The letters and numbers of a home movie titling kit from circa the 1950s or 1960s called the Magna Tech Titler Number 312 were die-cut from cardboard with a magnetic backing and were styled after Futura Bold. The user of this set composed the desired title or phrase onto a metalized board and the result was photographed with their 8 or 16mm camera. Because the dies of the characters were handmade, very slight variations in the shape and stroke width of the lettering would occasionally occur. These variations were incorporated into the design of the digital type face. Intermediate JNL is available in both regular and oblique versions.

Trapper is so named because it exploits a typographic design mechanism known as ink traps purely for graphic effect. Ink traps are a device used by type designers to create significantly higher legibility under adverse printing conditions, especially when the intended use of the type is to be printed at small sizes on mediocre substrate. For Trapper the ink trap is overused for exaggerated visual effect. This gives the Round version a playful twisted balloons look while the Sharp has a stern mechanical default effect. Trapper is a versatile font family of 8 fonts -- Sharp and Round variations in regular and bold weights each with an accompanying oblique.

I am pleased to introduce Brixton Pro, a sophisticated yet approachable typeface that combines the elegance of a suit with the comfort of sneakers. This typeface is designed to make a bold statement while remaining friendly, inviting, and playful. The Brixton Pro collection includes both a serif and a sans-serif typeface (with oblique, and condensed styles available in 4 weights each) that work harmoniously together, providing versatility and flexibility for a wide range of design purposes. These fonts are particularly well-suited for marketing, branding, packaging, and other designs that aim to capture attention and stand out, whether in corporate or non-corporate contexts.

Qudro is a new font aimed at minimalist logo projects. Besides, this font is also suitable for other design projects such as movie titles, branding, taglines etc. Use alternative letters from this font to make your logo / design more attractive. Qudro contains: – Standard character font – Numeral & punctuation – Alternate each letter character standard – Supports multi languages Qudro has 3 styles: Regular, Outline, and Oblique Make this font has many options in its use according to the design project you need. To access additional characters, you can use major editing software (example: Illustrator) and find it in the glyph menu, or it can be in the character-map setting (Windows) / character viewer (Mac).

Stencil Package JNL has its design roots in the brand name hand-lettered on the paper sleeves for the short-lived Stencil-It line of lettering guides produced in 1955 as a direct competitor to Stenso Lettering Guides. Formed by Bernie Aronson [a relative of the Libauers who owned the Stenso Lettering Company and who once worked for them] along with a financial partner (noted artist) Sidney Levyne, the company was soon put out of existence by a court action. It re-emerged in 1956 as the E-Z Letter Stencil Company and existed until the 1990s. Stencil Package JNL is available in both regular and oblique versions.

Comic Mode is a warm, fun and comical sans serif family, "its an alternative for comic sans, with a more formal looks". Availavle of 9 weights from thin to black. with a curved character that is round on thin and increasingly elliptical on black. The unique look of comic Mode is the combination of a technical sans serif and casual handwriting . These 9 diffrent weights also come with oblique style, so there are 18 styles in this family and 1 variable font that are a relatively new font format that allow one font file to contain multiple stylistic variations. Fresh, unique and casual, make this font really worth having.

An image found online of a vintage storefront sign for the Kraus Photo Shop was the inspiration for Photo Developer JNL, which is available in both regular and oblique versions. The sign featured a thick and thin Art Deco style lettering with an inline cutting through the thicker strokes. Before the advent of digital photography, and way before chain stores offered in-house processing, neighborhood photo labs were the only place for getting prints from your roll film (unless you wanted to send the film into Kodak for developing and printing). Customers of these stores could also purchase additional film, cameras and photographic accessories from the same location.

This first font was made as an experimental work for us. learn a alot of typeform from other typeface in the past, bring us to this grace position. We learn about Variable font and all the thing to do some improvement in our work. such a nice time to present this new font to the world as the ground breaking of our mission to scale up our skill and to step up into the next vision as a font designer. We create this font with variable and Open Type features. Some instances including, from thin to black. and on the variable font has and oblique style.

