Halavah Twist JNL is a casual serif font designed by Jeffrey N. Levine and modeled after an early-1960s display font that was quite popular in its day. This new interpretation takes on an entirely different look from the original, creating a modern-yet-retro design. Light, playful and fun-loving, Halavah Twist JNL is perfect for any project that exudes a bubbly warmth and enthusiasm.

The spurred serif style of Roman lettering has long been a favorite of sign painters and show card writers. Spur Handlettered JNL from Jeff Levine gives this classic design an ultra-casual look, complete with all of the nuances of hand-lettering.

Art Department JNL is a fun, casual serif typeface which fits perfectly with any number of visual projects. This is one of the many hand-lettered alphabets found in various Speedball® lettering textbooks that has been re-drawn digitally by Jeff Levine.

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.

Eckhardt Showcard JNL and Eckhardt Showcard Two JNL are drawn from more lettering found in an old sign painting book. Jeff Levine has continued naming a series of fonts for the late Albert Eckhardt, Jr. (1929-2005) who had owned Allied Signs in Miami, Florida from 1959 until his passing. Al was a talented lettering artist and a good friend to Jeff.

Nyack Monoline JNL is the drawn-from-scratch alphabet by Jeff Levine that served as the basis for Nyack Inline JNL and Nyack Solid JNL. Its delicate, thin lines were too good to leave unreleased, and it's a perfect companion to the other versions.

Three Day Pass JNL is another addition to the large collection of stencil fonts from Jeff Levine. This design was based on a 1980s clone of a popular lettering guide first sold in the 1950s. To the untrained eye, many of the stencil designs look the same - but there are subtle nuances in the shapes of the letters and numbers that makes each font unique and slightly different.

Zera JNL is one of those fonts that defy any simple description. While trying out effects on Transactive JNL, Jeff Levine came up with a set of letters comprised of intersecting rings that could illustrate chain, cellular structure, bubbles or probably anything your imagination can come up with to adapt the font to a particular project. Please keep in mind this design works best in larger point sizes.

Inspiration for font design takes on many shapes and forms. It can be vintage source material, visualized concepts or simply suggestions made by others. In an email conversation with Kevin Redekop (the Principal Designer for FabArts Creative Fabricators in Canada) who had purchased a number of Jeff Levine Fonts, a sample sketch of a desired stencil font was provided. This set the wheels into motion for the drawing and production of Saskatoon Stencil JNL.

There are times when a customer might look over a dingbat font and like a few of the images because they suit a particular need, but hesitates on purchasing the font because enough of those images isn't available. For all of the lovers of vintage letterpress cartoon cuts, Cartoon Cavalcade JNL collects sixty two assorted images from many of the Jeff Levine Fonts dingbat collections and places them within one singular file.

Sign Artist JNL is a casual typeface, emulating the hand-lettered look of show card and sign lettering. Created by Jeff Levine from lettering seen on some 1940's packaging, the slightly irregular letter stroke widths and shapes more closely resemble printing made with brush or ink.

Elk Grove JNL is both historical and original in design. Inspired by a small sampling of letters from an 1800s wood type called Facade, Jeff Levine created the remaining characters. Because of its highly condensed design, it's best when used in large headlines and short phrases.

Just two capital letters from a sign inspired Box Lunch JNL from Jeff Levine. The restaurant - an early 1950s favorite in Miami Beach, Florida specialized in fried chicken meals and other delights of the day - long before the big corporate chains took over the local landscape.

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.

While watching a 1920s Charlie Chaplin short film, Jeff Levine was taken with the unusually modern looking lettering of the title cards in that silent movie. The lettering was not only right for its time, but could also be adapted to both Art Deco and Techno applications. From this classic film comes the font Two Reeler JNL, a bit of yesterday with an eye toward the future.

During trips to the Miami Beach Public Library as a youth, Jeff Levine first caught sight of the signs made with a product called the Webway Sign Cabinet, manufactured by the Holes- Webway company of St. Cloud, MN. Having purchased an old set, Jeff has carefully re-drawn the alphabet and unique contrasting numbers from the original assortment, adding in an extended character set to his font.

