Time-tested elegance is what you’ll get with Geographica Script, a handwritten typeface steeped in 18th century sophistication. Source materials include the maps of Emanuel Bowen (circa 1694–1767), Geographer to King George II, as well as English and American trade cards from the middle 1700s, including the work of artist and printmaker William Hogarth (1697–1764). A kindred font to our Geographica serif family, Geographica Script is a painstaking replication of the elegant roundhand cursive seen in engravings of the period. Geographica Script has more than 1,100 glyphs, including scores of standard and contextual ligatures, three full uppercase alphabets, historical forms, decorative flourishes, and full Latin support. It’s also got fifty evocative ornaments inspired by map and trade card illustrations, e.g., lion rampant, unicorn rampant, crowns, anchors, sailing ships, whale, dolphin, sun, moon, and many others. Note: To prevent Microsoft Word from cutting off Geographica Script’s extra-long descenders, set line spacing (Format —> Paragraph —> Spacing) to 1.5 lines.

Take a classic sans serif typeface, run it through a filter for a "wind" effect then auto-trace the design. The result: a broken, jagged and rough type font called Erosion JNL.

Coming Soon by Open Window is based on the handwriting from mom when she was in 6th grade. Solid balance, masterful strokes, and just a touch of lemonade stand for good measure!

ThinPen is based on an ancestor of the German DIN-Schrift. The font was traced with a plastic template on transparent paper, scanned and worked over carefully to keep the handmade, authentic touch.

NormPen is based on an ancestor of the German DIN-Schrift. The font was traced with a plastic template on transparent paper, scanned and worked over carefully to keep the handmade, authentic touch.

BoldPen is based on an ancestor of the German DIN-Schrift. The font was traced with a plastic template on transparent paper, scanned and worked over carefully to keep the handmade, authentic touch.

A wide and thin hand lettered Art Deco design from the vintage French lettering book "L'Art du Tracé Rationnel de la Lettre" was the inspiration for French Deco JNL; available in both regular and oblique versions.

Dolphus-Mieg Monograms is a collection of monograms from a rare cross-stitch booklet from the first year of the 20th Century. This new Monograms series was entirely designed by hand, without use of auto-tracing.

The movie poster promoting the 1962 James Cagney comedy "One, Two Three" had it's text done in free-style hand lettering. Starting with an auto-trace in order to have an isolated version of the black letters separated from the red poster background, the tracing kept the basic forms intact, but with limited accuracy. Cleaning up and digitally reshaping the letters manually to form a more correct version [closer to the original movie poster], additional figures, foreign characters, accents and punctuation were drawn from scratch. This is now available as Handwritten Note JNL in both regular and oblique versions.

This is long awaited thorough revision to Skarpa family. The revision has inculded both another look at letter shapes as well as kerning and metrics of the files. The shapes encapsulated in this font stem from old time architectural drawings hand executed at drawing board with tracing paper and rapidographs. Think of lettering stencils sliding across the tracing paper and craftily exectuted drawing descriptions. The font is based on geometric forms devoid of excessive flourishing. Would suit modern designs either in fashion, technology or laboratory setting. Would look good on door plaques in pharmacy or simple drawer plaques - especially Medium or Bold specimen.

Azalleia Ornaments is a new flourished ornaments typeface. Well elaborated and unusual design, inspired by old cross-stitch and craft books and entirely designed by hand, without use of auto-tracing and available in two different designs.

The history of this font is those. Once I assorted the old children's books which have stayed from times of my childhood. On one of them I have seen a trade mark of a printing house consisting of two Russian letters "L" and "B". From they were begun also with my font. And though finally from these letters a little that remained, elements of these letters can be seen in font D-block B.

Clio, Clio XS and Clio Condensed is a big family of 72 fonts. They were designed by Gabriel de Souza in 2012. They are simple and stylish and they have the ideal appearance to your work. Furthermore, features such as italics, obliques, great language support and flexibility. They can be applied in many differents form but their primary use is indicated to display use and luxurious trade mark creation and also available for Clio Icons.

Clio, Clio XS and Clio Condensed is a big family of 72 fonts. They were designed by Gabriel de Souza in 2012. They are simple and stylish and they have the ideal appearance to your work. Furthermore, features such as italics, obliques, great language support and flexibility. They can be applied in many different forms but their primary use is indicated to display use and luxurious trade mark creation and also available for Clio Icons.

