Beach Please Vintage Is a font family designed with pointed brush and watercolours adding a grunge-rough texture.After the success of Beach Please, we release a new version, keeping the relaxed and tender brush, a bit inspired by sign painting. The caps have a bizarre look because of the reversed contrast on some letters. We have a slanted, wide version for each weight. More about Opentype Features: https://bit.ly/opentype-rsz

Capture your favorite beach moments with DoodleBat Beach Doodles. Remember the fun vacation and playing in the ocean with these fun DoodleBats.

The grandeur of what was Miami Beach had its golden years peak in the 1940s. One of the grande dame hotels that stood at Collins Avenue and 23rd Street was the Roney Plaza; built in the 1920s and demolished around 1969. An online auction offered a pair of gummed labels provided by the hotel to be used by their guests for shipping souvenir packages back home, thus also giving the hotel a promotional plug. Jeff Levine not only created two typefaces from this hand-lettered label - Old Miami Beach JNL and Old Miami Beach Nights JNL (a solid black version), but painstakingly recreated the look of the label for the promotional flag and banner for the fonts.

Eckhardt Broad Sans JNL joins the growing collection of sign painter-oriented fonts named in honor of the late Al Eckhardt of Allied Signs, a good friend of Jeff Levine for many years and a talented sign lettering artist in his own right. This design is a sans serif approach to the lettering found in the Eckhardt Showcard JNL family.

PictiFont’s newest symbol set, intended to be used within any of the PictiFont™ typefaces, features a sampling of the seashore. From seashells to sailboats, surfboards to sunshine, here are the symbols you need to make all things summer a breeze! Sunscreen anyone?

The Vtg Stencil fonts from astype are based on real world stencils from several countries. The Italian stencils that I chose as a model for this font are roughly based on classic French stencil letters. Please compare the figures (numbers) with their French counterparts. However, the Italian stencils are made with a different production technique. The design of the letters is clearly not punch-cut into the plates, maybe they are drilled, milled or etched. Details such as the serifs look bold and clumsy, and when using the stencils as they are meant, with viscous sign paint, smaller details easily fade away. So I took my freedom to design a font close to the original design but adding several typographic tweaks to let it shine, hoping to get closer to the intended design idea of these Italian stencils. Enjoy the vintage!