Karaoke JNL is one of the many alphabets created by the late Alf R. Becker that was showcased in Signs of the Times magazine from the 1930s through the 1950s. Thanks to Tod Swormstedt of ST Media (and who is the curator of the American Sign Museum in Cincinnati, Ohio) for providing Jeff Levine the research material from which this font design was modeled.

With all of the stencil fonts created by Jeff Levine from various vintage sources, you would think everything had already been covered. Not so. Along comes Amateur Stencil JNL. Modeled from a child's stencil set from the late 1950's or early 1960's, it vaguely resembles Futura, but its irregular widths and semi-stencil appearance sets it off greatly from that classic typeface.

General Chang JNL is one of a number of fonts redrawn by Jeff Levine from the creative output of the late Alf R. Becker. Becker's alphabets were a monthly feature of Signs of the Times Magazine from the 1930s through the 1950s. Thanks to Tod Swormstedt of ST Media (who also is the curator of the American Sign Museum in Cincinnati, Ohio) for the resource material.

Big Band JNL is a classic Art Deco typeface in every sense of the word. Large, bold and innovative in its sectional construction, the font is based on a lettering example found in a 1941 Speedball® Lettering Pen instruction book. The basic alphabet was used for the model, with a new set of numbers and additional characters created by Jeff Levine in order to make this font fully functional in today’s digital designs.

For those designers looking for nothing more than a library of familiar catchwords and phrases re-drawn from vintage source material, look no further. Collected Catchwords JNL gathers up ninety-three of them, picked from the dingbat typeface library of Jeff Levine Fonts and placed into one convenient font file. "Free", "Sale", "As Advertised", "Dollar Days", "Look", "New" and dozens of other icons of print advertising are no more than a keystroke away.

In 1999, Jeff Levine released a freeware font called "Channel Tuning JL" scanned from drawings made with a felt tip marker and designed as if the letters were breaking up due to poor reception such as on pre-digital TV sets. Over a decade later, Jeff has totally reworked the font—giving it cleaner lines, an extended character set and renaming it Channel Surfing JNL to set it apart from the roughly-drawn original.

Lookey Here JNL is an "Alphading" - a term coined by Jeffrey N. Levine to describe dingbat fonts containing both images and letters and/or numbers. This one - partially based on the classic "Kilroy" icon from the World War II era is a newer, cleaner reworking of one of Jeff's early freeware fonts. The typeface used inside the images is Casual Lunch JNL, so you can match this text for a particular project. Limited character set.

After creating the all-caps version of Supper Club JNL, a conversation between Jeff Levine and fellow font designer Ray Larabie brought forth the idea that one of Ray's freeware fonts had a lower case that would perfectly fit Jeff's design. With Ray's permission, Jeff adapted the lower case to his capital letters and the final version of Supper Club was born. Two separate ideas become one stylish Art Deco type design.

Lewis F. Day, in his book Alphabets Old and New, offered this typeface as an example from sixteenth-century England of lettering incised in wood. The font is essentially monocase, but there several lowercase letters are alternate letterforms. Please note that, due to the ornate nature of the letterforms, this font does not contain math operators, fractions or superior numbers. Both versions of the font include 1252 Latin and 1250 CE (with localization for Romanian and Moldovan) character sets.

From the remnants of an old freeware font by Ray Larabie comes Cardholder Dispute SRF. Thoroughly rebuilt from the ground up by Jeff Levine, this post-80s techno lettering can also double as a pop culture font evoking 60s or 70s rock concerts and hippie colonies or (as the name implies) credit cards. The net profits from my font sales help defer medical expenses for mysiblings, who both suffer with Cystic Fibrosis and diabetes. Thank you.

Mancave SRF is the perfect font for the ultimate party Neanderthal. Holding court in his den with a case of beer, wide screen TV and all of his sports buddies, he is safe and secure in his lair. Bold, brash and angular, this typeface was designed for Stella Roberts fonts by Jeff Levine. The net profits from my font sales help defer medical expenses for my siblings, who both suffer with Cystic Fibrosis and diabetes. Thank you.

The idea for Gummed Letters JNL came from an online auction of some foil-embossed gummed letters from the 1940s and 1950s. One particular set was of a sans serif face that hadn't been produced in decades, and Jeff Levine felt it was worthy of a digital treatment.

