Bit Player JNL is the extra-condensed companion font to Cast and Crew JNL, and features an additional oblique version. Useful wherever a large block of copy text needs to fit into a constrained space, Bit Player JNL can be applied to movie title credits, disclaimers, warranty information, end user license agreements and similar projects.

Printers Assistants JNL is a collection of vintage letterpress stock cuts and embellishments features monthly title blocks (for newsletters or calendars of events) in an Art Deco style, a cartoon character counting [with fingers] one through five to emphasize selling points and assorted cartoons and decorations sure to please any lover of nostalgic art.

Sans serif characters re-drawn from old newspaper headlines (and used in the design for Late Breaking News JNL) were given a slab serif treatment in order to create a condensed type face with both grotesk and block influences. The end result is Tabloid News JNL, which is available in both regular and oblique versions.

Kubrickle is an unique typeface release by the Discourse Type foundry. It comes in three styles a block, stencil and swash. The swash types comes with an large set of special ligatures that can give you titles an edge. Combine the three different styles to create dynamic typography suitable for album covers, magazines and flyers.

MASKEY is a rough typeface with a freehand writing style, comes with 3 family styles (Normal, Overlapping, and Block) which are perfect for your designs that want a rough, modern vintage, freestyle style, and carefully crafted for all graphic design needs. Following Language Support : LATIN EXTENDED ( Western European, Central European, South Eastern European ) Thank You

Jacob Graffiti is a font inspired by graffiti. In order to reflect the feeling of spray paint, the beginning or the end of the characters show a sense of stroke. When designing this font, to add some fun, a pictorial ligature was specially designed: jacob. And it's on the smile face Unicode block too.

An original flat font, light and clean. Works best for accents and any small blocks of text. There are over 1000 kerning pairs to ensure that the flow of the font is natural and easy to work with. Language support: Contains full set of Latin alphabet, including diacritical marks for European languages and Cyrillic alphabets.

Nazgul is a modern dynamic sans serif font with subtle vintage characteristics. It works perfectly for film posters, headlines, block letters, subheadings, logo designs, big banners, classic and decorative typography, web designs, packaging and more. The two styles, Regular and Outline, include more than 100 ligatures and alternate characters allowing for versatility in design.

Mumos is a block type font. Is a font of thirteen units of height with straight terminations in which there is complete absence of curves. Although very basic is a dynamic typography with many possibilities thanks to its three styles, including open space, which facilitates the work with fillers without having to vectorize the glyphs.

This stately typeface takes its inspiration from Erbar Medieval, designed by Jakob Erbar for the Ludwig & Mayer foundry of Frankfurt am Main, released in 1914. Equally at home in headlines or text blocks, this face is both elegant and inviting. Both versions contain the complete Latin 1252, Central European 1250 and Turkish 1254 character sets.

An image found online of the first [1923] “Oreo Sandwich” package provided a type inspiration from the pen-lettered block sans with rounded corners used for the product's name. Prior to 1923, the cookies were sold in boxes or tins. The result is Packaged Cookies JNL, which is available in both regular and oblique versions.

One of the good practices of today’s type foundries is that they release their type families as systems including both serif and sans serif type. Usually, the sources of inspiration need to be well tried with time and practice, since production of a type family is such a laborious and complex process. From the beginning, it needs to be clear that the result will be suited for universal use. Such systems, complete with the broad, multi-lingual variations permitted by the OpenType format, have become the elementary, default instrument of visual communication. Non-Latin scripts are useful for a wide scope of academic publications, for packaging and corporate systems alike. And what about outdoor advertisement designated for markets in developing countries? Cyrillics and Greek have become an integral part of our OpenType font systems. Maybe you noticed that the sans serif cuts have richer variety of the light – black scale. This is due to the fact that sans serif families tend to be less susceptible to deformities in form, and thus they are able to retain their original character throughout the full range of weights. On the other hand, the nature of serifed, contrasted cuts does not permit such extremes without sacrificing their characteristic features. Both weights were drawn by hand, only the Medium cut has been interpolated. Anselm Ten is a unique family of four cuts, slightly strengthened and adjusted for the setting in sizes around 10 pt and smaller, as its name indicates. The ancestry of Anselm goes back to Jannon, a slightly modified Old Style Roman. I drew Serapion back in 1997, so its spirit is youthful, a bit frisky, and it is charmed by romantic, playful details. Anselm succeeds it after ten years of evolution, it is a sober, reliable laborer, immune to all eccentricities. The most significant difference between Sebastian/Serapion and Anselm is the raised x-height of lowercase, which makes it ideal for applications in extensive texts. Our goal was to create an all-round type family, equally suitable for poetry, magazines, books, posters, and information systems.