A bold spur serif design found within the pages of the 1934 French lettering instruction book “L'Art du Tracé Rationnel de la Lettre” provided the inspiration for Railway Depot JNL, which is available in both regular and oblique versions.

I used a technical pen to the trace the letters in an alphabet learning book for this font. Of course, I drew several letters by freehand as if I were practicing, and included all of them together as a Stylistic Set.

Nosy Notes is originally handdrawn, but I digitally traced my sketches and the result is this font - a smooth, super steady and legible comic font. I've added multilingual support, in order for you to be nosy in all kinds of languages! :)

Clio, Clio XS and Clio Condensed —each available separately— is a big family of 72 fonts. They were designed by Gabriel de Souza in 2012. They are simple and stylish and they have the ideal appearance to your work. Furthermore, features such as italics, obliques, great language support and flexibility. They can be applied in many different forms but their primary use is indicated to display use and luxurious trade mark creation and also available for Clio Icons.

Hey, what the hey! You'll have to look twice at this unusual typeface from Jeff Levine. Utilizing the sans serif lettering found in Trade Printer JNL, this novelty font combines two staggered outline versions that are blended together to give a double-image effect. This works best at large point sizes and with minimum word count. Use it for attention-getting phrases such as "You'll See Double" or "You Won't Believe Your Eyes" (or similar ad copy).

Kilburn is a no-nonsense, condensed Gothic sans-serif. For over a century the condensed sans-serif has been the 'go to' font for gravitas and authority. Kilburn continues in the fine tradition of fonts such as Franklin Gothic, News Gothic and Trade Gothic offering a contemporary interpretation of the condensed sans-serif — functionality with personality. Equally at home as both a text and display font, Kilburn is available in five weights from Thin through to Black.

The Silly Treat font is actually handmade, but I traced each and every letter and cleaned them up - however, I wanted to keep the handmade look, and left just about enough details for you to find details of my original drawn lines.

The Pandorum font was especially designed by Alejandro Lecuna and Henning Brehm for film sets in the science fiction movie “Pandorum” starring Ben Foster, Antje Traue and Denis Quaid. It was used for all signage, logos, posters and monitors in the spaceship “Elysium”.

Butternut’s origins can be traced back to handwriting in felt-tipped marker. Because of this, you’ll find a slight degree of roughness to the edges, yet a fluid softness to the letterforms themselves. As well as some weird, fun details here and there.

A set of old die-cut cardboard letters and numbers used by teachers directly on bulletin boards or for tracing was the inspiration for Classroom JNL. In turn, these letters take their cue from typefaces such as Franklin and earlier wood type designs.

This set of two fonts is intended for use by kindergarden & 1st grade teachers or anyone else teaching young children how to write. 2 Fonts are included, PreCursive Lined has the upper, lower & dotted mid line & the the Regular has only the letters.

The idea started with the 1934 sheet music of “Mazurka Amabile”. Its hand drawn title had most of the letters rendered in a rectangular shape [‘square’ in the sign trade] that featured rounded corners and terminals made by the shape of the lettering pen nib. A few letters were rounder in design than others, so those were scrapped in favor of a more consistent character shape throughout the font. Pen Nib Square JNL is available in both regular and oblique versions.

Need to cram a zillion words on to a single page? Nicotine is your vice. Cram it. Nicotine Jazz is a bit more musical as it trades uppercase and lowercase letters for an interesting unicase effect. Italic can be used for extra emphasis. The condensed nature of the Nicotine fonts allows for impressive use at larger, poster sizes. Another interesting tidbit? The I in Nicotine is a silhouette of a traditional filtered cigarette; that's how the font got its name.

Bistro and Hot Sauce have been prepared quickly. In Bistro you will find 10 fine traces from coffee cups, and in HotSauce 10 pleasant-for-eyes stains from sauce. Both fonts are created in the 1998. OpenType revision, with extended Latin characters, made in 2009.

Within the pages of the Pettingill & Co. (Boston) 1901-02 specimen book is Camelot Old Style – a thin stroke spurred serif typeface with traces of Art Nouveau influence. This had been redrawn digitally as Pettiford JNL, and is available in both regular and oblique versions.

