A whimsical array of pointers designed with semi-traditional Greek fret pattern (up/down/left/right) - great for adding directions or pointers to documents, maps, posters, greetings, or simply used as decorative elements. See also 4Point Deco and 4Point Florals.

The word "Signs" hand-lettered on the cover of a 1930s instructional book on sign and poster lettering was the basis for Poster Inline JNL.

The biggest feature of HT Espresso is a mixture of straight line and curve.It is like a cup of espresso with a bite-sized piece of chocolate. You can connect all the letters with thin line and It would attract notice. Holiday Type Project offers retro hand drawing scripts. Inspired by retro script on shopfront lettering, wall paint advertisements in Italy around 1950s. Check out the script fonts from Holiday Type!

Buddies, designed by Guille Vizzari, is a script font that was initially born as a piece of lettering. It is the result of an experiment between brush pen and pencil, and in this way, Buddies takes the imprint of the brush, the freshness of sign painting, and some (or a lot) of quirks by the author. The font at times enjoys dancing in titles and short lines of text, pouring rhythm and movements through its lowercase various x-height sets. Buddies also has a vast uppercase set with daring and atypical shapes that surprisingly function beautifully for composing short all-caps texts; messages are brought to life with awesome personality, ideal for packaging, fashion or even editorial. Buddies is a friendly font, a humble invitation to the brush letters universe, but from an unpredictable point of view.

While watching a movie filmed on location in New York, one scene stood out with a classic neon sign for a neighborhood restaurant. Ridgewood JNL is based on the lettering from that sign, and emulates many of the Art Deco elements that was so unique to sign work of the day.

While most script typefaces are slanted, Bryce is an upright script. Bryce can be used everywhere where an informal, handwritten style is desired, for example in signage and on posters. SoftMaker’s Bryce Pro typeface comes with a huge character set that covers not only Western European languages, but also includes Central European, Baltic, Croatian, Slovene, Romanian, and Turkish characters. Case-sensitive punctuation signs for all-caps titles are included as well as many fractions, an extensive set of ligatures, and separate sets of tabular and proportional digits.

The first versions of Nimbus Sans have been designed and digitized in the 1980s for the URW SIGNUS sign-making system. Highest precision of all characters (1/100 mm accuracy) as well as spacing and kerning were required because the fonts should be cut in any size in vinyl or other material used for sign-making. During this period three size ranges were created for text (T), the display (D) and poster (P) for small, medium and very large font sizes. In addition, we produced a so-called L-version that was compatible to Adobe’s PostScript version of Helvetica. Nimbus was also the product name of a URW-proprietary renderer for high quality and fast rasterization of outline fonts, a software provided to the developers of PostScript clone RIPs (Hyphen, Harlequin, etc.) back then.

Kasuga Brush is a contemporary script with eastern influence and authentic brush drawn character. The script offers two variants. One is slightly distressed along the character's edges while the other is painted with a dry brush for interesting texture. Sixty-four optional ligatures add a realistic, hand-drawn effect and ensure that no two letters in a word repeat.

Giambattista Bodoni (1740–1813) was called the King of Printers and the Bodoni font owes its creation in 1767 to his masterful cutting techniques. Predecessors in a similar style were the typefaces of Pierre Simon Fournier (1712–1768) and the Didot family (1689–1836). The Bodoni font distinguishes itself through the strength of its characters and embodies the rational thinking of the Enlightenment. The new typefaces displaced the Old Face and Transitional styles and was the most popular typeface until the mid-19th century. Bodoni’s influence on typography was dominant until the end of the 19th century and even today inspires new creations. Working with this font requires care, as the strong emphasis of the vertical strokes and the marked contrast between the fine and thick lines lessens Bodoni’s legibility, and the font is therefore better in larger print with generous spacing. Chauncey H. Griffith’s Poster Bodoni displays characteristics of the advertisement fonts of the first half of the 20th century. The font was most often used for posters and signs, eventually including neon signs.

The favorite typeface of the best Hungarian printer, Imre Kner.

Hexide JNL was modeled and modified from an original design created by the late sign artist Alf R. Becker for Signs of the Times® Magazine. Thanks to Tod Swormstedt of ST Publications, Inc. and the American Sign Museum of Cincinnati, Ohio for providing the reference material used to make this font.

A friendly sans serif font inspired by sign written lettering. Brushed Sans captures the nuances that come from the action and speed of the sign writing process.

Estravaganza is an elegant, finely crafted script, with an uneven, drizzled paint line. It has the delicacy of gossamer while boasting the extravagance of bold swashes and loops. Think "ballet-like femininity offset by the distressed paint drizzle of a jackson Pollock canvas." Use Estravaganza to brand perfume, clothing, jewelry, and to enhance wedding invitations, greeting cards and book covers. Language support includes all European character sets.