Mozzart Sketch is a decorative version of Mozzart Sans, slightly rounded, Neo-Grotesque corporate font, created for MOZZART D.O.O. company from Belgrade, Serbia. Mozzart Sketch is a decorative hand-sketched font for headlines and short texts, and also very readable in small weights. All glyphs were carefully hand drawn, with marker as a tool, then traced and digitized. The family contains: 5 Weights, 3 Condensed and 1 Oblique versions of the font, complementing each other perfectly. All versions contains completely MacOS Roman and MacOS Cyrillic code pages, tabular figures, small caps... perfect for profesional designers and very useful for artistic things, catalogues, music... and many other sensual and beautiful things. Enjoy!

The place for a family to be entertained by comedians, dancers, acrobats, animal acts, singers and just about any other acts that fit the bill at the time was the vaudeville theater. Prior to radio becoming the major source of entertainment for the American public, popular songs were introduced on the stages of these entertainment venues. One such song from 1916 with a World War I patriotic sentiment was "A Yankee Doodle Boy Is Good Enough for Me". The sheet music featured the title hand lettered in Art Nouveau style. This became the design source for Vaudevillian JNL, available in both regular and oblique versions.

Controller is a geometric rounded sans serif including 5 weights and corresponding obliques and their extended style are ready. Originally, the designer was inspired by a mixture of techno and organic design in the end of 20th century around the West Coast. The letterforms of this font are designed geometric but are also slightly rounded to make a natural, warm and organic impression. Uppercase N has its alternative glyph that can be accessed by using OpenType stylistic feature. Controller is a versatile and useful family for a wide range of projects. We released 4 big Sci-Fi families in 2013. Check it out! Clonoid Controller Geom Graphic Space Colony

Leonardo Sans is a modern sans serif with a geometric touch. It comes in 10 weights, clean and modern caps, thereby creating more variability. Designed with powerful opentype features in mind. Each weight includes extended language support, fractions, tabular figures, arrows, ligatures and more. Perfectly suited for graphic design and any display use. It could easily work for web, signage, corporate as well as for editorial design. 10 Weights (Thin, UltraLight, Light, Regular, Medium, SemiBold, Bold, ExtraBold, Black, Heavy) Oblique font is available Numbers & Punctuation Extensive Language Support Thanks for looking, and I hope you enjoy it. Check out Newgate which is a great pair for Leonardo Sans.

In the early years of the 20th Century, singer-dancer-actor-composer-playwright George M. Cohan was known as "The Man Who Owned Broadway". In 1904, Cohan was enjoying success with his latest creation, "Little Johnny Jones". Cohan gave America what would become a number of iconic songs, and both he and his compositions were immortalized in the 1942 biographical film "Yankee Doodle Dandy" starring James Cagney. The Art Nouveau-influenced hand lettering of the title on the cover of the sheet music for "The Yankee Doodle Boy" was the model for its namesake digital typeface design and is available in both regular and oblique versions.

Sign and Display JNL is a long-overdue companion font to 2009’s Sign and Poster JNL. The original design models were Art Deco influenced die-cut cardboard letters and numbers manufactured by the Duro Decal Company of Chicago. Square in shape with rounded corners, the thick cardboard letters were used for making show-cards and other display signage. Subsequently, Duro used the same style of lettering to manufacture water-applied decals for boat identification and other uses. It was a set of these decals (with a black outline and yellow interior) that inspired the outline typeface Sign and Display JNL, which is available in both regular and oblique versions.

For many decades, the fashion magazine “Vogue” featured superbly illustrated covers before photography became more commonplace. During the 1930s and 1940s those illustrations were accompanied by many creative styles of hand lettering for its monthly issues. The January, 1930 cover had the magazine’s name lettered in an Art Deco geometric monoline, which became the inspiration for Vagary JNL, which is available in both regular and oblique versions. A vagary [in a simple sense] is when something or someone changes in an erratic or unexpected way (as the wind’s direction or in a person’s mood or whim)… and thus seemed the fitting name for this type style.

