Spooktacular font family is the fusion of beatnik movement on 1950's, vintage horror movie, and vintage comics. The typeface offer the magics of open type features such contextual alternate and stylistic alternate which make the typeface looks more playful. Spooktacular comes with extra doddle dingbats to make your design looks perfect. Spooktacular Font Family best uses for headings, Logo type, quotes, apparel design, invitations, flyer, poster, greeting cards, product packaging, book cover, printed quotes, cover album, movie, etc

Alfrere Sans is a clean Sans Serif display family inspired by a well-known 1950s television caption. The family of seven faces have been designed for independent use, but they also have an extra feature. All faces have identical metrics and can be overlaid with each other, to yield an unending range of multi-colored lettering effects. Bring a touch of the 50's to your next poster design. Better yet, explore the world of multi-colored overlaid typefaces....

Glyphic Neue was inspired by the Op Art style of lettering in the United States that ran rampant in many photo type houses in the 1960's and 1970's. The Glyphic Series from the Franklin Photolettering group was an influence and spring board for this family of fonts, hence it's name. But Glyphic Neue departs from its unicase Franklin influence in several ways. Firstly the designer created both upper and lower case forms. The lowercase has been designed with barley protruding ascenders and descenders and with an x-height equivalent to the cap height, so that upper and lower can be exchanged indiscriminately for a quirky effect. Some of the letters take a cue from the original Glyphic series but many have been redesigned entirely to fit the designers vision. The italic forms differ enough from the upright version making it almost an entirely different display alphabet. Glyphic Neue is a versatile family of 6 fonts -- 3 widths, each with an accompanying italic that look equally at home when used on a party flier or a sports team visual identity.

On April 20, 1950, film comedian Jerry Lewis indulged his love of cameras by opening up Jerry Lewis’ Camera Exchange on Vine Street in Hollywood. It closed in 1951. Thanks to an image preserved within newsreel footage of the shop’s grand opening night, a glimpse of the post-Art Deco signage with its unusual, block style lettering inspired a digital version. Highly unusual and best for novelty projects, Shutterbug JNL is available in both regular and oblique versions.

Selene Book is a sans-serif font family designed by Leonardo Di Lena and derived from Selene. The font is based on geometric forms with as few improving legibility optical corrections as possible. If you need a minimalist font, technical but friendly and elegant, this is your choice. There are glyphs for all languages ​​with Latin, Greek and Cyrillic alphabets, all the basic ligatures, old style numerals and five Latin capitals alternates that catches the 1900-1950 font styles.

Baseball is a bold and sturdy script with its roots deep in the 1940s and 1950s Americana. Baseball is great for for sports team or bar logos, beer labels or anything where you need a bulky script with a lot of character. Baseball is equipped with several OpenType features: Standard Ligatures and Contextual Alternates for smooth connections. Try Swash, Stylistic or Titling Alternates when working with customized headlines. and combine with the Baseball Swoosh to complete your designs.

Salto was developed by Karlgeorg Hoefer and introduced in 1952 by the foundry Gebr. Klingspor in Offenbach. The capital letters were drawn with a brush, the lower case with a broad-tipped pen developed by Hoefer especially for the task. Salto reflects the Zeitgeist of the 1950s, appearing frequently in advertisements during the years of the Wirtschaftswunder. The font’s extravagance and dynamic quality arise from the contrast between the strong, zestful capitals and the more reserved lower case letters.

Handlettering on a piece of sheet music from 1903 was the inspiration for this little whimsical wonder. The font features a very sinuous S and teddy-bear bookends in the {brace} positions. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

If John Baskerville had been born in Seattle in the 1960s his type would have looked like Nirvanium: a wide, extended body with chunky Dr. Martin serifs, an assertive inelegance and a sense of rebelliousness. It�s a display face, too big, too chunky and too rambunctious for text, but always friendly.

Girder Poster, also named Spurred Gothic, was inspired by showcard lettering samples featured in the book, Commercial Art Of Show Card Lettering, published in 1945. Although similar to Cooper Bold, Girder Poster's serifs are spurred and the design's inception came out of theatrical poster studios of the mid 1900's in New York.

