Sagebrush JNL was modeled from examples of a vintage French Clarendon wood type in which many of the characters had rounded parts rather than the traditional all-slab serif approach.

Phoebus is one of Adrian Frutigers first typefaces which he made for the Deberny & Peignot foundry in Paris. The intention was to create a shadowed type with extra ordinary impression.

Maître d' Stencil JNL is based on an alphabet example found in the 1949 French lettering book “Album de Lettres Arti”, and is available in both regular and oblique versions.

HS Almajd is an Arabic display typeface, under “titles” category. It is useful for book titles, creative designs and modern logos. Also, it is used when a contemporary and simple look is desired that can fit with the characteristics of Kufi fatmic where horizontal parts are equal than vertical ones. The font is based on Kufi Fatmic calligraphy along with some derived ideas of decorative fonts, maintaining the beauty of the Arabic font and its fixed rates. Undoubtedly, the insertion of curved ornament in some parts adds more beauty and fascinating diversity in the flow line between sharp, soft and curved parts. This font supports Arabic, Persian, Pashtu, Kurdish Sorani, Kurdish Kirmanji and Urdu, consisting only one weight which can add to the library of Arabic Kufic fonts contemporary models that meet with the purposes of various designs for all-purpose all tastes.

Hs Alkitab is an Arabic display typeface, under “titles” category. It is useful for book titles, creative designs and modern logos. Also, it is used when a contemporary and simple look is desired that can fit with the characteristics of Latin fonts where horizontal parts are thinner than vertical ones. The font is based on some modern lines of Kufi calligraphy along with some derived ideas of Latin fonts, maintaining the beauty of the Arabic font and its fixed rates. Undoubtedly, the insertion of curved ornament in the vertical parts adds more beauty and fascinating diversity in the flow line between sharp, soft and curved parts. This font supports Arabic, Persian, Urdu and Kurdish, consisting of two weights (regular and bold) which can add to the library of Arabic fonts contemporary models that meet with the purposes of various designs for all tastes.

Alphabet primarily used for writings with magical purpose in ancient times NOTE: this font comes with a comprehensive interpretation guide in pdf format.

Rara is simple handwritten font. Recommended to use for children theme, funny theme, comics, cartoon, simple write, poster and display and many more.

Introducing Alfaheim, a sans serif font desinged to harmonize simplicity with contemporary sophistication. Giving it a unique and warm character while maintaining refinement.

This cute, neat handwriting font is perfect for a variety of uses. The font features genuine handwritten flair while still maintaining complete readability.

Dark surfer. A sleek, layered, vintage-style font. It contains 6 writing styles, basic characters, numbers, punctuation and multilingual characters for all styles.

The Lanston Christmas Ornaments collection has a definite nostalgic feel for classic Christmas and Winter iconography. An indispensable set for the Christmas season, they are perfect for custom card creation or any other winter holiday graphics. LTC Christmas Ornaments One features over 80 images. LTC Christmas Ornaments Two-Part features over 30 of the same icons found in LTC Christmas One, but they are set up for two-color combinations. LTC Holly Leaves are available in one and two part for endless holly leaf combinations.

The sinuous, organic forms of Bing first came into being on a poster for a Smithsonian Institution exhibit on Siegfried Bing, a German art dealer in Paris who figured prominently in the development of Art Nouveau towards the end of the nineteenth century. Inspired by the natural forms of Antonio Gaudi, and the Paris Metro stations of Hector Guimard, Bing can be used effectively in the modernist style of Art Nouveau and is equally at home in the 1960s psychedelic rejuvenation of that genre.

Betula is the scientific name for Birch - I probably don’t have to explain that birches are my favourite trees! They always look like the ghosts of the forest with their papery white bark and dark blotches. Betula is a rough, crayon-like font. Very legible with a childlike appearance. Comes with a forest of diacritics.

Rosalinde is an original font based on rough hand-lettering reminiscent of 1960s era protest poster lettering. It's the kind of lettering you'd expect to see used for a snippet of anti-war poetry set against a red-white-and-blue striped background, or perhaps accompanied by a fat dove with an olive-branch.

Arya is a display typeface, based on Roman proportions. It has three versions, differentiated by the amount of the drawn lines. Single is solid. Double is sturdy but light. Triple is versatile and includes alternatives. They can be combined in layers. Capsule versions (White and Black) are designed to do quick, simple and elegant labels.

Antique brass stencils hand-cut for shipping items during the early part of the 20th Century were for sale in an online auction; and are the basis for Carton Stencil JNL.

Hitormis is handwritten font with uppercase style. Recommended to use for wall art, children theme, funny theme, comics, cartoon, simple write, poster and display.

Stripwriter is a comic style font that has a multitude of uses. While not an original idea, this style of font is always useful.