Super League is a display typeface created for the sports industry. The typeface itself doesn't lean too much in a particular sports category direction which makes it versatile in use across various sporting categories. Super League has loads of. options to make use of including; small caps, stylistic alternates, ligatures for vs, st, nd, rd and th that are very useful when handling typography for sports in particular. Use Super League in all your printed material or on screen. Create badges or print names and numbers sports kits. All weights come with an oblique version which makes the total number of 16 fonts in this typeface.

Winter Garden JNL was modeled from the eccentric sans serif hand lettering with varying line widths found on the sheet music of 1917's "When the Girl You'd Give the World to Win Gives Her Heart to You". (It seems that sheet music from the early 1900s often had song titles that were more than just a few choice words. This particular ditty's title took up fourteen words to make its point.) The font is available in regular and oblique versions and gets its name from both the famed theater in New York and the city located 14 miles West of downtown Orlando, Florida.

Normally, a short paragraph or two on this page tells the backstory to a font design. In this particular case, that story has been lost to time. Whatever the original source – whether a vintage bit of typography or an original idea – the beginnings of this font lay unfinished for quite a while as it was perceived to duplicate another previous release. However, after recently checking a sample of the design against other Jeff Levine Fonts, it’s reasonably certain this type face may have similar characteristics, but can stand on its own merit. That said, Clean Deco JNL is available in both regular and oblique versions.

At times, one source of inspiration can generate more than one idea. This was the case with the 1918 sheet music for the song "You're Still an Old Sweetheart of Mine". The cover displays the title in a hand lettered narrow Art Nouveau Sans serif style. A number of characters were revised and the overall font was compressed by 25% to create a whole new look and feel. The end result became Slim Nouveau JNL. This was the same material used to originally model Easy Money JNL, which is truer to the original lettering design. The font is available in both regular and oblique versions.

Mansory is a modern contrasting and elegant sans serif font, which is presented in an upright and oblique style and also has 4 weights, this gives more opportunities for your design project. Contrasting lines and balanced forms of these fonts will provide recognition and will be easy to read. The regular style is perfect for text, while the heavier ones are perfect for logos, headings or will highlight exactly what you need. Mansory has stylistic alternates and ligatures that are harmoniously combined with the font, with them you can make your project more individual. This font is easy to use and has OpenType features.

An ad for the annual Variety Club Convention appeared in the March 18, 1940 issue of "The Film Daily. The main headline was hand lettered in a classic Art Deco "solid" style of sans serif - ultra bold and with no counters - but had one additional feature: 'engraved' lines to the left of each character. This has now been expanded into the digital typeface Trade Convention JNL, which is available in both regular and oblique versions. Variety Clubs (now know as Variety - The Children's Charity) was founded in Pittsburgh, Pennsylvania in 1928 by entertainers specifically to aid children. Their history can be found at https://variety.org/who-we-are/history

In the July 24, 1915 issue of “Dry Goods Reporter” is a demonstration of hand lettering rendered with the use of a “speed pen”. Two suggested examples cited in the accompanying article were the Payzant pen and the then-new Speedball pen. An ornate Art Nouveau serif alphabet is displayed, with some examples having delicate floral elements entwining the letters. The initial alphabet was auto-traced, then cleaned-up and modified to recreate the core design of the basic (unadorned) letters. The numerals, punctuation and all additional characters were then made from scratch. Nouveau Rose JNL is the finished result, and is available in both regular and oblique versions.

In the opening scenes of the 1938 Three Stooges comedy “Tassels in the Air” the Stooges are working as maintenance men inside an office building. Their immediate job requirement is to paint the tenants’ business names on the corresponding office doors with pre-cut stencils. Of course, they get it all wrong. Nonetheless, the stencils appear to be a hand cut sans serif design in a squared or ‘block’ style with rounded corners, and some of the applied lettering made for an interesting challenge to recreate as a typeface. The end result is Maintenance Stencil JNL, which is available in both regular and oblique versions.

