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Easy Stencil JNL is a simple sans serif stencil design [based on a hand lettered example] from the 1922 publication “Modern Show Card Writing” and is available in both regular and oblique versions.
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| Easy Stencil JNL |
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Convicted JNL is a condensed, chamfered sans serif type design inspired by opening credits from the 1940 film of the same name – available in both regular and oblique versions.
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| Convicted JNL |
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Lettering Lesson JNL is a bold serif alphabet found within the pages of the 1922 instructional booklet from the St. Louis Show Card School, and is available in both regular and oblique versions.
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| Lettering Lesson JNL |
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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.
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| Hippie Comics JNL |
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Art Nouveau serif capitals and numerals in the 1917 instructional book “A Roman Alphabet and How to Use It” were the inspiration for Show Card Roman JNL; available in both regular and oblique versions.
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| Show Card Roman JNL |
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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.
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| Maintenance Stencil JNL |
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“Macaw” is a welcome addition to our library, a modern serif typeface with roots in classical typography. Its forms are sober and delicate in its lightest weights and as the width increases to the boldest, it unleashes a powerful and distinctive emphasis on your project.
Developed in a range of four weights with a matching set of true italics, the design of Macaw takes its inspiration from the Italian newspaper market at the beginning of last the century, a time where roman typography was predominant. In fact, the main purpose of this typeface is to preserve versatility and legibility, to prescind from any text size.
A multilanguage serif family with a unique fluidity to modern and classic projects. Particularly useful for any editorial need and seamlessly adaptable to any destination of use such as corporate identity, web design, and social feeds.
Specifications:
- Files included: Macaw Light, Macaw Regular, Macaw Medium, Macaw Bold with corresponding italics
- Formats: .otf
- Multi-language support (Central, Eastern, Western European languages)
Thanks for viewing, Unio.
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| Macaw |
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As one of the most distinguished lettering artists of the 20th century, Meyer “Dave” Davison’s greatest contribution to the American visual landscape is arguably Davison Spencerian. The alphabet made its first appearance in Photo-Lettering’s 1946 catalog and remains a benchmark of the ornamental script genre. Thanks to the skillful hands of Mitja Miklavčič and the tireless eyes of House Industries designers Ben Barber and Ken Kiel, we have preserved the poise and precision of Davison’s masterwork in this faithfully-rendered digital incarnation. From automotive exhaust accessories and pirate-themed wedding invites to New Orleans sissy bounce hip-hop CD covers and upmarket bivalve ambrosia packaging, Davison Spencerian offers sober sophistication and unparalleled flexibility.
DAVISON SPENCERIAN CREDITS:
Typeface Design: Meyer “Dave” Davison
Typeface Digitization: Mitja Miklavčič
Typeface Direction: Ben Kiel and Ken Barber
Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.
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| Davison Spencerian |
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Firmin Didot is credited with establishing the Modern genre of serif typefaces, of which Beaux Arts Didots stands as an exemplary model. Like the French neoclassical architecture of its namesake, Beaux Arts has all the hallmarks of the early nineteenth-century style: a clear and confident construction consisting of simple yet strong lines. Use it for elegant and formal settings, or when a direct typographic tone is desired. Mix it with styles of similar sensibilities such as Plinc Hanover and Davison Spencerian. Digitized from the original Photo-Lettering film matrix in 2014 by Jean-Baptiste Levée.
BEAUX ARTS DIDOT CREDITS:
Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.
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| Plinc Beaux Arts Didot |
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The movie poster for the 1934 comedy/crime drama “Jimmy the Gent” (starring James Cagney) featured the title hand lettered in an ultra-bold Art Deco sans serif style.
This type design has been turned into Social Club JNL, and is available in both regular and oblique versions.
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| Social Club JNL |
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As one of the most distinguished lettering artists of the 20th century, Meyer “Dave” Davison’s greatest contribution to the American visual landscape is arguably Davison Spencerian. The alphabet made its first appearance in Photo-Lettering’s 1946 catalog and remains a benchmark of the ornamental script genre. Thanks to the skillful hands of Mitja Miklavčič and the tireless eyes of House Industries designers Ben Barber and Ken Kiel, we have preserved the poise and precision of Davison’s masterwork in this faithfully-rendered digital incarnation. From automotive exhaust accessories and pirate-themed wedding invites to New Orleans sissy bounce hip-hop CD covers and upmarket bivalve ambrosia packaging, Davison Spencerian offers sober sophistication and unparalleled flexibility.
DAVISON SPENCERIAN CREDITS:
Typeface Design: Meyer “Dave” Davison
Typeface Digitization: Mitja Miklavčič
Typeface Direction: Ben Kiel and Ken Barber
Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.
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| Davison Spencerian |