Designed by Francesco Canovaro with help from Andrea Tartarelli and Maria Chiara Fantini, Kitsch is a typeface happily living at the crossroads between classical latin and medieval gothic letterforms. But, rather than referencing historical models like the italian Rotunda or the french Bastarda scripts, Kitsch tries to renew both its inspirations, finding a contemporary vibe in the dynamic texture of the calligraphic broad-nib pen applied to the proportions of the classical roman skeleton. The resulting high contrast and spiky details make Kitsch excel in display uses, while a fine-tuned text version manages to keep at small sizes the dynamic expressivity of the design without sacrificing legibility. Both variants are designed in a wide range of weights (from the almost monolinear thin to the dense black), and are fully equipped with a extended character sets covering over two hundred languages that use latin, cyrillic and greek alphabets. Special care has been put in designing Kitsch italic letterforms, with the broad-nib movements referencing classical italian letterforms to add even more shades to your typographic palette. The resulting alternate letter shapes have also been included in the roman weights as Stylistic Alternates - part to the wide range of Open Type features (Standard and Discretionary Ligatures, Positional Numerals, Small Caps and Case Sensitive Forms) provided with all the 32 weights of Kitsch. Born for editorial and branding use, Kitsch is fashionable but solid, self-confident enough to look classic while ironic enough to be contemporary.

Meet Sterling Park, this font is perfect for adding a little love and warmth to your writing--in a way that feels authentic and personal. Whether you're writing love notes or cards or designing a tshirt, this hand-drawn font will add a friendly and authentic touch to your creations. So what’s included : Basic Latin Uppercase and Lowercase Numbers, symbols, and punctuations Multilingual Support. Simple Installations works on PC & Mac Thank You.

This font is based on the handwriting of Norwegian painter Edvard Munch. Using his many letters, drafts, notes- and sketchbooks as reference, this font characterizes the elegant yet sometimes quite irregular writing style Munch had. To resemble naturalistic writing and remain as authentic as possible, a combination of extended ligatures and alternates has been included, as well as Swash characters (accessible via open-type). Additionally, several of Munch's paintings and woodcuts are embedded as extras.

In a classic logotype style, Indiana Script is a sharp and steady typeface created by Måns Grebäck. With its bold brush strokes and vintage tilt, this typeface works great in old-style logos and headlines. It contains ligatures and alternate characters, and supports a very wide range of languages. Write _ after a word to get a swash. Example: Indiana_ With ligatures activated, write _ and a number for more swashes. Example: Visual_2 Music_6

This typeface pays homage to numerous Victorian and Art Nouveau predecessors, while straying somewhat beyond their usual conventions. All lowercase letters ascend in unison, whereas capitals descend below the baseline. A rigid set of uniform strokes keeps the chaos reigned in, while various calculated inconsistencies affect a vaguely hand-drawn quality to this quirky, downright decadent font. Comes packaged with the standard complement of alpha-numeric glyphs, punctuation marks, mathematical symbols, and Western European diacritics.

This Font is similar to the calligraphic style AL THULUTH. I added many glyphs to each other to get this feature and it become easier to graphic designer to write with Arabic AL THULUTH font without being a real calligrapher. It works beautiful in Headlines of Arabic books and photos and it is Fine Art . It also used in writing on T-shirts and clothes . This Font contains many Glyphs in Latin, Farsi, Urdu, Arabic ).

The Typist SlabSerif is part of a big family, the Typist Family. The family consists of a monospaced, a SlabSerif and a SansSerif version. The idea behind this family originated from the research into the design of typewriter typestyles, which is also the reason why the monospaced version was released first. Since it was decided from the start to make a SlabSerif and a SansSerif version of these monospaced fonts, it was also a logical consequence that the proportional variants also became available in these versions. The monospaced SansSerif fonts have been given the name 'Code' since they are designed to be used while writing code for a software program, for example. The proportional variants with each 6 weights of the Typist Slab Serif and Code (SansSerif) are now available. Although the name may seem a bit strange, it is a logical consequence from the monospaced variant. The SlabSerif variant therefore has Typist Slab Prop, written in full the Typist SlabSerif Proportional. After all, who wants to be bothered with long font names in their font menu. The entire Typist family is designed as a font for use in editorial and publishing publications. A lot of attention has been paid to the spacing and kerning of the fonts. Due to the many variants and weights, this font is versatile. Typist Font Family was designed by Nicolien van der Keur and published by vanderKeur design. Typist Slab Prop and Typist Code Prop contains each 6 styles (Thin, Light, Regular, Medium, SemiBold and Bold, each weight also designed as a true italic) and has family package options. The links to the monospaced version of The Typist are here: https://www.myfonts.com/collections/typist-slab-font-vanderkeur https://www.myfonts.com/collections/typist-code-font-vanderkeur

