Our first font of Grecian was so old that it had been cast in a hand mold. Extremely popular face in the nineteenth century, made by many foundries and wood type makers in various widths. Lowercase was added by some foundries in later years.

Neeskens, by Enric Jardí. A few years ago we used to talk about Neeskens as the font preferred by the crew of Ganimedes' commercial vessels. Now we see it as one of most solid geometrics of our typefaces. Neeskens has two versions: solid and inline.

The Bicicleta family recaptures the ambiance of a bicycle journey I took many years ago along the Portuguese coast and embodies a vintage flair that appeals to me. A little reminiscing is always never a bad thing. The Bicicleta family is classic, clean and stylish.

The 1907 sheet music for "Take Me Back to Dear Old Dixie" had the song title hand lettered in a decorative serif typeface with strong Art Nouveau influences. This design is now available digitally as Fancy Nouveau JNL, in both regular and oblique versions.

Aylea a modern and relaxed display font. It embodies playfulness and authenticity and is the perfect choice for any children activity, school project, Christmas, New Year, Birthday and many more. Add this playful font to your designs and notice how it makes them come alive!

Some years ago I was walking along a street on the eastside of Manhattan and stopped in front of an old building that housed a power station. Lotsa Lotta is my version of the concrete letters displayed over the entrance that spoke the buildings purpose.

Jacky Hand is a waxy new font totally drawn by my 6 year old son while practicing his handwriting. This is a totally diverse font perfect for a wide range of uses from horror posters to childlike naiveté, or to inject some preppy school spirit.

Merry Fleurons is a bit of fun for Christmas, New Year and the holidays. It's ideal for decorating your own cards, party banners and any sort of Christmas publications. Need Holly? Christmas Trees? Baubles? Candy Canes? Angels? Merry Fleurons is just what you need.

The design for this typeface is based upon four sheets of an old latin book I purchased in Hanover (Germany) a couple of years ago. The letters preserve the rough edges of the original printing, I just added a few missing letters and some ligatures.

Vasili Vasilyevich Radlof or Wilhelm Radloff (Russian: Василий Васильевич Радлов; German: Wilhelm Radloff; 17 January 1837 - 12 May 1918) was a German-born Russian orientalist and founder of Turcology. Radloff is a German-born Russian Turcologist who researches the Turkish world from different perspectives, opens a new era in the history of Turkology by bringing them to light, and devoted 60 years of his 81-year life to these studies. He published his work known as Radloff's Atlas with a runic font specially developed for the Old Turkish Runic Alphabet. I made the Turkish Runic Font using Radloff's Atlas. I developed this Anglo Saxon Futhark font based on this font and adapted it to Anglo Saxon script.

The Handel Gothic? typeface has been a mainstay of graphic communication for over 40 years - all the while looking as current as tomorrow. Designed by Don Handel in the mid-1960s, and used in the 1973 United Airlines logo developed by Saul Bass, Handel Gothic was an instant success when released to the graphic design community. Its generous lowercase x-height, full-bodied counters and square proportions make the design highly readable at a wide range of sizes. Handel Gothic's slightly idiosyncratic character shapes gave the face a futuristic look 40 years ago that retains its power today. In addition, its Uncial-like lowercase is instantly identifiable - and unique among sans serif typestyles.

The Handel Gothic™ typeface has been a mainstay of graphic communication for over 40 years - all the while looking as current as tomorrow. Designed by Don Handel in the mid-1960s, and used in the 1973 United Airlines logo developed by Saul Bass, Handel Gothic was an instant success when released to the graphic design community. Its generous lowercase x-height, full-bodied counters and square proportions make the design highly readable at a wide range of sizes. Handel Gothic's slightly idiosyncratic character shapes gave the face a futuristic look 40 years ago that retains its power today. In addition, its Uncial-like lowercase is instantly identifiable - and unique among sans serif typestyles.

Printers Lot JNL is another eclectic mix of cartoons, ornaments, catch words, decorations and embellishments re-drawn from vintage source material used in the days of letterpress printing. For those who like to assemble their own larger borders, a set of elements is on the 2-9 keystrokes, but it must be noted that some manual adjustment is necessary to line up all of the parts in a complete border pattern. From a Happy New Year greeting to whimsical cartoon characters; from singular ornamental design elements to beautiful brackets, this mix of subjects is a great overview of the kinds of cuts found in printers' job case drawers in years gone by.