Found within the pages of the 1934 edition of the American Type Foundry’s “Book of American Type” is a sans serif design with rounded terminals that emulates a typewriter face. “Jumbo Typewriter” is reminiscent of the type of lettering formerly found on teletype news copy. “Teletype” was a division of Western Electric (part of AT&T), and the machines utilized telephone lines to electronically type and send (as well as receive) messages worldwide. Many folks will remember the sound of teletype machines in the background when radio stations had their news breaks. Now available digitally as News Copy JNL, it is available in both regular and oblique versions.

The hand lettered credits from the 1931 melodrama “Safe in Hell” inspired the typeface Pre Code Movies JNL, which is available in both regular and oblique versions. The design is strongly influenced by the popular Art Deco style of thick-and-thin characters and also features rounded corners. The font’s name comes from the early era of talking pictures and the short period before the establishment of the Hays Office in 1934 when Hollywood did not self-censor itself. Many then-taboo topics were exploited on film until Will Hays cracked down on such productions. To read more about Pre-Code Hollywood, visit the Wikipedia link: https://en.wikipedia.org/wiki/Pre-Code_Hollywood

Binario Soft is a friendly typeface with rounded edges, offering a warm and soft impression. It comes in three weights with matching obliques. Drawn with subtle references to Art Deco, this type is ideal for a clean, warm, and modern look in branding, posters, magazines, and screen-based projects. The light weight is good for short body text. The regular weight exudes confidence, making it suitable for both body and heading text. For impactful headlines, the bold weight is excellent. The clear weight distinction make it easy to create organized text. Binario Soft is a gently rounded version of Binario, which is also available on this vendor’s website.

One of my all time favourite movies is Baz Luhrmann’s Moulin Rouge. In it, there’s a brief scene where the proprietor of the Moulin Rouge (Harold Zidler) signs away the deeds to the establishment. The actual signing of his signature is what motivated me to create this script font. Although it’s not an exact replica of the character’s hand, I like to think that it has the same crisp immediacy of the original. With its consistent oblique slant, narrow and long ascenders and descenders, and the occasional blobbing of letters, the overall effect, gives the appearance of a correspondence penned by lamplight while a storm rages outside.

Kessel 205 is inspired by the classic, geometric sans-serifs such as Futura, but has shallower ascenders and descenders for a more compact look, and features an art deco influence with sharp points at the apex of many characters, lowered crossbars and an oblique crossbar on the lower case e. It's a versatile, modern sans, highly legible as a text font and with a distinctive, elegant look as a display font at larger sizes. It includes old style non-aligning (lower case) numbers, both proportional and tabular as well as accented characters for Central European languages. The Kessel 205 family comprises of six weights and is closely related to Kessel 105.

A set of slab serif framed capitals is displayed in the 1906 edition of the Keystone Type Foundry specimen book as “John Alden Initials”. Digitally redrawn as Keyden Drop Caps JNL, regular and reverse versions are available in one font file. Upper case keys contain the regular version, lower case keys have the reverse version. Blanks frames for each are on the parenthesis keys. The font’s name is a hybrid of both ‘Keystone’ and ‘Alden’. These vintage letters can easily be used as drop caps, monogram initials or for short novelty titles or headlines. Choose from either regular or oblique for your next print project.

Vintage, printed look Mozzart Rough typeface from Posterizer KG Type Foundry is one of two decorative versions of Mozzart Sans font family (slightly rounded, Neo-Grotesque corporate font, created for MOZZART D.O.O. company from Belgrade, Serbia). Mozzart Rough contains: 2 Weights, 2 Condensed and 1 Oblique version of the font, complementing each other perfectly. All versions contains completely MacOS Roman and MacOS Cyrillic code pages, tabular figures, small caps... Along with all of this, you will also discover extra added unique ornaments and symbols. It will be helpful for users to create realistic letterpress pages. Enjoy! Because of its complex outlines, Eveleth may process slowly in some applications.