The Typist Code SansSerif is part of a big family, the Typist Family. The family consists of a monospaced, a Slab Serif and a SansSerif version. The idea behind this family originated from the research into the design of typewriter typestyles, which is also the reason why the monospaced version was released first. Since it was decided from the start to make a SlabSerif and a SansSerif version of these monospaced fonts, it was also a logical consequence that the proportional variants also became available in these versions. The monospaced SansSerif fonts have been given the name 'Code' since they are designed to be used while writing code for a software program, for example. The proportional variants with each 6 weights of the Typist Slab Serif and Code (SansSerif) are now available. Although the name may seem a bit strange, it is a logical consequence from the monospaced variant. The SansSerif variant therefore has Typist Code Prop, written in full the Typist Code Proportional. After all, who wants to be bothered with long font names in their font menu. The entire Typist family is designed as a font for use in editorial and publishing publications. A lot of attention has been paid to the spacing and kerning of the fonts. Due to the many variants and weights, this font is versatile. Typist Font Family was designed by Nicolien van der Keur and published by vanderKeur design. Typist Slab Prop and Typist Code Prop contains each 6 styles (Thin, Light, Regular, Medium, Semi-Bold and Bold, each weight also designed as a true italic) and has family package options. The links to the monospaced version of The Typist are here: https://www.myfonts.com/collections/typistslabfont-vanderkeur https://www.myfonts.com/collections/typist-code-font-vanderkeur

This font came to be when I was creating a cake topper mockup (see the promo images) and didn't have a thick script font that I liked for it. So I got to work writing out some fun chunky cursive letters that could top a cake! The concept of breaking bread is an old one, often meaning two parties working together. In the Breaking Bread font, I've combined that heavy connecting script with a hand-lettered sans-serif uppercase set. It works in all lowercase, all uppercase, and title case with equal ease! I've also included a number of alternates and ligatures, so you can have a truly hand-written look when double-letter words show up, plus a few extra characters and swashes to add some pizzazz to your work. It's great for crafting a mug or t-shirt, creating a logo, or making product packaging! And all of those alternates are PUA-encoded, so they're easy to access in any character map. Breaking Bread also comes with over 300 extended Latin characters for language support, including but not limited to: Catalan, Czech, Danish, Esperanto, Estonian, Finnish, French, Gaelic, German, Icelandic, Irish, Italian, Latvian, Lithuanian, Norwegian, Polish, Portuguese, Romanian, Serbian (Latin), Slovak, Slovenian, Spanish, Swedish, Turkish, Welsh, and more!

Ribfest is a new font based on lettering found on old United States currency from the 1800’s. Named after the Ribfest held in Naperville IL over 4th of July weekend each year, this font will be perfect for your next summer barbecue party. Ribfest offers three Fill fonts that can be layered behind the main open faced fonts, the regular Fill font covers the complete opening on the main fonts while the Fill T for top and Fill B for bottom gives you the option to fill with two different colors for top and bottom. The Fill fonts for Ribfest may also be used as stand alone fonts, the Fill T and Fill B fonts when layered together creates a unique look on its own. Expand your summertime fun with Ribfest and save me some of those rib’s, with extra barbecue sauce please. Special Note: When using the Opentype format of Ribfest, if you experience some letters appearing too bold at point sizes of 36 or above please install the truetype version that came with your purchase. Due to the extra detail in this font some graphics drivers may increase the boldness of the Opentype version of this font, the solution is to uninstall the Opentype and install the Truetype version.

Fontoddler Font Family, This font was created with the personality, in mind, of my two-and-a-half-year-old granddaughter Chloe Bella. I believe strongly that fonts have personalities that’s why we refer to their members as ‘characters’ or to be more accurate, ‘glyphs’. This font is playful, bold, colorful in form and design, a bit irregular, a bit informal, a bit irreverent, a bit humorous, a bit sassy, and a bit independent just like my little one. When used in color Fontoddler sings. She’ll be writing and creating visual words in just the nick of time. At 2 she started recognizing many colors and identifying people, places, animals, and objects and now she’s recognizing letters. I can’t wait for her to understand that this font was designed and named after her. Fontoddler currently exists in 3 styles, Medium, Heavy, and Heavy Outline. Naturally Heavy and Heavy Outline are congruous, ie. They are fitting together. I hope you enjoy and use this 24th font family from Cozyfonts Foundry. It will fit well with greeting cards, signage, birthday parties, holiday occasions, invites, stationary, headlines, logos, posters, cartoons, animation titles, movie titles and even sports events and sports logos. Have fun with this one. Tom Nikosey

Mango Flavor is my super cool comic-ish font with a taste of ... you may have guessed it...Mango! :) It's playful and jumpy and wants to be a part of the action!

Wood type for display. Serifs like brush strokes are associated with Japanese calligraphy ‘Shodo’. East meets West. There are two styles, Regular for ordinary use and 3D for more eye-catchy part.

Western Adventure JNL is based on a classic lettering stencil of the 1950s. Part of a growing series of such stencil fonts by Jeff Levine, it's a perfect complement to Buckdance JNL.

RenéLemon is a design where the basic design idea is part of its name – Lemon. Every glyph is derived from the form of a lemon, splashing and dashing – a typographic vitamin pill!

Retroovy Vibes is a playful and groovy font that encapsulates the spirit of fun and nostalgia. Inspired by the retro era, this font oozes a sense of carefree charm and vibrant energy. Retroovy Vibes is the perfect choice for projects that aim to evoke a sense of lightheartedness and a vintage vibe. Its bouncy and whimsical appearance makes it ideal for posters, album covers, and party invitations, injecting a dose of retro coolness to any design.