RMU Trifels is a revival of Heinrich Wieynck’s great design which was released by Bauer in 1905. This beautiful Art Nouveau font comes with a long s and a historical form of the letter H. Border and adorning elements were added which you can reach by typing [alt] + P and [alt] + p.

The Nickson pro 1 invokes the spirit of the cigar labels & circus poster from the early 1900's. A typeface designed for headlines, posters, advertising and corporate identity. There are Alternate character of uppercase. Check the alternate keys file for more info or if you're using the OT version simply select Stylistic Set.

ITALIANO DOC is a fontface inspired by the Italians Futurismo artists in the early of the 1900's. The font is completed with a Grunge Wall version, great Extra Icons and lighted futurist weigth. All the glyphs contained in the font, including OpenType variants that may only be accessible via OpenType-aware applications.

High Tea is a handmade typeface, which was inspired by a 1930's menu from a classy restaurant. High Tea is a classy font, with some unique letters and an overall 'Upper Crust' feel to it. It is ideal for headlines and posters. Care for a spot of milk in your Oolong, darling?

Willard T. Sniffin deserves the credit for this charming little stationery and greeting card typeface developed for American Type Founders in 1930. Capital letters show an occasional hint of ornamentation and lowercase letters are of the linking variety. The original set of exquisite alternate characters (A,B,G,T,V, W, o, s) has been included in this digital version. Adonis Old Style is ideal where a 1920s or 30s script-like lettering look is required. Adonis Old Style with Alternates is also available in the OpenType Std format. Some new characters have been added to this OpenType version. Advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress 7. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

This disarming beauty is based on a typeface named "Archer" from the 1905 specimen book from Barnhart Brothers & Spindler. The original was a rather light face; this beefed-up version highlights the face’s charming quirks quite nicely. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Books Script — this is a good-hearted font, which was created based on the books of the Soviet period between 1960 and 1970. This font is perfect for illustrators and books which are designed for children. Scope: emotionality, uneven rhythm, display, titles, illustrations, soviet, USSR, poetry, ipad apps, fairy tale, epic poem

The letterforms for this unusual display face were inspired by a 1930s ad for Tanguy Crepes, by an uncredited artist. Due to the ornate nature for this font, it has a limited character set, but does include all letters, numbers and punctuation for the Unicode 1252 Latin and 1250 Central European character sets.

In the collection of vintage and historic images available online from the Library of Congress is one of the exterior of the Town Talk Diner in Minneapolis, Minnesota. Regrettably, on May 28, 2020, the Town Talk Diner was damaged by vandalism, and subsequently destroyed by a fire that engulfed the building early on the morning of May 29th due to civil unrest following the death of George Floyd. The restaurant first opened in 1946, closed in 2011 and subsequently re-opened under new ownership in 2014 with French cuisine, then from 2016 until its demise as an American bistro. While this was not known at the time of selecting the image for a typographic model, subsequent research on the diner turned up these facts. The large vintage sign above the entrance was in big, bold Art Deco letters with rows and rows of bulbs for illuminating the name at night. Coffee and Danish JNL, modeled from the image of that sign, is available in both regular and oblique versions. Perhaps, in a way, the type design will serve as a bit of historic recognition for a popular eating spot.

A spunky slim typeface inspired by a 1958 Dell Comic, The Captain and the Kids featuring the Katzenjammer Kids as a spinoff from the original comic which was in turn inspired by the famous children's story from the 1860's, Max and Moritz. Fun, informal, and retro spunky, all balled up in a single typeface.

The Nickson pro 1 font invokes the spirit of the cigar labels & circus poster from the early 1900's. A typeface designed for headlines, posters, advertising and corporate identity. There are Alternate character of uppercase. Check the alternate keys file for more info or if you're using the OT version simply select Stylistic Set.

Printed Letters JNL is from stamped impressions made by a children's sign making set by the Superior Marking Equipment Company of Chicago - circa the 1940's. The set consisted of individually mounted rubber stamps - easy enough for happy kiddies to print signs, name plates or (unfortunately for their parents) on the walls... Limited character set.