One of the good practices of today’s type foundries is that they release their type families as systems including both serif and sans serif type. Usually, the sources of inspiration need to be well tried with time and practice, since production of a type family is such a laborious and complex process. From the beginning, it needs to be clear that the result will be suited for universal use. Such systems, complete with the broad, multi-lingual variations permitted by the OpenType format, have become the elementary, default instrument of visual communication. Non-Latin scripts are useful for a wide scope of academic publications, for packaging and corporate systems alike. And what about outdoor advertisement designated for markets in developing countries? Cyrillics and Greek have become an integral part of our OpenType font systems. Maybe you noticed that the sans serif cuts have richer variety of the light – black scale. This is due to the fact that sans serif families tend to be less susceptible to deformities in form, and thus they are able to retain their original character throughout the full range of weights. On the other hand, the nature of serifed, contrasted cuts does not permit such extremes without sacrificing their characteristic features. Both weights were drawn by hand, only the Medium cut has been interpolated. Anselm Ten is a unique family of four cuts, slightly strengthened and adjusted for the setting in sizes around 10 pt and smaller, as its name indicates. The ancestry of Anselm goes back to Jannon , a slightly modified Old Style Roman. I drew Serapion back in 1997, so its spirit is youthful, a bit frisky, and it is charmed by romantic, playful details. Anselm succeeds it after ten years of evolution, it is a sober, reliable laborer, immune to all eccentricities. The most significant difference between Sebastian/Serapion and Anselm is the raised x-height of lowercase, which makes it ideal for applications in extensive texts. Our goal was to create an all-round type family, equally suitable for poetry, magazines, books, posters, and information systems.

Feilla is a cute valentine’s handwritten font featuring lovely ornaments. This font is perfect for romantic-themed designs, especially when combined with pink or bright colors. It is PUA encoded, which means you can access all of the glyphs and swashes with ease!

Tabina is a sweet, romantic and timeless handwritten font. It looks stunning on wedding invitations,thank you cards, quotes, greeting cards, logos, business cards and every other design which needs a handwritten touch.It features a varying baseline, smoothlines, gorgeous glyphs and stunning alternates.

Atakana Scipt is a New Handwriting Font script that make with love. This font is suitable for any branding of your design needs, wedding invitation, romantic project, studio brand, logo, invitations, social media posts, clothing, invitation, poster, cafe/resto sign and others.

"Valentine Style" is a display font decorated with heart-shaped letters and is very easy to use. This font is equipped with uppercase, lowercase, ligatures, numerals, punctuations and multilingual support. Very suitable for valentines, weddings, stickers, romantic moments, spring, winter and others.

"Couple Valentine" is a very unique and beautiful display font. This font has a heart shape on each letter. It is suitable for romantic moments, Valentine's Day, weddings, and more. This font is equipped with uppercase, lowercase, numerals, punctuations, and multilingual support.

Mellviana is a quirky display font featuring lovely ornaments. This font is perfect for romantic themed designs, especially when combined with pink or bright colors. It is PUA encoded which means you can access all of the glyphs and swashes with ease!

Aneliya is a romantic and sweet handwritten font. It will add a luxury spark to any design project that you wish to create! This font is PUA encoded which means you can access all of the amazing glyphs and ligatures with ease!

