Jefith is a family of san serif fonts that are designed with great care by paying attention to the combination of each letter to create a beautiful impression and appearance, making it easier to answer your needs, both formal and non-formal needs. All Capital sans is charming and brave in its application, a font with a bold style and strong character makes your design look bold and bold to convey a message to consumers in every design, this font is equipped with rough and stamp variations This font is perfect for a wide variety of vintage, retro and various outdoor events, sporting events, branding, banners, posters, movie titles, food and drink, technology, quotes, clothing, and more.

Ronde Script (Ronde meaning "A kind of script in which the heavy strokes are nearly upright, giving the characters when taken together a round look.") is based on the original design named Parisian Ronde released in 1878 by the Chappelle Foundry in Paris. Other versions of this script include Inland French Script, French Script, French Plate, and Typo Upright. Different type foundries tied to the releases of this design include Mayeur (Paris), Stephenson Blake (London), Bernhardt Brothers & Spindler (Chicago), and ATF (Elizabeth, NJ). This style of script has been a very popular choice in designing wedding invitations and so many other formal announcements for over 130 years. Its very readable, formal and elegant with an antique or retro feel.

The Birthstone Family is a set of fonts that are not only diverse but perfectly compatible to interchange styles in a single block of text. There are 3 precious gems: Script, Casual, and Formal. Plus for added luster, there's Bounce (both Medium and Light weights) plus a Titling font— A truncated version that includes caps and ending swashed forms. You won't believe your eyes. All 4 styles are uniquely compatible to one another, but distinctly different. See how easily the fonts may change according to the needs of the look. The Pro version contains the three main styles: Script, Casual and Formal plus the lighter weight version of Bounce. You will also have lots of Opentype feature options.

Gundrada ML was inspired by the lettering on the tomb of Gundrada de Warenne. She was buried at Southover Church at Lewes, Sussex, in the south of England in 1085. The Latin inscription on her tomb, STIRPS GUNDRADA DUCUM, meaning “Gundrada, descendant of the Duke” may have led to the speculation that she was the daughter of William, Duke of Normandy and bastard son of Robert the Devil of Normandy and Arletta, daughter of a tanner in Falaise. In 1066 William defeated Harold at the Battle of Hastings and was crowned William I of England. More commonly known as William the Conquerer, he commissioned a string of forts around the kingdom and charged trusted Norman Barons to control the contentious Anglo-Saxon population. William de Warenne, husband of Gundrada, was one of these Barons. There has also been the suggestion that Gundrada may have been the daughter of William’s wife, Matilda of Flanders, by a previous marriage. According to the Dictionary of National Biography (Oxford University Press, Oxford, England 1921-22), both of these contentions are in dispute. Searching the past of a thousand years ago is like wandering in a heavy fog: facts are only dimly in view. Regardless, I know that I found these letterforms immediately engaging in their simplicity. Unadorned and unsophisticated, they have a direct honesty that rests well in the company of humanistic sans serifs like Franklin Gothic or Gill Sans, appealing to a contemporary sensibility. The lettering on the tomb is in upper case only. Although Gundrada does not sound Norman French to me, her husband certainly and her father probably were Norman French. Nonetheless, the man that carved her tombstone was probably Anglo-Saxon, like most of the people. For that reason, we are quite comfortable with a fairly generic lower case from an Anglo-Saxon document of the time. The time was a time of transition, of contending language influences. This font reflects some of that tension. Features 1. Multi-Lingual Font with 389 glyphs and 698 Kerning Pairs. 2. OpenType GSUB layout features: onum, dlig, liga, salt & hist. 3. Tabular Figures and Alternate Old-Style Figures. 4. Alternate Ruled Caps (line above and below, matching to brackets). 5. Central Europe, Western Europe, Turkish and Baltic Code Pages. 6. Additional accents for Cornish and Old Gaelic. 7. Stylistic alternates A, E, y and #. 8. Ligatures ST, Th, fi and fl. 9. Historic alternate longs. The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

Used Cars JNL is based on one of the many unique alphabets created by the late Alf R. Becker for Signs of the Times magazine from the 1930s through the 1950s. Special thanks to Tod Swormstedt of ST Media (who is also the curator of the American Sign Museum in Cincinnati, Ohio) for providing the reference material for this design

In late 1988 or early 1989 I noticed that the circular form of the sickle and the linear form of the hammer could be used to form all the letters of the alphabet. The result of that realization was RedLetter, a novelty or letterbat font. It is caps-only with the lower-case letters containing smaller versions of upper-case letters.

In 1962, the late Robert Libauer of the Stenso Lettering Company (of Baltimore, MD) revised two of his popular stencil lettering guides to offers users two choices: “traditional” stencil letters and numbers and "solid" letters for tracing and coloring. Solid Stencil JNL was modeled from one of those lettering guides, and contains all of the character anomalies found within that vintage stencil.

Duplay is a sans-serif designed and developed by darman kadir in this late 2023, influenced by famous Swiss-style typefaces like Helvetica and others. This sans-serif typeface will become an alternative solution to enhance your sports and apparel presence. It has a solid and fast appearance, harder in certain font families, and stronger characteristics that will make your image more prominent.