Sticky Brash is my laid back kids comic book font - suitable for anything that needs a fresh and quirky attitude, and super legible at the same time. Originally handdrawn, and then manually traced digitally, in order to make those insane clean curves and lines!

Bistro and Hot Sauce have been prepared quickly. In Bistro you will find 10 fine traces from coffee cups, and in HotSauce 10 pleasant-for-eyes stains from sauce. Both fonts are created in the 1998. OpenType revision, with extended Latin characters, made in 2009.

A French lettering chapbook from the 1920s, entitled "Art du Tracé Rationnel de la Lettre," provided the inspiration for this decidedly Deco exercise in alternative letterforms. Both flavors of this font feature the 1252 Latin, 1250 Central European, 1254 Turkish and 1257 Baltic character sets.

Born in 1831, Hermann Berthold was the son of a calico-printer. On completion of his apprenticeship as a precision-instrument maker and after practical experience gained abroad in galvanography, Hermann Berthold founded his "Institute for Galvano Technology" in Berlin in 1858. Very quickly he discovered a method of producing circular lines from brass and not, as customary at that time, from lead or zinc. The soldering normally necessary could also be dispensed with. The lines were elastic and therefore highly durable. They produced outstandingly fine results. Most of German's letterpress printers and many printers abroad placed their orders with Berthold. His products became so popular that the print trade popularized the saying "As precise as Berthold brass". In 1878 Hermann Berthold was commissioned to put an end to the confusion of typographic systems of measurement. With the aid of Professor Foerster he succeeded in devising a basic unit of measurement (1m = 2,660 typographic points). This was the birth of the first generally binding system of typographic measurement. It is still used in the trade. Hermann Berthold served as the head of the Berthold type foundry until 1888.

SlipperyFishes alternates two letter sets to create an undulating line of text that reminds me of a slippery fish. It resembles Undulate, another typeface that uses the OpenType feature of contextual alternatives (calt) to alternate letters, but while the tops and bottoms of letters in Undulate trace parallel paths, the tops and bottoms of letters in SlipperyFishes trace reflecting paths. SlipperyFishes is monospaced with tight letter spacing to accentuate the ripple pattern. The family has four members: regular, outlined, condensed, and condensed outlined. The outline styles that can be used in a layer with their base styles to add color.Slippery fishes is bizarre and weird and can be used in places where those attributes will create attention-grabbing lettering.

Hot Salsa is a calligraphic script font inspired by the classic, fairly well-made brush letters from the casual sign painting style, mixed with the fast and gestural tags you can find on walls all around the world. This is a fresh font that allows you to play with its numerous swashes, alternates and ligatures to make it feel more sober or a little flirty depending on your needs. Hot Salsa started with a brush pen and a lot of paper. These were later re-traced onto many layers of tracing paper with the intention of maintaining the brush pen and handmade feeling while making the structure consistent to ensure its readability and performance.

Sultania is a harmonic synthesis of the old characters’ suppleness and the resolute, clean design of modern typography. The rich in contrast calligraphic approach with thick and thin strokes is still visible and you can almost feel traces of ink on paper while it’s shapes in general, without serifs and any embellishments, proclaim its up-to-dateness swinging between roundness and rigor. Elegant, noble, yet still affected by traces of the handwritten script, Sultania is reminiscent of power, wealth, mind and culture. Sultania’s historical roots and it’s originality remind of oriental colors. A close Orient, at the gates of Europe, in which Latin characters are mixed with distant sounds. The Byzantium of the Sultans.

This font was specifically created for my husband. He teaches 5th grade and wanted a font that was legible enough for students to read but still playful enough to add a touch of whimsy to his classroom. Legible enough for body text but fun enough for titles.

Inventory JNL is based on a "solid letter" stencil where you trace the body of the letter and fill in the top and bottom connecting lines to each character. This is another font in Jeff Levine's series of digital designs based on classic lettering stencil guides.

Crude Stencil JNL is a rough auto-tracing of a vintage lettering stencil from the 1980s, with additional characters added in post-production. At small type sizes, the lettering takes on a "grunge" effect, but larger scale text will reveal more of a jagged "cut paper" look.

A 1930s casual Art Deco type style with as much influence in 1970s graphic design as in its day was found within the pages of the 1930s French publication L'Art du Tracé Rationnel de la Lettre. Discotheque JNL is available in both regular and oblique versions.