Salty Cracker is a display font with Black Letter elements. The symbols have a nice shape and long ascenders and descenders. Display font Latin

JH Tania 2x is geometric typeface, including a double stripe & a black weights. It has a modern design ideal for logos / branding and titles..

Belynos, a simple and elegant didone. Plus a bit of triangular! Font family contains from Light to Black and suitable italic for various designs.

Unicase wide slab-serif with numerous alternatives and decorative elements. In Ribbon styles kerning for black ribbons released as Discretionary Ligatures. Lets do wide!

Gemline is an Art Deco inspired display font featuring Inline and Black weights with 2 fill options for adding colorful effects quickly and easily.

In Ancient Greek, Kuma means wave. This wavy, dynamic and poetic all-caps display typeface is useful for headlines or short texts. Kuma is the result of a graphic and perceptual game that, using experimentation as a working method, explores the possibilities of writing as an image. This grid-based typeface creates different shapes and directions, never predictable. There are different types of waves created by the wind. That's why there are three different versions of Kuma: Kuma, Kuma Rounded and Kuma Square. Each version is available in seven weights which can be combined together. In their black and white rhythm, they guarantee global readability and balance. Kuma was designed by Jérémy Ruiz. Supported languages: Afrikaans, Albanian, Basque, Bosnian, Breton, Catalan, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Finnish, Flemish, French, Frisian, German, Greenlandic, Hawaiian, Hungarian, Icelandic, Indonesian, Irish, Italian, Latin, Latvian, Lithuanian, Malay, Maltese, Maori, Moldavian, Norwegian, Polish, Portuguese, Provençal, Romanian, Romany, Sámi (Inari), Sámi (Luli), Sámi (Northern), Sámi (Southern), Samoan, Scottish Gaelic, Slovak, Slovenian, Sorbian, Spanish, Swahili, Swedish, Tagalog, Turkish, Welsh.

In Ancient Greek, Kuma means wave. This wavy, dynamic and poetic all-caps display typeface is useful for headlines or short texts. Kuma is the result of a graphic and perceptual game that, using experimentation as a working method, explores the possibilities of writing as an image. This grid-based typeface creates different shapes and directions, never predictable. There are different types of waves created by the wind. That's why there are three different versions of Kuma: Kuma, Kuma Rounded and Kuma Square. Each version is available in seven weights which can be combined together. In their black and white rhythm, they guarantee global readability and balance. Kuma Square was designed by Jérémy Ruiz. Supported languages: Afrikaans, Albanian, Basque, Bosnian, Breton, Catalan, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Finnish, Flemish, French, Frisian, German, Greenlandic, Hawaiian, Hungarian, Icelandic, Indonesian, Irish, Italian, Latin, Latvian, Lithuanian, Malay, Maltese, Maori, Moldavian, Norwegian, Polish, Portuguese, Provençal, Romanian, Romany, Sámi (Inari), Sámi (Luli), Sámi (Northern), Sámi (Southern), Samoan, Scottish Gaelic, Slovak, Slovenian, Sorbian, Spanish, Swahili, Swedish, Tagalog, Turkish, Welsh.

In Ancient Greek, Kuma means wave. This wavy, dynamic and poetic all-caps display typeface is useful for headlines or short texts. Kuma is the result of a graphic and perceptual game that, using experimentation as a working method, explores the possibilities of writing as an image. This grid-based typeface creates different shapes and directions, never predictable. There are different types of waves created by the wind. That's why there are three different versions of Kuma: Kuma, Kuma Rounded and Kuma Square. Each version is available in seven weights which can be combined together. In their black and white rhythm, they guarantee global readability and balance. Kuma Rounded was designed by Jérémy Ruiz. Supported languages: Afrikaans, Albanian, Basque, Bosnian, Breton, Catalan, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Finnish, Flemish, French, Frisian, German, Greenlandic, Hawaiian, Hungarian, Icelandic, Indonesian, Irish, Italian, Latin, Latvian, Lithuanian, Malay, Maltese, Maori, Moldavian, Norwegian, Polish, Portuguese, Provençal, Romanian, Romany, Sámi (Inari), Sámi (Luli), Sámi (Northern), Sámi (Southern), Samoan, Scottish Gaelic, Slovak, Slovenian, Sorbian, Spanish, Swahili, Swedish, Tagalog, Turkish, Welsh.

