Oldsman No. 1 is an uppercase font family. It was specially designed for logotypes and experimental editorial design projects. Geometric, rhythmic, modern... Try it!

Type DR Krokodila was awarded an Honor Diploma for Excellence in Type Design at the International Type Design Competition Modern Cyrillic 2009 (Moscow, 2009).

handloween was inspired from gothic, scary, protest, and horror nuance. Features: Uppercase, Lowercase Punctuation & Number, Support in Mac and Windows OS Multilingual Support ÀÁÂÃÄÅÆÇÈÉÊËÌÍÎÏÐÑÒÓÔÕÖØÙÚÛÜÝ

Eroded, skeletal and gaunt, Obsessed was one of Zang-O-Fonts first typefaces, and is loosely based on a couple of Art Deco faces.

I made Company into a font after several inquiries from designers in America. I always liked Company and was quite happy to digitize it.

A basic sans serif letterform was used to create the impression of broken glass in this unique typeface. Created by talented designer Vic Carless.

Fancy Flowers was inspired by textile designs from the nineteenth century. There is an assortment of 47 flowers located under the character set keys.

Corinthian is the work of Colin Brignall, a clean sans serif which was inspired by Edward Johnston's Railway Type and Eric Gill's Gill Sans.

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.

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.

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

The Limine family was designed to give a 3D effect; to look like engraved letters. Those letters are based on the roman capital design.

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.

The ‘Hammer of Witches’, ‘Malleus Maleficarum’ or ‘Hexenhammer’ in German is the best know and most important treatise on witchcraft. It was composed by Heinrich Kramer in 1487. I thought it was a rather apt name for my latest fairytale font! Hexenhammer is a rough, handwritten typeface with an attitude. It can be used for book covers, posters and even spells. Comes with a bunch of end ligatures and a pandemonium of diacritics.

Deusa was designed with branding and advertising in mind. It was inspired by the perfume and fashion industries and intended to be an elegant and “clean” display typeface; characteristics which determined its sans-serif and significant contrast style attributes. The typeface includes multilingual support as well as standard ligatures and stylistic alternates. It also includes an “estimated” and Euro glyphs (the Euro as an alternate), both designed according to the official EU specifications.

With Dreadnought I go back to my roots: one of my very first fonts was a scary brush typeface called Face Your Fears - a very popular typeface with horror lovers, thrill seekers and gangsta rappers. Dreadnought was created using a stiff brush and some very high quality paint on textured paper. The result is a lively, scary and very legible font. Use it for your movie, book or album: you won't be disappointed!

Skunkling was born out of a contest, where its initial design won first place. It was inspired by a real-life encounter between a spraying skunk and a defenseless designer. Skunkling is carefully designed to be playful and even awkward. Unique letter forms and ligatures allow the letters to fit snugly together. The two "weights" can be used individually or they have the unique capability to be overlaid to create a two-color font.

Hounslow is closely related to Acton in structure, and takes the latter’s simple block construction into the third dimension. Three variants – open, solid and shadow – can be freely mixed in one setting for effect. Originally designed solely in the italic variant, an upright was added by request. A further unreleased set with a range of line weights was later commissioned by the New York Times magazine, and used extensively in their television supplement.