Julianti script new elegant font! This font was created specifically for those of you who need a touch of elegance, cute, fresh, to design your next project with perfect and amazing results. Julianti Script that is very beautiful and attractive, and is equipped with lines that are perfect for use for various purposes. Such as titles, signatures, logos, correspondence, wedding invitations, letterhead, sign boards, labels, bulletins, posters, badges, Branding, Greeting Cards, etc. Julianti Script is built with OpenType features and includes a beginning and an end. It comes with OpenType Stylistice, Initial, swash, ligatures and everything to add touches to your design and also support other languages :)

Hilofi Lavoris is an 80's retro sign painting style font. With bold stroke, italic and fun character with a bit of ligatures. To give you an extra creative work. Hilofi Lavoris font support multilingual more than 100+ language. This font is good for logo design, Social media, Movie Titles, Books Titles, a short text even a long text letter and good for your secondary text font with sans or serif. Make a stunning work with Hilofi Lavoris font. Cheers, MaulanaCreative

In the 1920 edition of “How to Paint Signs and Sho’ Cards” by E. C. Matthews is an example of what is termed “poster lettering” that is so free form and unusual it borders on the eccentric. Resembling lettering more commonly found in 1960s “underground comics” of the Hippie generation rather than of the Art Nouveau period, it oddly enough works well in both styles. This novelty typeface is now available as Hippie Comics JNL in both regular and oblique versions.

Brannboll Stencil is a script sport typeface. The baseball-style lettering was drawn by Mans Greback in 2020. It is a specialist stencil typeface, created primarily for laser cutters: All whitespaces are connected with the background, making it a lettering perfect for signs, jewellery, stencils and general cutting. It also comes with the additional, decorative style Brannboll Stencil Swash, which contains ten cool swashes to give the graphic extra expression. It has a very extensive lingual support, covering all European Latin scripts. The font contains all characters you'll ever need, including all punctuation and numbers.

Hello, friends. This is my new font, a classic calligraphic script. The font is super versatile and suitable for any project. You want to post on instagram? The menu in the cafe? A banner or sign on the website? IT'S EASY. Classic never gets old, your design will look fresh always. Test it out below to see how it could look for your next project! Includes: Regular Script Latin languages support Uppercase and lowercase Numbers and punctuation Swashes Ligatures Check out my blog: https://www.instagram.com/zloillev pinterest.com/dmitriychirkov7 Enjoy

Brannboll Connect is a script sport typeface. The baseball-style lettering was drawn by Måns Grebäck in 2020. It is a specialist connected typeface: Each character and all their parts are physically connected, making it a lettering perfect for laser cutting, signs, jewelry, woodworking and embroidery. It also comes with the additional, decorative style Brannboll Connect Swash, which contains ten cool swashes to give the graphic extra expression. It has a very extensive lingual support, covering all European Latin scripts. The font contains all characters you'll ever need, including all punctuation and numbers.

A font where "each word that's set approaches becoming its own logo" is how some have described this unique typeface. Originally inspired by an enamel sign he picked up at a Paris flea market, Michael Doret says that the seven letters contained in the sign were enough to suggest to him that here were letterforms put together in a way that he had never seen in a contemporary digital font. Always eager to create something a little out of the ordinary, he took up the challenge to flesh out the forms into a complete font. Orion can be defined as a geometric, connecting script that is at once contemporary, yet classic and timeless.

Images of ‘lost’ or forgotten signs from the past are on a number of sites all over the web. One in particular partially revealed a vintage sign for “J. Yormark Shoes" behind a barbershop sign at 15 – 8th Avenue in New York City. The sign remained until 2014. The stencil effect made by the formation of the stained glass letters inspired On Your Mark JNL, which is available in both regular and oblique versions. The font’s name is a play on the shoe vendor’s name… “Yormark”.

Each style is a collection of 174 illustrative and printer cut designs.

