This is a modern, wonderful, and beautiful font. This font is super readable and can be used from Posters to books. The readability of this font is amazing. This font has the modern Hebrew punctuation: Shevana, Kamatz Katan, Dagesh Hazak, and Cholam Chaser.

Rational Mood is a handwritten font trio that includes an uppercase font that combines perfect with a script font and is loaded with tons of cute extra illustrations. This is a perfect font to create quotes or texts with a handwritten, natural style.

This is a modern, wonderful, and beautiful font. This font is super readable and can be used for Posters to books. The readability of this font is amazing. This font has modern Hebrew punctuation: Shevana, Kamatz Katan, Dagesh Hazak, and Cholam Chaser.

This is a modern, wonderful, and beautiful font. This font is super readable and can be used for Posters to books. The readability of this font is amazing. This font has modern Hebrew punctuation: Shevana, Kamatz Katan, Dagesh Hazak, and Cholam Chaser.

Brookvale - Retro Condensed Font is a nostalgic typeface that channels the essence of the past with a contemporary twist. It's condensed letterforms and retro flair evoke a sense of vintage charm, making it an ideal choice for projects seeking a dash of retro coolness. Perfect for posters, branding, and designs that celebrate the enduring appeal of yesteryears.

Tradewinds JNL is based on one of many innovative alphabets designed by the late Alf R. Becker for Signs of the Times magazine between the 1930s and 1950s. Thanks go to Tod Swormstedt of ST Media (who is also the curator of the American Sign Museum in Cincinnati, Ohio) for supplying the reference material used to make this font.

Quam is a contemporary sans serif typeface, designed to be used as either a display or text font. With a range of alternates, true small capitals and variable numerals, this design aims to be versatile and functional. An added function is the inclusion of the full Cyrillic encoding to allow the application of a wide range of scripts.

Fado is a calligraphic typeface based on the broad nib calligraphy. It has a lot of alternates, ligatures, initial and final forms. The font has 3 sets of length and complexity of ascenders and descenders. It allows the user to chose the style: simple, with more complicated forms, with a lot of flourishes, and even mix all 3 styles.

Eckhardt Headline JNL is a bold, condensed sans serif font. This is part of a series of typefaces popular with the sign trade. Named in honor of the late Albert Eckhardt, Jr. - a talented sign writer and a good friend of type designer Jeff Levine - it is available in both regular and "slant" for extra emphasis.

Woodbranch JNL is a solid version of the 2013 font release Woodlawn JNL. The design was originally based on examples of an outline (open face) wood type. This interpretation takes on newer, stronger characteristics as a bold typeface when the "inner letters" of the original alphabet were removed, yet the imperfection of the wood type pieces are still maintained.

Folsom JNL is one of the many stencil fonts Jeff Levine has recreated from original sources. This particular design was modeled from a kit made by the Meyercord Company of Chicago. In the original, some of the letters were solid rather than stencil forms, but Jeff gave all of the letters the traditional treatment for continuity.

Skorid is a geometric condensed sans serif font family, constructed only out of straight lines. Coming in 7 weights, regular and italic, from thin to black, you have a wide array of possibilities of using Skorid for any purpose you need. Skorid speaks around 70 languages, including Cyrillic. Contains a lot of alternative letters to boost your creativity.

Fauna is the set of cute animals you were looking for! We know these animals will give their best in order to give a lovely touch to your work. With a total of 108 characters; the font family is divided into two styles of 54 each: Fauna Blanca and Fauna Negra. Choose one of them... or better, choose both!

Born in the lab as a research experiment, Reboot is great for that certain 70’s sci-fi need. It’s filled with the angular curves of the technology of yore, with full diacriticals for Eastern European Cold War era galactic display copy. It’s the first font of a series of research experiments, varying from rectilinear to ovoid.

In one of our yearly type hunts, we came across the ancestor of this font, much wider and more decorative, with fine outside shading. Condition was poor so we did the obvious, cutting out the excess decoration and condensing the face optically. It reeks of dancing girls and drunken sailors and other colorful attributes of Old San Francisco.

Mushin is a typeface, that comes with 14 fonts, roman and the matching italics, which draws inspiration from the grotesques of the beginning of the 20th century. However, its humanistic details and endings, remove the coldness so characteristic of this style, making Mushin a typeface of lively and dynamic curves, which can be used for various purposes.

Microsoft Sans Serif™ Regular is a very legible User Interface (UI) font. It was designed to be metrically compatible with the MS Sans bitmap font that shipped in early versions of Microsoft Windows. The original MS Sans was in the inflexible .fon bitmap format and could not be scaled. Microsoft Sans Serif Regular is much more flexible and legible as it font antialiasing and scalable user interfaces. Character Set: Latin-1, WGL Pan-European (Eastern Europe, Cyrillic, Greek and Turkish).

