic Fontsmith – typical of the dedication its designers puts into sculpting letterforms. Look out for… FS Untitled wouldn’t be a Fontsmith typeface if it didn’t have its quirks, some warranted, some wanton. There’s the rounded junction at the base of the E, for example, and the strong, solid contours of the punctuation marks and numerals. Notice, too, the distinctive, open shape of the A, V, W, X and Y, created by strokes that start off straight before curving into their diagonal path. Some would call the look bow-legged; we’d call it big-hearted.

Developer-friendly The studio has developed a wide array of weights for FS Untitled – 12 in all, in roman and italic – with the intention of meeting every on-screen need. All recognisably part of a family, each weight brings a different edge or personality to headline or body copy. There’s more. Type on screen has a tendency to fill in or blow so for each weight, there’s the choice of two marginally different versions, allowing designers and developers to go up or down a touch in weight. They’re free to use the font at any size on any background colour without fear of causing optical obstacles. And to make life even easier for developers, the 12 weight pairs have each been designated with a number from 100 (Thin) to 750 (Bold), corresponding to the system used to denote font weight in CSS code. Selecting a weight is always light work. Easy on the pixels ‘It’s a digital-first world,’ says Jason Smith, ‘and I wanted to make something that was really functional for digital brands’. FS Untitled was made for modern screens. Its shapes and proportions, x-height and cap height were modelled around the pixel grids of even low-resolution displays. So there are no angles in the A, V and W, just gently curving strokes that fit, not fight, with the pixels, and reduce the dependency on font hinting. Forms are simplified and modular – there are no spurs on the r or d, for example – and the space between the dot of the i and its stem is larger than usual. The result is a clearer, more legible typeface – functional but with bags of character. Screen beginnings FS Untitled got its start on the box. Its roots lie in Fontsmith’s creation of the typeface for Channel 4’s rebrand in 2005: the classic, quirky, edgy C4 headline font, with its rounded square shapes (inspired by the classic cartoon TV shape of a squidgy rectangle), and a toned-down version for use in text, captions and content graphics. The studio has built on the characteristics that made the original face so pixel-friendly: its blend of almost-flat horizontals and verticals with just enough openness and curve at the corners to keep the font looking friendly. The curves of the o, c and e are classic Fontsmith – typical of the dedication its designers puts into sculpting letterforms. Look out for… FS Untitled wouldn’t be a Fontsmith typeface if it didn’t have its quirks, some warranted, some wanton. There’s the rounded junction at the base of the E, for example, and the strong, solid contours of the punctuation marks and numerals. Notice, too, the distinctive, open shape of the A, V, W, X and Y, created by strokes that start off straight before curving into their diagonal path. Some would call the look bow-legged; we’d call it big-hearted.

Hi, Introducing the latest styles Meyola with the kind of modern hand scratches, I hope you are interested in this font, if you want to use for your work this font can be used easily and simply because there are a lot of features in it to contain a complete set of letters lower and uppercase letters, assorted punctuation, numbers, and multilingual support. font also contains several ligatures and alternate style Stylistic.