Benelux is inspired by European styles of the late twentieth century, their origins can be traced back to the Bauhaus. Broadly geometric and with an emphasis on legibility, it's well-balanced and is equally effective at both text and display sizes. Benelux is available in five weights and features an extended character set, including accented characters for Central European languages.

Eckhardt Trilinear JNL was inspired by [and modeled from] a pen-drawn alphabet found in a 1960 edition of the Speedball® lettering textbook. As with many other "sign painter-oriented" typefaces by Jeff Levine, it is named in honor of Jeff's good friend -- the late Albert Eckhardt, Jr. Al ran Allied Signs in Miami, Florida from 1959 until his passing.

Roadblock JNL is the solidified and slanted version of Patriotica JNL --a stars and stripes font based on lettering by the late Alf R. Becker as commissioned by Signs of the Times® magazine. Thanks to Tod Swormstedt of ST Publications, Inc. and the American Sign Museum in Cincinati, Ohio for providing source material for use as a work model.

Hailing its roots from the much-prized Modern Didot and Bodoni families of the late 19th century, Pyes Pa re-introduces the intuition of calligraphic script while utilizing the contrast available to contemporary digital fonts to produce a highly refined alternative for those of us who are bloody serious about our Bodoni Poster Italics. Pyes Pa features automatic OpenType ligatures and contextual alternatives.

I took Arquà’s curvy lines from some details in art nuveau posters from late 1800 / early ‘900, then I added to the mix a little bit of elegance with some weird contrast (look at the S). One hour in the hoven and a modern looking display font came out in 2 weights: Goodboy and the doppelganger Badboy perfect to mix up.

A sugarloaf was a conical lump in which refined sugar was sold until the late 19th century. In Fryslân you can buy sûkerbôle - a yeasty white bread containing large chunks of sugar. I must have been dreaming about the latter when I named this font! Sugarloaf is a versatile, happy, handmade display font. It comes in an inline and a black style.

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.

Dear diary, what a day it's been. Dear diary, it's been just like a dream. Woke up late. Wasn't where I should have been. For goodness sake what's happening to me? Write lightly, yours truly, dear diary. At last, a font to help you overcome those moody blues… Features: Four fonts (Regular, Underline, Strikethrough & Small caps) with upper and lower case alphabets.

Tourist Gothic is a Lanston Monotype adaptation of Modern Condensed Gothic (a design from the late 1800s.) Rounded alternate caps were designed by Sol Hess in 1928. The alternate version is offered as LTC Tourist Gothic Alt. Tourist Gothic Pro combines both variations and includes a full Central European character set and several other OpenType features. Digitized in 2006 by Paul Hunt.

The inspiration for this typeface—originally called Elefanta—enjoyed popularity stateside in the late nineteenth century, an import from the Karl Brendler & Söhne foundry of Vienna. Its graceful yet playful elegance makes it suited for a wide range of projects where projecting warmth is desirable. Both versions contain the complete Latin 1252, Central European 1250 and Turkish 1254 character sets.

Handmade Caslon JNL is a somewhat imperfect version of one of the many Caslon faces in use during the late 19th and early 20th centuries. Based on vintage source material, Handmade Caslon JNL is the right typeface for projects reflecting antiquity, a hand-made look or where slightly imperfect lettering adds a bit of the "real world" to the message.

Matcha Orisha is a beautiful and feminine serif font created by a romantic and lovely look. Matcha Latte was built with openType features, stylistic Alternate and Ligature makes your project will be awesome!! Perfect for Branding identity, editorial projects, Logo design, web font, clothing branding, product packaging, magazine headers, or simply as a stylish text overlay to any background image.

Numis was born out of a coin collecting hobby. A quick survey of coins from the late medieval to modern periods to today led to this unicase design. The rounded corners and smoothed edges are meant to evoke a the slightly worn letterfaces found on old coins; a process that tends to bolden the text before being rubbed away completely.

Introducing our newest font called Gasego, this font will bring a unique touch to your design, Gasego Groovy font is one of the right choices. With precise curves and soft lines, this fun font is sure to add something special to your designs. It’s never too late to start incorporating this cool font into your work, so don’t wait and use it now!

In the late 90’s, there were many German cars coming into Malmö (where I lived at the time). I was blown away by the font on the license plates. So strange, so strong, peculiar – but still macho. I built the uppercase from my own photos. After this I completed the font with my own lowercase, small caps and punctuation.

Churchward Isabella is a five weight typeface family originally designed during the 1980's by the late type designer Joseph Churchward, from New Zealand. A straightforward, geometric sans serif, it is a no-nonsense, highly legible workhorse design, readable on screen as well as in print, for text, headline and display. The family includes Light, Regular, Medium, Bold and Extra Bold.

Nightspot JNL was modeled from one of many display alphabets created by the late sign painter and lettering expert Alf Becker. His work has graced the pages of Signs of the Times® magazine for decades. Special thanks to Tod Swormstedt of the American Sign Museum and ST Publications, Inc. in Cincinnati, Ohio for providing the source material for this typeface.