This beautiful old design was originated at the Connor Foundry, New York, about 1888. Ideal for the small "in between" lines in modern versions of Victorian job printing.

Suave silky is a handwritten font. The designer was inspired by his own handwriting in high school.This font makes me go back to my days as a student.

Sheepman font was named after my favorite Haruki Murakami character: the Sheep Man. Sheepman font is handwritten, messy, but legible and complete. It comes with alternates and ligatures.

An interesting hand lettered sans serif type style with a “brush stroke” feel was used for various article headlines in the October, 1938 issue of “Radio Stars” magazine.

Metropolis was designed by W. Schwerdtner and released in 1928. The tapered strokes give the impression of height. The Metropolis font family shares an attractive, informal headline design.

Steve Jackaman & Ashley Muir. This design was inspired by an early 20th century woodtype. Wurlitzer contains all the high-end features expected in a quality OpenType Pro font.

Doodles the Alphabet was designed to coordinate with Doodles the picture font. Doodles received honorable mention in U&lc’s First Annual Type Design Competition in the Picture Category.

Omibez contains a number of more-or-less weird and funny drawings. The font was used for the first pizzadude poster which contains 18 of these pizzadudeish drawings.

PT Nat Vignette™ was designed by Natalia Vasilyeva and licensed by ParaType in 2002. Original vignettes may be used as fleurons, composed borders, and corners as well.

A revived and updated version of Georg Trump's Amati which was first released by C. Weber Foundry, Stuttgart, in 1951. A compressed multilingual serif font for many purposes.

Syndication JNL was derived from Outline Sans JNL. By removing the outer letters, a thinner character set remained. This typeface is available in both regular and oblique versions.

Cattleprod is an offbeat slab serif font full of swagger. It was created without any reference, but just the idea of a playful somewhat stumbling stance in mind.

Schlub is just plain weird. It looks like it was drawn with the left hand of a right-handed person using a gloppy pen yet remains very legible.

I was playing around with some brushes and ink, and out came Skulduggery. Use it for any project you can apply the term ‘skulduggery’ to. Or not. Whatever.

North Blue is a new, stylish and quirky script. It was created to look as close to a readable script as possible, and includes great swash characters too.

The typeface was designed at ParaType (ParaGraph) in 1993 by Tagir Safayev. Similar to Choose One/Ten typeface, by Bryan Thatcher. For use in advertising and display composition.

A fantastic font that I came up with after 3 weeks of work. It was a nice and attractive version of the Latin alphabet. Use it with pleasure.

Cirflex was inspired by a 1930s shop sign, and makes an ideal typeface for Streamline Era and Art Deco design. Cirflex is offered in regular and bold weights.

This style was actually inspired by some old stock certificates Tom had collected. It’s a very versatile font and allows for some horizontal stretching. Fits almost any space.

Kasper was designed by Franco Luin in 1995. It is an informal script typeface and its playful, dynamic characters are perfect for greeting cards and other personal correspondence.

Even as a child, I was interested in letterforms. I admired my grade 4 teacher's handwriting and so Ronita is based on fuzzy memories of her elegant script.

Aspic was inspired by the handwriting and drawings of Robert Blechman. Although informal, squiggly and even sloppy, Blechman's work communicates a quiet dignity which this font aspires to.

Abaddon has been one of our most popular fonts since it was first released in the mid-90s. It's based on lettering by Alphons Mucha with some modernization.

This font was inspired by the LogosNazhdag font, but the font is narrower and softer. Suitable for headings, packaging, logos. Developed and digitized in Germany by Joachim Frank.

Georgia Ref is a unique font that was originally developed for inclusion in a Microsoft product. Georgia Ref font is available in TrueType with a custom character set.

Supermarket was inspired by a particular naïf Brazilian hand-lettering alphabet used in commercial advertising posters (promotions, offers, discount price, etc) used in some supermarkets at Recife, Brazil.

PF Stamps covers a wide range of applications which require the stamp effect. This is a form of lettering which was very popular in the mid-twentieth century for product labeling. Special machinery was developed by mainly two companies, one in the United States and the other in Germany. This machinery produced paper die cuts which were later used as a base for the marking with a paintbrush. PF Stamps Paint was developed to simulate this type of lettering. Two other styles, Metal and Flex, have been very popular since its original release. The first one was developed from a metallic stamp imprint, whereas the second one with its slight 3-D look simulates letters stamped on plastic. To insure realistic results, uppercase letters are different from lowercase. This is very useful when two similar letters sit next to each other. There 3 more styles: Solid (the stencil in its regular clean form), Rough and the very interesting Blur. The all new “Pro” version comes to complete this series with what was missing: 93 matching frames and frames parts which will satisfy the most demanding designer. This is a bonus font which is available only with the purchase of the whole family. Use these frames “as is” at any size, or connect the frame parts to each other to create longer frames. Finally, this series supports more than hundred languages which are based on the Latin, Greek or Cyrillic scripts.

A 14-weight sans family based on the original British ‘M.O.T.’ (Ministry of Transport) alphabet. A capitals-only, single-weight design was drawn up around 1933 for use on Britain’s road network, and remained in use until Jock Kinnear and Margaret Calvert’s ‘Transport Alphabet’ was introduced for Britain's first motorway in 1958. The identity of the original designer is not preserved; however, Antony Froshaug in a 1963 ‘Design’ magazine article mentions Edward Johnston as an advisor. Speculation that it was based on Johnston’s London Transport alphabet is discussed in archived government documents from 1957: “So far as I am aware, the Ministry alphabet was not based on Johnston’s design; indeed, it has been suggested that Gill got his idea from Johnston. Our alphabet was based on advice from Hubert Llewellyn-Smith (then chairman of the British Institute of Industrial Art) and Mr. J. G. West, a senior architect of H. M. Office of Works.” A 1955-57 revision of the alphabet which polished the somewhat mechanical aspects of the original may be the work of stone carver and typographer David Kindersley. For the digitisation, Rian Hughes added an entirely new lower case, italics and a range of weights. The lower case mimics the forms of the capitals wherever possible, taking cues form Gill and Johnston for letters such as the a and g, with single-tier versions in the italic. A uniquely British font that is now available in a versatile family for modern use.