Sitting in a diner and looking upon a wall full of nostalgia, there hangs a picture of another older diner in some Northern city. The lettering from it's rooftop sign almost screams "Make a font out of this!"... so Jeff Levine did... "Hash and Beans JNL".

A clear and enjoyable reading experience hinges on the legibility of text copy, especially when reading on screen. This is why Monotype has developed the eText collection of fonts specifically tailored for the text-heavy display environments of e-readers, tablets, mobile devices, and the Web.

A clear and enjoyable reading experience hinges on the legibility of text copy, especially when reading on screen. This is why Monotype has developed the eText collection of fonts specifically tailored for the text-heavy display environments of e-readers, tablets, mobile devices, and the Web.

Normandy Isle JNL is a condensed sanserif typeface built off of the basic design of an old wood type, but augmented with thick and thin lines to create a whole different look. The font itself is named after a community in the North end of Miami Beach.

A clear and enjoyable reading experience hinges on the legibility of text copy, especially when reading on screen. This is why Monotype has developed the eText collection of fonts specifically tailored for the text-heavy display environments of e-readers, tablets, mobile devices, and the Web.

Sherwood is a reproduction of an unusually small wood type font from England, dating from the last years of the 18th century. Somewhat reminiscent of Caslon Old Face. The original wood type is used at Sherwood Letterpress and can be seen on the Sherwood home page.

Nedo is a retro inspired, single weight display font based on a series of geometric lines. It features a large set of ligatures and some alternate characters that allow a range of possible combinations for text layouts and is best suited for use in large settings.

Raspail is a contemporary calligraphic font inspired by copperplate. Raspail has a great inclination with extensions of ascending and descenders strokes, widely ornate, and a special emphasis on the connection of the letters. It includes more than 350 alternates, 50 ligatures and a great set of ornaments.

A clear and enjoyable reading experience hinges on the legibility of text copy, especially when reading on screen. This is why Monotype has developed the eText collection of fonts specifically tailored for the text-heavy display environments of e-readers, tablets, mobile devices, and the Web.

A clear and enjoyable reading experience hinges on the legibility of text copy, especially when reading on screen. This is why Monotype has developed the eText collection of fonts specifically tailored for the text-heavy display environments of e-readers, tablets, mobile devices, and the Web.

The design of Bramber was inspired by Allied propaganda posters of the second World war, especially Russian posters. It has a distinctive solid, geometric appearance. 
Bramber also has a feel of mid 1980s design. Bramber is ideal for use as a distinctive headline or display font.

Have Heart is a set of 2 hand-made marker pen fonts, designed to combine perfectly and allow you to create stunning hand-lettering quickly and easily. Also included is a set of 12 bonus swashes, ideal for giving your text that final touch of finesse!

BorderGlyphs features an array of border elements inpired by our very own Egyptian Hieroglyphs font collections. These historic yet modern symbols have stood the test of time - they can blend into ancient as well as the most vanguard of themes and will add elegance to your projects.

A clear and enjoyable reading experience hinges on the legibility of text copy, especially when reading on screen. This is why Monotype has developed the eText collection of fonts specifically tailored for the text-heavy display environments of e-readers, tablets, mobile devices, and the Web.

Canadian designer Anthony De Meester created the font in 1989. Vienna Extended is a light, elegant sans serif. Simplicity is the hallmark of Vienna and it can be used most effectively where a look of regal elegance is desired. Vienna is a trademark of International Typeface Corporation.

Charlatan is (despite the name!) a truly trustworthy font. Works well with everything that needs something legible and handmade! Comes with contextual alternates (6 different versions of all lower-case letters!) that automatically cycles as you type! And, of course, Charlatan is full of international characters!

A clear and enjoyable reading experience hinges on the legibility of text copy, especially when reading on screen. This is why Monotype has developed the eText collection of fonts specifically tailored for the text-heavy display environments of e-readers, tablets, mobile devices, and the Web.

The first versions of Nimbus Sans have been designed and digitized in the 1980s for the URW SIGNUS sign-making system. Highest precision of all characters (1/100 mm accuracy) as well as spacing and kerning were required because the fonts should be cut in any size in vinyl or other material used for sign-making. During this period three size ranges were created for text (T), the display (D) and poster (P) for small, medium and very large font sizes. In addition, we produced a so-called L-version that was compatible to Adobe’s PostScript version of Helvetica. Nimbus was also the product name of a URW-proprietary renderer for high quality and fast rasterization of outline fonts, a software provided to the developers of PostScript clone RIPs (Hyphen, Harlequin, etc.) back then. Also in the 80s, a new, improved version of the Nimbus Sans, namely Nimbus Sans Novus was designed. Nimbus Sans Novus was conceptually developed entirely with URW’s IKARUS system, i.e. all styles harmonize perfectly with each other in terms of line width, weight, proportions, etc. On top of that, Nimbus Sans Novus contains more styles than Nimbus Sans.