Although the early 1900s through the 1920s seemed to be the "Golden Age" of ridiculously long novelty song titles, it appears that even the decade of the 1940s had its fair share as well. Song Merchant JNL was modeled from the hand lettered [but exhausting] title of the sheet music for "Princess Poo-Poo-Ly Has Plenty Pa-Pa-Ya (and she Loves to Give it Away)". Despite the obvious double-entendre inferences of the title, the square block letters with rounded corners make for a useful headline font (even if the source material it was drawn from is quite forgettable). Available in regular and oblique versions.

Eckhardt Bold JNL continues a series of sign painter-inspired type designs and is named in honor of the late Al Eckhardt, a talented sign man who was a good friend of Jeff Levine for about 18 years until his passing. The font is available in both regular and oblique versions and was inspired by an example found in the 1928 edition of E.C. Mattthews' "How to Paint Signs and Sho' Cards". Both squat and wide for maximum use in wall and window applications, the original name for the design is "Heavy Plug". Plug was the sign painter's term at the time for describing this type of letter form.

Alf Becker was a master sign painter and lettering stylist who created well over 100 alphabets for a monthly feature in the trade magazine "Sign of the Times" during the 1930s and 1940s. Thanks to Tod Swormstedt of ST pubications for supplying the source material. One of these designs features a modernized version of Old English or "text" lettering making it more legible for sign and show card work. Doing away with extra curves and swashes, this type style is more calligraphic in nature than classic. Modern English JNL was modeled from Becker's original design, and is available in both regular and oblique versions.

Laire sans that we created at the end of 2021, we made visual communication more Friendly, bold with a geometric touch in our sans category called Laire, has a good level of legibility when applied as body text because we really consider the optical in each letter. Laire Sans has 40 Styles of Normal, Condensed, Oblique fonts with Weight from thin to extra Black, has a total of 693 glyps, Cyrillic is also available to meet the needs of several languages. Designed with Opentype features to help make using fonts easier We also include variable fonts to make it easier for users to set their own according to their desired needs

Get to know Norman, elegant and fashion forward. This new condensed and high contrast serif font is based on expansion giving a sense of self confidence. The oblique ax was specially added to get a contemporary and innovative sense. Norman is young and idealist, he has a distinctive sense of style. A complete set of ligatures and stylistic alternates is included, this will help the designer to customize and give a special look to any layout. We recommend to use it for big title, magazine, editorial purposes and display. Norman Family contains 2 styles, Regular and Italic, both fonts have another version a bit heavier called Regular 2 and Italic 2.

For decades, the National Show Card Writer Company of Minneapolis, MN produced sign making kits used by shopkeepers, schools, churches and many other types of organizations. The standard sets were comprised of two part stencils that when overlaid, produced finished lettering, or a buyer could choose the same type style designs with a standard stencil letter. From one of these templates comes Show Card Stencil JNL, in both regular and oblique versions. Take note that the U, V and W have the heavier vertical strokes reversed. As this was the way the original stencil design was manufactured, it has been retained for this digital type as well.

This expressive face was drawn with a dry chisel felt-tip marker, resulting in two​ ​striking, detail-rich fonts. Beyond its remarkable face, Marker Aid is a generous ​one​​, packed with 4 alternates for each letter, 2 for each number and yet some handy ornaments for creating a convincing - and rather cool - organic look. It is ​also ​equipped with OpenType features to instantly cycle the ​alternate ​glyphs and access stylistic alternates and ornaments. Marker Aid is available in two cuts, upright and oblique​, for added flexibility. ​​Make your mark! * Please note that these fonts have complex outlines and quite a load of glyphs, which may slow down some applications.​

Breuer Condensed is a mechanical sans ideal for captions and headline settings, and may also be suitable for moderate lengths of body copy with its comprehensive offering of OpenType features. The italics are optically adjusted obliques with a selection of augmented lowercase glyphs to provide a warmer read. The overall design ensures a distinct aura of technical precision in a personable tone. This family of eight fonts is designed to accompany the Breuer Text and Breuer Headline sets released in 2007. Breuer Condensed offers a 76% narrower footprint compared to Breuer Text and is fine-tuned to render typographic color equivalent to each sibling Text weight.