Chamber of Commerce JNL is loosely based on a type style used for some rubber stamp letters and numbers from a vintage child's printing set. Originally a cast shadow design, Jeff Levine felt the lettering merited a direct treatment in both regular and oblique styles without the shadow effect.

An older typeface belonging to a family of sans serif fonts known as Grotesque (or Grotesk in the classic spelling) has been re-drawn by Jeff Levine and released as Album Cover JNL. The font's name is derived from the fact that this typeface was found on many long-playing record jackets during the 1950s and 1960s. To add a look closer to that of hand-set type, there are minute variants in some of the heights of the characters.

In the beginning of his typographic design work, Jeff Levine produced a large number of freeware dingbat fonts utilizing very rudimentary font creation software. Although popular in the world of home crafts, there were many issues inherent with those early font files. Jeff has chosen to clean up and update some of these fonts and make them commercially available. PLEASE NOTE: Refer to the license agreement regarding use of Jeff Levine's art-based fonts. Logos and derivative works made from these fonts are not allowed.

In the beginning of his typographic design work, Jeff Levine produced a large number of freeware dingbat fonts utilizing very rudimentary font creation software. Although popular in the world of home crafts, there were many issues inherent with those early font files. Jeff has chosen to clean up and update some of these fonts and make them commercially available. PLEASE NOTE: Refer to the license agreement regarding use of Jeff Levine's art-based fonts. Logos and derivative works made from these fonts are not allowed.

In the beginning of his typographic design work, Jeff Levine produced a large number of freeware dingbat fonts utilizing very rudimentary font creation software. Although popular in the world of home crafts, there were many issues inherent with those early font files. Jeff has chosen to clean up and update some of these fonts and make them commercially available. PLEASE NOTE: Refer to the license agreement regarding use of Jeff Levine's art-based fonts. Logos and derivative works made from these fonts are not allowed.

Antique Stencil Borders JNL collects twenty-six vintage border designs from various sources for complementing copy set in stencil lettering or in stand-alone decorative projects. NOTE: The purchase of this font does NOT include license to replicate the designs as commercial products for resale. To do so, a Derivative Products License must be obtained by contacting Jeff Levine. Contact information is found within the End User License Agreement.

A style of die-cut cardboard letters and numbers used for signs, displays and show cards was the basis for Haute Couture JNL, an Art-Deco flavored typeface from Jeff Levine. A direct cousin to Signboard JNL, this font shares some similar characteristics in letterforms. Both styles of die-cut lettering were manufactured by a number of companies, and were most popular from the 1940s through the mid-1960s.

Although wood types were at their peak of use during the letterpress era of the late 19th and early 20th centuries, there is a growing revival movement of "boutique" print shops who have embraced the look and texture of this form of printing. More modern in design that many of its counterparts, Pleasantwood JNL is still a nice addition to the wood type library re-drawn digitally by Jeff Levine Fonts.

Pendleton JNL was created from some scant images found on military machinery housed at the Marine Corps Mechanized Museum at Camp Pendleton, California. The photos were provided by Brian Platzer, a volunteer at the base who specializes in equipment restoration. Having used other stencil fonts by Jeff Levine, Brian thought the design of these hand-crafted markings might make another addition to Jeff's vast library of vintage stencil alphabets.

If you're old enough to remember having a lettering stencil in school, then you might have tried to save all of the waste paper punched out of the letters and numbers; hoping to do something with them later on. Jeff Levine took his Tramp Steamer JNL stencil font and gave it the look of those waste paper pieces - lined up to form erratic characters with a personality all their own.

Gilbert JNL is an interpretation of Eric Gill's classic sanserif typeface, which has become an all-purpose workhorse in ad copy. While other versions of gill-sans fonts have multiple weight sets, Jeff Levine chose to replicate this particular weight as a single design [in both regular and oblique versions] because of its popularity with sign makers of the past and give to it the minor nuances of hand-made lettering.

Lewis F. Day, in his 1910 classic Alphabets Old and New, filed this work by Laurence Schall under the category of Celtic-inspired, and surely it is both. This font included a few special extras, including a Celtic cross in the florin position, a Celtic knot is the dagger position, a shamrock as the asterisk, and a double shamrock in the double-dagger position. Both versions of this font include the Latin 1252 and Central European 1250 character sets.