We love sports – like billions of fans all over the world – but in Argentina, we really love fútbol (soccer). Fútbol is part of our culture: it makes our hearts’ race and our pulses quicken, it inspires screams of joy and screams of anguish, and it has been the cause of more than a few heated conversations amongst friends. So you can imagine our delight when, in recent years, a local team’s fútbol jersey used a Sudtipos font; it got us thinking about designing a font that explicitly had sports in mind yet still had the versatility to work for other types of projects. Sporty has a geometric and modular structure with many potential applications that far exceed jerseys, score boards and stadium wayfinding. Its flexibility is evident when examining its four style – from a square style to a rounded one – as well as the Shadow and Inline options. Each of the styles also comes with a set of miscellaneous shapes including modular banners, plates and arrows. Sporty comes in 3 widths – Condensed, Regular and Expanded – and 7 weights that equate to a total of 39 fonts.

Chalky Spritely and full of personality, FS Sammy is a hand-drawn font with a chalky texture, available in one weight only. Give Sammy a run in branding, packaging or billboard advertising for a fresh, informal, honest personality. Calligraphic Too many script fonts have a rushed and thrown-together feel about them. It’s a deceptively complex feat to achieve forms that hold together neatly in text yet still have the breezy, natural air of real handwriting. That’s FS Sammy: considered and crafted. Pencil FS Sammy was originally drawn for a drinks manufacturer by Fontsmith’s calligrapher, Sehmi Satwinder, who made handwritten impressions with a large soft pencil on textured watercolour paper. The digital interpretation of Sehmi’s letters was pushed to its limits and, after a lot of experimentation, a balanced alphabet was achieved. Texture and spirit FS Sammy’s success and uniqueness within the script font category is down to its versatility. In the large text of billboard advertising or headlines, all of its texture comes to life, and small, on menus or booklets, it conveys all of the spirit and personality of a considered piece of handwriting.

A few years ago I've discovered the work of one of the most prolific typeface designers of the Bruce type Foundry in NYC during late nineteenth century. Browsing Julius Herriet's work I found a very unique kind of ligatures in his patented "Old Style Ornamented" type design. Some letters were designed with a little top tail that allowed them to connect to each other. After that, I found that he also designed a single italic weight of the same font 7 years later. Since the beginning of the Opentype days I’ve been deeply obsessed with exploring different ways to build ligatures, so that lead me up to this point where I felt the need to create “Plethora”, this new font inspired by Herriet’s work. Extrapolating weights, adding variable technology and playing with additional interconnected letters and alternates. Definitely, Plethora means a large or excessive amount of something, and this font tries to bring back this abundance of details two centuries later. Available in 9 weights, from roman to italic, and also as variable format, “Plethora” supports plenty of latin languages and is a perfect choice for today’s design tides.

This font is a latin based version of the ogham alphabet used in the writing of the old irish language. It can be used on Latin keyboards. I will make a unicode font version of this font in the future. Ogham (/ˈɒɡəm/ OG-əm, Modern Irish: [ˈoː(ə)mˠ]; Middle Irish: ogum, ogom, later ogam [ˈɔɣəmˠ] is an Early Medieval alphabet used primarily to write the early Irish language (in the "orthodox" inscriptions, 4th to 6th centuries CE), and later the Old Irish language (scholastic ogham, 6th to 9th centuries). There are roughly 400 surviving orthodox inscriptions on stone monuments throughout Ireland and western Britain, the bulk of which are in southern Munster. The largest number outside Ireland are in Pembrokeshire, Wales. The vast majority of the inscriptions consist of personal names. According to the High Medieval Bríatharogam, the names of various trees can be ascribed to individual letters. For this reason, ogam is sometimes known as the Celtic tree alphabet. The etymology of the word ogam or ogham remains unclear. One possible origin is from the Irish og-úaim 'point-seam', referring to the seam made by the point of a sharp weapon.

Tetria was designed by Martin Jagodzinski, who says that the font came from the need for a compact, constructivist typeface. Tetria combines the expression of simplicity of the 'norm' typefaces like DIN Mittelschrift with elements of Old Face typefaces which optimize legibility. It therefore contains old style figures and a larger stroke contrast, which makes the font legible even in smaller point sizes." Sources of inspiration for Tetria were the designs of Joost Schmidt and Herbert Bayer as well as the norm typefaces. The name comes from the Greek word for 'four', tetra. "Four is the number of many simple and useful objects, four wheels on a car, four corners of a book. Also, the basic forms of Tetria come from the simple geometric form of the square." The space-saving Tetria is well-suited to a variety of uses, from corporate typeface to text to display on posters, flyers or onscreen."