Caitlin Heales

The 1951 sheet music of “I Like the Wide Open Spaces” has the cover title set in a casual type design that emulates the ‘one stroke’ or ‘speed letter’ style so popular with sign painters in that decade.

Taking the lettering on the sheet music and expanding the character set with a new interpretation, the result is Sign Work JNL which is available in both regular and oblique versions.

During the turbulent era of the 1960s, the youth of America found various ways to protest against “The Establishment”.

Whether it was campus unrest, protest songs, sit-ins or other methods, the message was the counter-culture movement.

Arising from this disenchantment with traditional social standards, a small but effective means of protest arose that made no sound, yet spoke volumes… the pin button.

Statements against the war in Vietnam, free love, drug use and other messages popped up on little metal discs pinned to tee shirts, suspenders, head band and hats.

Sixties Pin Buttons JNL recreates twenty-six of these messages in both white on black (upper case keys) and black on white (lower case keys).

Blank buttons in both white and black are found on the parenthesis keys.

The hand lettered title on the 1940 sheet music for “Pledge to the Flag” is a stencil design with wider rounded letters (such as the C, G and O).

It is now available as Stencil Product JNL in both regular and oblique versions.

Subscription JNL is the companion font to Outline Sans JNL with the inside portion stripped away to leave a solid character set remaining.

The typeface is available in both regular and oblique versions.

A 1940s-era book from the U.S. Army Corps of Engineers entitled “Topographic Drafting” features a page for ‘lettering construction and spacing’ in the process of map making.

The letters and numbers were formed on grids using that mechanical drafting process for uniformity in stroke width.

This was the basis for Topographic Sans JNL, which is available in both regular and oblique versions.