Senko Hanabi (線香花火 - Japanese: incense-stick fireworks) is a type of Japanese sparkler. These traditional sparklers are said to evoke “mono no aware” - “an empathy toward things”; the flash of sadness when reminded of the fleeting nature of life. I am always a bit melancholic this time of the year, so when I created this font, I wanted to give it a suitable name. Senko Hanabi was made using a brush and Chinese ink. It is a beautiful font, which comes with stylistic alternates, discretionary ligatures and a sparkling amount of diacritics. Remains for me to wish you all a very happy new year. Let’s do our best to make it one worth remembering!

Sometimes, especially after a long night of drinking in a bar or bodega, you do not want fancy, sophisticated food. You want to bite into a big, juicy burger. TpBarPaco is exactly that. A straight-forward, big and bold typeface. Like if Paco has done it himself. VLNL TpBarPaco, designed by Martin Lorenz of TwoPoints, was inspired by the vernacular type found at traditional spanish bars in Barcelona. It’s simple and friendly shapes make it the perfect typeface for HUGE typographic solutions.

If you are looking for some wild extreme grunge this is it. No holds barred this is some bad stuff. Let your imagination go there is no stopping here.

Back in 2006 when we first released our Happy Holidays font, we thought the War on Christmas was over! We'd taken down our Menorahs, our Christmas trees, reclining Buddhas and red, black and green Kwanzaa decorations, and were prepared to sprinkle nothing more than a little Season's Greetings over our end of year celebrations. When we saw our friends and neighbors at department stores, we'd greet them with a simple, cordial, non-denominational “Happy Holidays.” But the font showed up at our company party this year having learned over 200 new languages (and, it must be said, a little bit loaded on Stylistic Alternates) in a mood to celebrate EVERYTHING. It was wishing people happy Bodhi Day, Solstice, Festivus, you name it! It even brought (count 'em) THREE new outfits based on the colors of Christmas, Hanukkah and Kwanzaa. So may the designs on the cups of the hot beverages that take you through the long dark coffee break of the soul that stretches from Halloween to Thanksgiving to New Year's Day be a little more festive this year with the refreshed, Remastered, all-inclusive spirit of Happy Holidays!

The curves are vintage and the serifs are big. They're so big that for years I never had the courage to tackle this intimidating font. But when fellow signmaker Frank Smith laid the groundwork for this intriguing typeface by Frank H. Atkinson, I couldn't pass on the opportunity to take it from paper to keyboard. After all, at over 100 years old, I felt this alphabet had never been given a proper, digital treatment. So how did this face survive the last century? Well, for those who don't know the history, it survived in Atkinson's ubiquitous book, Sign Painting, published first in 1908, the generational standard for anyone interested in sign-related type design. The layouts and lettering treatments in this book have influenced countless designers for more than a hundred years, but most haunting to me was this strange face with the big serifs. Well, I'm haunted no more. The work is done, the kerning is complete, and nothing but a mouse-click separates a very old idea from the modern world. It's wide, it's big, and with those crazy serifs, it is definitely eccentric-!!!

Many years ago, we bought a bunch of proofs that had apparently come from the defunct Van Loey-Nouri foundry in Belgium. Cognac was an incomplete alphabet among them, which we completed. Just a guess, but 1910 seems like a probable date for this art nouveau design.

Craptoy is a grunge Open Type font - full of different auto ligatures! That means you can write words like beer, letter, bubble, success (just to name a few) without having the double letter repeating itself! (You will need to use OpenType supporting applications to use the autoligatures).

Toronto Gothic was developed from a headline in a 1920s issue of the Toronto Star. In a previous life, it was probably Condensed Titling Gothic #11, but in this form its rounded corners and irregular lines are meant to make it look worn from years of use.

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.

Heavy Black is all capital brush font, made from real brush pen with original texture. it can work with any design project, such as clothing or street wear logos, headlines, social media, quotes, and more. The original texture will give a strong impression on your design.

A design reminiscent to school script and handwriting, yet slightly off beat, with a gracious and elegant motion. Originally designed for invitations for a book store, the typeface likes to think it refers refers to book typography of the 40s and 50s of the last century.