Touch Tone introduces a condensed lowercase and oblique italics to the uppercase font inspired by the "Dr. Strangelove" movie titles – designed by Pablo Ferro. Touch Tone's naive hand-drawn strokes rely on a quirky variable width-brush. They are looser, more textured, tactile, more informal, with quirky nervous lines. A family of four fonts: it includes two weights, light and medium, and both with roman and italics. All the fonts include the same patterns and ornaments. However, many of the “medium” font weight ornaments are beefed up to visually match. Touch Tone utilizes OpenType features. It imitates handcrafted lettering by including 2 glyphs for each U&lc letter (4 sets) – all kerned with care. This medley avoids a repetitious appearance so each sentence looks original and hand-drawn. The uppercase includes two widths – extra condensed and extended. Add whimsy and eccentricity by mixing the extra condensed caps with extended caps and the lowercase alphabet. Use the Contextual Alternates, or Stylistic Alternates features panel, or select the alternates in the Glyphs palette. Touch Tone includes oldstyle numerals, a variety of retro patterns, dingbats, speech bubbles, icons, banners, graphic arrows and ornaments. Each font includes 403 glyphs. Suitable for display or text and many European alphabets. Purchase both weights, roman and oblique italics to emphasize words. Touch Tone combines cool graphics and patterns with OpenType. Generously apply Touch Tone for added warmth and a "Rat Pack" groovin' message.

Oxford Street is a signage font that began as a redrawing of the capital letters used for street nameplates in the borough of Westminster in Central London. The nameplates were designed in 1967 by the Design Research Unit using custom lettering based on Adrian Frutiger’s Univers typeface, a curious combination of Univers 69 Bold Ultra Condensed, a weight that doesn’t seem to exist but which would flatten the long curves of glyphs such as O, C and D, and Universe 67 Bold Condensed with its more rounded lobes on glyphs like B, P and R. Letters were then remodelled to improve their use on street signs. Thin strokes like the inner diagonals of M and N were thickened to create a more monolinear alphabet; the high interior apexes were lowered and the wide joins thinned. The crossbar of the A was lowered, the K was made double junction, and the tail of the Q was given a baseline curve. K-Type Oxford Street continues the process of impertinent improvement and includes myriad minor adjustments and several more conspicuous amendments. The stroke junctions of M and N are further narrowed and their interior apexes modified. The middle apex of the W is narrowed and the glyph is a little more condensed. The C and S are drawn more open, terminals slightly shortened. The K-Type font adds a new lowercase which is also made more monolinear so better suited to signage, loosely based on Univers but also taking inspiration from the Transport typeface both in a taller x-height and character formation. The lowercase L has a curled foot, the k is double junctioned to match the uppercase, and terminals of a, c, e, g and s are drawn shorter for openness and clarity. A full repertoire of Latin Extended-A characters features low-rise diacritics that keep congestion to a minimum in multiple lines of text. The font tips the hat to signage history by including stylistic alternates for M, W and w that have the pointed middles of the earlier MOT street sign typeface. Incidentally, Alistair Hall (‘London Street Signs’, Batsford, 2020) notes that when the manufacturer of signs was changed in 2007, Helvetica Bold Condensed was substituted in place of the custom design, “an unfortunate case of an off-the-peg suit replacing a tailored one” and a blunder that has happily since been rectified, though offending nameplates can still be spotted by discerning font fans.