Office Staff JNL is a version [with serifs added] of Popularity JNL – a condensed Art Deco design based (for the most part) on a popular typeface known in some foundry books as ‘Radiant’ with some reinterpreted characters… and is available in both regular and oblique versions.
The extra bold, squared Art Deco sans hand lettering found on a 1940s travel poster for the Pennsylvania Railroad inspired Rail Service JNL, which is available in both regular and oblique versions.
Erle Stanley Gardner’s beloved lawyer “Perry Mason” first appeared on screen in a series of six films with Warren Williams starring in four of them. The hand lettered opening title for 1935’s “The Case of the Lucky Legs” is a classic Art Deco sans serif design, and is now available as Courtroom JNL in both regular and oblique versions.
A 1942 menu cover for the restaurant at the Biltmore Hotel in Los Angeles features its name in a stylized Art Deco serif design.
This is has been turned into the digital typeface Bill of Fare JNL, and is available in both regular and oblique versions.
The hand lettered title for the 1954 film “Power of the Press” was done in a condensed sans serif type style that is now available digitally in both regular and oblique versions as Local News JNL.
The hand lettered title for the 1954 film “Power of the Press” was done in a condensed sans serif type style that is now available digitally in both regular and oblique versions as Local News JNL.
The hand lettered title for the 1954 film “Power of the Press” was done in a condensed sans serif type style that is now available digitally in both regular and oblique versions as Local News JNL.
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.
The opening titles and credits of the 1947 film comedy “The Egg and I” were done in a hand lettered casual sans serif typeface which inspired the digital font Egg Farm JNL; available in both regular and oblique versions.
“The Egg and I” introduced audiences to Ma and Pa Kettle as portrayed by Marjorie Main and Percy Kilbride, who went on to do a number of additional films as those characters.
There is no doubt that the 1941 version of “The Maltese Falcon” was superior to the prior two attempts by Warner Brothers at filming Dashiell Hammett’s 1930 novel.
Sam Spade was perfectly portrayed by Humphrey Bogart, and the supporting cast of Mary Astor, Peter Lorre, Sidney Greenstreet and Elisha Cook, Jr. rounded out the main players in a great suspense film that is considered to be the first (if not one of the first) of the film noir genre.
The title cards for the production and cast credits were hand-lettered in a spurred serif type style strongly reminiscent of the Art Nouveau period, so instead of naming the digital version with some “tough guy detective” moniker, it was decided that Detective Client JNL was more appropriate.
After all, this is a reasonably attractive font, and in this kind of film it’s usually the “attractive damsel in distress” [be she the victim or the actual perpetrator] that gets the story rolling…
Detective Client JNL is available in both regular and oblique versions.
Unlike the modest fonts in your menu content with discreetly imparting information, Carnival is conspicuous by design. Deliberately engineered to attract eyeballs, the typeface’s unmistakable silhouette produces a dramatic visual texture that stands out in print, on screen, or in any environment where your message demands to be noticed. The steady yet vibrant rhythm created by its letterforms also makes Carnival ideal for fashioning alphabet patterns and graphic devices.
Flaunting a lean slender body anchored by stout stroke endings, Carnival turns conventional typographic thinking on its head by inverting the relative thickness of its stems and serifs. This reverse-contrast approach stretches all the way back to the roots of modern advertising, when similar types became the favorite for posters, packaging, and loads of consumer products during the 1800s.
The striking style prevailed well into the next century, as Harold Horman, co-founder of New York City-based Photo-Lettering. Inc., modernized a version for the company’s popular film-typesetting service in the early 1940s. Digitized and expanded by Dan Reynolds in 2013, Carnival had previously been used exclusively for House Industries projects. Now you can get in on the action, and use this stunning slice of type history anytime you want your work to turn heads.
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Carnival’s unique character commands attention, making it the perfect voice for promotional pieces, editorial design, labels, packaging, posters, and any other application that needs to strike the right tone.
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.
The hand painted signage from a 1950s era photo of the Miami Diner Restaurant in Miami, Florida inspired the digital version of its 1940s-influenced lettering.
Roadside Diner JNL is available in both regular and oblique versions.
The hand lettered credits from the 1942 British film comedy “The Goose Steps Out” became the model for Goose Creek JNL, a simple sans serif design available in both regular and oblique versions.
According to the Internet Movie Database (imdb), “A bumbling teacher turns out to be the double of a German general. He is flown into Germany to impersonate the general and cause chaos and hilarity in a Hitler Youth college.”
The title is a parody of the “goosestep” style of marching by German soldiers during World War II.
As a variant on the movie’s title, the font was named for Goose Creek, South Carolina – a charming community just northeast of historic Charleston.