Urmeba JNL has an odd history. Originally conceived a few years back as a... well... ‘barf’ font, this limited-character type design was revised by Jeff Levine into a less-offensive idea... that of friendly little amoebas (such as you'd find in a glass of water).

Australis is a hybrid roman font that won first prize in the Morisawa International Type Design Competition in 2002. After 10 years the family is finally complete and its release coincides with the reopening of the competition in 2012, in Japan. Designed by Francisco Gálvez Pizarro.

Stencil Sheet JNL was modeled from an antique brass stencil sign that was custom hand punched for the customer. Sets of punch dies were available for years that allowed rubber stamp shops and similar trades to make custom stencils out of sheets of zinc or brass.

For many type lovers, Broadway is the quintessential Art Deco typeface. Designed as an all-caps typeface in 1927 by Morris Fuller Benton for ATF, it was expanded two years later with a lower case designed by Sol Hess, who also drew the inline version, Broadway Engraved.

Created in Minneapolis in 1996, Chunder is inspired by the hand-painted cursive signage of urban boutiques where a shopkeeper can't afford to hire a very good sign painter. Kinda clunky, kinda flowery. Like beer spilled on a daffodil. "It's not pretty, but it's mine," says Chank.

Megaxoid is a grunge Open Type font - full of different auto ligatures! That means you can write words like beer, letter, bubble, success (just to name a few) without having the double letter repeating itself! (You will need to use OpenType supporting applications to use the autoligatures).

This came from a shop near Munich, Germany, and was a very poor proof with no font name on it. Never did identify it. When we cleaned it up, we liked it pretty well. We think it is typical of some early twentieth century art nouveau fonts.

Ornella is a very typical art nouveau typeface that perfectly fits into the series of URW++ Jugendstil fonts released in the last couple of years. Ornella was reworked, redesigned, completed and digitally remastered by Ralph M. Unger for URW++, based on specimen taken from old font catalogues.

Recreation JNL is Jeff Levine's own take on a popular vintage typeface from the late 50s or early 60s that's seen a resurgence in recent years. While the basic alphabet is somewhat modeled from the classic design, all the other characters in the font are original.

A movie poster for the 1952 Dean Martin & Jerry Lewis comedy “Sailor Beware” had the text rendered in a casual style of brush lettering similar to that found on store show cards. This inspired Show Card Brush JNL, which is available in both regular and oblique versions.

Small family called Bartender, for the lovers of retro style typefaces. Ideal for product names, packages, labels, old fashioned coffee shops, bars and everything with specific characteristics of past times.

DF Tapa is a typeface based on the vernacular, popular graphics used in Spain. They proudly announce the daily fresh snacks which are homemade and served in every proper bar.

Around 1931, the Los Angeles Times (in partnership with the Richfield Oil Company) installed on its building a moving message board similar to the one at the New York Times in New York City which they dubbed an “electric newspaper”. The style of characters used on this electronic sign were the basis for the namesake font Electric Newspaper JNL, which is available in both regular and oblique versions. A blank space to place between words is available on both the solid bar and broken bar keystrokes.

Around 2018 or 2019, the State of Florida introduced new letter and number characters on its auto plates. Inspired by this change, Jeff Levine Fonts offers up a digital version of this lettering named New Car Tag JNL, which is available in both regular and oblique versions (for those who want a more sporty look). Some people prefer a rounded 'zero' to differentiate between the regular zero and the letter 'O'. You can find this alternate character located on both the solid bar and broken bar glyphs.

The Raleigh Hotel at 18th Street and Collins Avenue on Miami Beach is an Art Deco landmark and part of the city's popular tourist district. A vintage matchbook from the hotel had its name hand lettered in what is now Beachfront Hotel JNL; available in both regular and oblique versions. The lower case letters have been made more traditional, eliminating the Deco-influenced "overhangs" present on the capital letters, and an alternate "E" from the original matchbook design is available on the bar and broken bar keys.

Macho Moustache is closely related to Macho Modular , the parent type with which it shares modular widths and most letterforms. The difference is that Macho Moustache follows the ‘Grotesque' tradition of tight apertures for a, c, e and s as well as some of the numerals. Original design work started together with Macho Modular in 2008. Now the range and communication potential of the Macho family has been developed with five weights. Since the Macho family was designed bearing in mind the idea of Themerson's semantic typography, Macho Moustache features all sets of modular brackets and underlinings.