Detention JNL is simply the hand printing of its designer, Jeff Levine. Its uses range from personalizing notes and messages to a graffiti look or as "legible grunge lettering".

Convicted JNL is a condensed, chamfered sans serif type design inspired by opening credits from the 1940 film of the same name – available in both regular and oblique versions.

A bold, handmade stencil alphabet from the book “Lettering” by Harry B. Wright (1950) served as the model for Obscure Stencil JNL – available in both regular and oblique versions.

Claxon is reminiscent of the types from the 1920s Bauhaus movement. Designed with very short ascenders and descenders for tighter line spacing. Effective for short headlines and general use.

Halfway between graffiti & typeography you find styles like Graffick™. These fonts are derived directly from hand written letters made mechanically perfect to behave more like common digital fonts.

Curlicues galore on this modern version of a mid-victorian display type. We started with the caps from a type called Cellini, altered them considerably, and added a lowercase.

SpaceMace is a pixel-font designed for print work... or not! It features 950 glyphs, from Basic Latin to Greek and Cyrillic, with ligatures, swashes and much, much more!

BaselSans is a discrete, legible typeface, inspired by the international typographic style, with a humanistic touch. It is suitable for many uses, from small size texts to large titles.

Brooklyn Syndrome is a modern, cool, squared lettered and bold display font. It will elevate a wide range of crafting ideas, from cards, to branding, labels and much more.

King15 is a beautiful script font based on signatures dated back from hundreds of years. Its asymmetry and ink imperfections give it a strong and a truly unique character.

Rackham Italic is based on the hand lettered titles of Arthur Rackham from the book English Fairytales. The Rackham font is based on his more familiar title lettering style.

A butterfly, plants, animals, borders, embellishments, a center piece and corner pieces make up this assortment of charming stencil designs re-drawn from vintage sources for Antique Stencils JNL.

Fancy Antique Display is a uppercase display font inspired by French decorative alphabets from the 1940's and 1950's. Perfect for headlines, logos and everything above the body.

Florian Fecher’s Lektorat font family is one for the books, and for the screens, and for the magazines. While an editorial’s main goals are to entertain, inform, and persuade, more should be considered. For example, clear divisions are necessary, not just from one article to the next, but in how each is positioned as op-ed or fact-based, infographic or table, vilifying or uplifting. From masthead to colophon, Lektorat has six concise text styles and 21 display styles to captivate, educate, and motivate within any editorial purpose. Magazines and related publications are notoriously difficult to brand and then to format accordingly. The research behind Lektorat focused on expression versus communication and what it takes for a great typeface to accomplish both tasks. In the changeover from the 19th to 20th century, German type foundry Schelter & Giesecke published several grotesque families that would become Lektorat’s partial inspiration. Experimentation with concepts from different exemplars gave birth to Lektorat’s manifest character traits: raised shoulders, deep incisions within highly contrasted junctions, and asymmetrical counters in a sans family. After thoroughly analysing magazine publishing and editorial designs, Florian discovered that a concise setup is sufficient for general paragraph text. So Lektorat’s text offering is concentrated into six total styles: regular, semibold, and bold with their obliques. Stylistic sets are equally minimal; an alternate ‘k, K’ and tail-less ‘a’ appear in text only. No fluff, no wasted “good intentions”, just a laser-like suite to focus the reader on the words. The display styles were another matter. They aim to attract attention in banners, as oversized type filling small spaces, photo knockouts, and in subsidiary headings like decks, callouts, sections, and more. For these reasons, three dialed-in widths — Narrow, Condensed, and Compressed — complete the display offerings in seven upright weights each, flaunting 21 headlining fonts in total. If being on font technology’s cutting edge is more your goal, the Lektorat type family is optionally available in three small variable font files for ultimate control and data savings. The Lektorat typeface was forged with a steel spine for pixel and print publishing. It unwaveringly informs, convincingly persuades, and aesthetically entertains when the tone calls for it. Its sans serif forms expand in methodical ways until the heaviest two weights close in, highlighting its irrepressible usefulness to the very end. Lektorat is an example of how much we relish entering into an agreed battle of persuasion — one which both sides actually enjoy.