Shabaq is a heavy, ultra black Arabic font. It is suitable for 'Display' and large print use cases, especially billboards and advertisement. It also performs well as a title and header font. Shabaq is a geometrical font based on the charactristics of the traditional Naskh typeface with a perfectly fresh and modern appearance. Shabaq is super-black, dazzles the eyes of the beholder and leaves them deeply influenced. Shabaq supports Arabic, Persian and Kurdish languages.

Umidus font - Trippy wavy liquid decorative font, which works perfectly for bold titles, Festival posters, as a graphic element for bright T-shit or hoodies, or even backgrounds! This weird and ugly font likes an experiment with spacing and different deformation. Please, don't hold back on your bold modern ideas! ------------------- You will receive: - 3 OTF files (3 font styles: plane black, transparent outline, black with highlights) - ATTENTION! font comes WITHOUT any photos, textures, or effects.

A pair of scissors and a bunch of papers; that is the foundation of Paper Cuts. It’s available in two different styles, Paper Cuts and Paper Cuts Black. The black version was the first stage in the progress and Paper Cuts is the second one where the negative space appears. Also, you get Paper Cuts Ornaments for free. It dilates your possibilities further. Buy them separately or in a “Nice Price” family set.

This is a new barely modulated, slightly narrow, sans serif font family. It has eight styles: thin, thin italic, regular, italic, bold, bold italic, black, & black italic grouped into two 4-font families: Amico Thin with the Bold; and Amico with the Black. Amico has the standard feature set developed at the end of 2007. It has many OpenType features and 654 character/glyphs: Caps, lower case, small caps, ligatures, discretionary ligatures, swashes, small cap figures, old style figures, numerators, denominators, accent characters, ordinal numbers (1st-infinity): lining and oldstyle), and so on. It is designed for text use in body copy. However, Amico really shines as the choice for heads & subheads when using Amitale or Brinar for the text family.

Bitstream Cooper was designed at Bitstream in 1986 by means of adding light, medium, and bold styles, with the corresponding italics, to the existing black ones. Based on Cooper Black, 1919, by Oswald Bruce Cooper, which was firstly released as a hand composition font in 1922 by Barnhart Brothers & Spindler of Chicago and later spread by ATF. Cooper Black is an extra bold face based on Cooper Old Style. Bitstream Cooper is an old style face with rounded serifs and tilted back ovals. For use both in text (normal weights) and in advertising and display typography (heavy weights). Cyrillic version was developed for ParaType in 2000 by Manvel Shmavonyan and based on TM Oswald face of TypeMarket, 1996, by Victoria Grigorenko.

Fierro is a heavy-geometric-retrofuturistic typographic construction that, without any curve, still retains good legibility. These shapes are based on great bended metal pieces, which represent its name, meaning "hardware store". It has been designed to be used in large sizes and for designs with character that look to create a strong visual block. Designed by Jko Contreras.

The hand lettered title on the 1911 sheet music for “That Railroad Rag” was designed in a block style letter with spurred serifs. This simple typographic layout evokes the imagery of early rail transportation although the song itself is was a ‘modern’ composition of then-popular ragtime music. Railway Station JNL is available in both regular and oblique versions.

Dex Gothic is another sort of stencil type. Instead of the "normal" routine of blocked-out horizontal or vertical areas, Dex Gothic creates its stencil appearance through the unique placement of diagonals. The result is a technical-like appearance, which bears some resemblance to 1980s technology products. Dex Gothic should be used large in headlines or logos.

SERID is a display font condensed and regular designed for editorial applications. Inverted contrast, features a serif hybrid that gives a decorative character and personality to the font. Being a display type, intended for use in titles or in small blocks of text, from 24pt. The name SERID comes from the combination of words “SERif” and “hybrID”, resulting SERID.