Breaking the cycle of homelessness We are partnered with The House of St. Barnabas, a private members club in Soho Square, whose work as a not for profit charity aims to break the cycle of homelessness in London. Each purchase (of the family pack) comes with a one month membership to The House and 100% of the proceeds from sales of fonts go directly to the charity to help their essential work. This unique collection of 7 typefaces is based on the disappearing signs of Soho, at risk of being lost forever due to the ever changing landscape of the area. By re-imaging the signage as complete fonts, we have rescued this rich visual history from the streets and present the typefaces into a contemporary context for a bright optimistic future. FS Berwick Thanks to its humble tiled origins, this Egyptian serif type maintains a uniform character width, creating the irregular letter proportions found in the final alphabet. Broad-shouldered, the bracketed serifs firmly ground the font, whilst its extreme hairlines become a necessity due to the uniform width. Of note is the upside down ‘S’, to be found on the original sign on Berwick Street. Perhaps due to its ceramic origins, there is a surprising ‘slippiness’ to its final appearance. FS Cattle Cattle & Son is best described as a wide, but not overly extended, grotesque-style sans serif, showing a uniform width and carrying a robust strength to its form. Whilst lightly functional overall, the purposeful diagonal legs of the ‘K’, ‘R’ and the tail of the ‘Q’ add an urgency to its appearance. The reduced size of the ampersand gives away Cattle & Son’s hand-painted origins, and the oblique compacted ‘LTD’ found on the original sign is also included in the final set. This beautiful sign is tucked away under an arch in Portland Mews, sheltering from the weather. Perhaps this is why it has lasted so long. FS Century This somewhat elongated set of Roman capitals was originally rendered in paint circa 1940, but its roots trace back to the Trajan Column in Rome. Witness the slightly unbalanced ‘W’ and the painter’s hand is revealed. Century’s flared serif style is extremely short, sharp and bracketed. The ‘M’ is splayed and has no top serifs. Century has a uniform appearance of width, probably due to its sign-written origins. Yet is elegant, classic and exudes sophistication. FS Charity A true Tuscan letterform, the original is located on The House of St. Barnabas in ceramic tiles and was revealed in all its broken glory in 2014. FS Charity retains the option of using these incorrect characters (try typing lowercase in the test drive above and compare with the more uniform uppercase characters). FS Charity features fishtailed terminals on its strokes, a curious branched ‘T’ and the ‘S’ displays tear-drop ends to its serifs. Almost uniform in width, the ‘A’, ‘M’ and ‘W’ are the widest characters in this set. FS Marlborough The elongated Marlborough features diagonal terminals to some characters and numerals. Also retained is the space-saving contracted ‘T’ glyph from the original sign, while the ‘R’ features a distinctive wedge-shaped leg. Highly individual in this form, similar signage appears around Soho, but featuring a variety of widths in their design. FS Portland The sister type to Cattle & Son, Portland is oblique rather than italic. The serifs are not overly long, yet still enhance its rather rigid cap height and baseline appearance. Its ‘A’ has a top serif, the ‘M’ is square and the ‘G’ foregoes any spur. Particularly delightful is the open ampersand. Numerals align to encourage the horizontal flavour of the oblique style. Overall, Portland is both confident and graceful. FS St James A lineal Continental style, St James also displays a true sense of ‘Londoness’ in its titling form, perhaps influenced by early Underground signage. Irregular letterforms display a continental flavour, particularly evident in its Deco style ‘W’, ampersand and numerals. The rather high cross bar in the ‘A’ is also reflected in the raised middle strokes of the ‘M’. Noteworthy are the distinctive unions found on all of the characters and the additional small caps. The original lettering is still located on Greek St.

Toronto Subway is based on the lettering originally used for station identification and signs by the Toronto Transit Commission (TTC) in the Toronto, Canada, subway system. The first subway line opened in 1954. However, the original lettering remains unique. The lettering on the original signage consists only of uppercase characters and a few bits of punctuation in two weights: Regular and Bold, introduced in 2004. The Toronto Subway fonts were developed from rubbings of the lettering etched into station walls and photographs of painted signs. The overall style of the lettering is very mechanical, almost naive, yet still having a certain amount of elegance. This style was followed as much as possible in creating the extra lowercase, punctuation and other special characters. The Toronto Subway family was expanded in 2014 with the addition of the Light and Black weights.

In the beginning of the 800s, during the reign of Carolus Magnus (or “Karolus”, as he signed himself), a great reformation of the written characters was conducted under the authority of Alcuin, Paul Diacre and Theodulfe. The new style, named “Caroline” script, was completely set up between 820 to 830. It was a regular script, with few ligatures, very legible, but only with lowercase. The capitals remained the old Romans ones. We have created the font to serve contemporary users, making a difference between U and V, and also between I and J, which had no relevance for ancient Latin scribes. We also added Thorn, Oslash, Lslash, W, and and the usual accented characters that did not exist at the time. Titlings (initial letters, without accents), historical and contextual alternates completes the set (in two separate files for MacOS9).

Eckhardt Slabserif JNL is a bold, condensed slab serif font that's perfect for attention-getting headlines, signs, banners, price cards or any printed project where a strong type face is needed. Its name (as others in a series of sign shop-oriented fonts) is Jeff Levine's way of honoring his friend Al Eckhardt, who ran Allied Signs in Miami until his passing.

Xunga is a cheerful display typeface. My goal was to design a font able to fit any layout with boldness and playfulness, mixing a sign painter taste in the uppercase and some of my crappy calligraphic reverse contrast explorations with the flat brush for the lowercase. I designed several of widths to fit the page, and though about a different way of expanding the family shifting the horizontal stress axis to move the letter weight in different heights, making a 15 fonts family, suitable for making bold layouts. Xunga has an extended character set for European languages as well as Vietnamese, and shows all its potential with OpenType-savvy applications. Every font includes ligatures, catchwords in discretional ligatures, contextual alternates to avoid conflictive glyph pairs and localized forms to avoid problems with several glyphs and languages.

Kugelhopf is a calligraphic style font with an old-world Blackletter feel to it. Full of charm and flair, this friendly script font will lend a sense of childlike magic to any design. Perfect for themes relating to holidays, fairy tales, storybooks and even Renaissance designs, Kugelhopf was inspired by a hand-lettered sample in an old book about sign painting. It can also be used for cards, invitations and scrapbooking as well! ‘Kugelhopf’ is a German & Austrian holiday yeast cake from which our modern western Bundt cake was derived. It has a particular shape that is said to be inspired by Turkish turbans. Jukebox fonts are available in OpenType format and downloadable packages contain both .otf and .ttf versions of the font. They are compatible on both Mac and Windows. All fonts contain basic OpenType features as well as support for Latin-based and most Eastern European languages.