Will Ransom designed the uppercase letters in this typeface for Barnhart Brothers & Spindler in the 1920s, under the name Clearcut Shaded Caps. The lowercase letters come from another BB&S typeface named Clearcut Italic. An elegant headline face, best used sparingly, the font includes decorative flourishes in the brace, bracket and en dash positions.

Our Purple Purse Pro draws its inspiration from a vintage Ivory Soap ad from the 1950’s. Somewhat of a cross between Bodoni and Pixie, this font finds that it never truly takes itself seriously. The fun little bounce within the typeface gives it a perky personality. Opentype features include: - SmallCaps. - Full set of Inferiors and Superiors for limitless fractions. - Tabular, Proportional, and Oldstyle figure sets (along with SmallCaps versions of the figures). - Stylistic Alternates for Caps to SmallCaps conversion.

Camelia is an demi–slab display type family with reversed strokes to achieve an unexpected look and rythm. Was designed and optimized for use in large sizes. It is inspired by the geometric typefaces of the 1920s and the egyptiennes of the 1930s. An emphasis on circular and rectangular shape give it the identity.

Samuel Welo’s “Studio Handbook for Artists and Advertisers” was a popular book of inspiration for sign painters, graphic artists and designers from the 1920s through the 1960s. Many digital revivals of Welo’s hand lettered typography have been made available. Formal Notice JNL is one such revival, and is available in both regular and oblique versions.

Berling is an old style typeface based on the classical Venetian model used by Aldus Manutius at the end of the fifteenth century. Berling was first cut by the Berling foundry in 1951 with further weights released in 1958. The Berling font family is intended primarily for setting text in books~ journals and magazines.

This family of faces is based on the series Riverside Drive, designed by Peter Max for Photo-Lettering Inc. in the early 1970s. However, several letters have been altered to maintain design consistency and to improve legibility. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Here is another attempt to create a font for invitation work unlike any already out in the world. In casting about for a name, I decided to call it Valerie after Valerie Hope, a mindreader of days long gone, who played California theatres in the 1930s and 1940s. And who, incidentally, was my mother.

This elegant monoline script is based on a typeface called "Médicis" from a Deberny and Peignot catalog, circa 1920. Graceful but robust, it is equally suited for invitations, announcements and headlines. Both versions of this font contain the Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

The main 20-th century handwritten display font in the USSR, usually performed with a flat brush or a wide poster pen for all kinds of signage during 1920-1990s. It had also many analogues in other countries, but never was that popular as in the Soviet Union, used everywhere. The softened modern humanistic version.

Break out the love beads and fire up the lava lamp! Here’s a fresh take on the Artone alphabet, designed by Seymour Chwast in the 1960s. Beefy, bodacious and bottom-heavy, this typeface keeps on truckin' along. Both versions of this font include the complete Unicode Latin 1252 and Central European 1250 character sets.

A 1970s Photolettering catalog indentified the pattern for this typeface as "Exotique" ...from France, no less. Named for a French expression meaning “pun,” this face is, indeed, witty and playful, with nary a groan in sight. Both versions of this font include the complete Unicode 1252 Latin and Unicode 1250 Central European character sets.

A rather droll unicase typeface, discovered in a 1970s chapbook of suggested lettering for Soviet propaganda posters, inspired this bouncy beauty. Way more fun than a barrel of Volga Boatmen. The PC Postscript, Truetype and Opentype versions contain the complete Latin language character set (Unicode 1252) plus Central European (Unicode 1250) languages as well.

A travel poster from the 1940s for Mexican tourism provided the inspiration for this voluptuous font with a strong architectural feel. A few unexpected idiosynracies in the letterforms add to its charm. Both versions of this font contain the Unicode 1252 Latin and Unicode 1250 Central European character sets, with localization for Romanian and Moldovan.

Journalistic is one in a series of fonts designed for use in creating replica vintage newspapers. It is inspired by the nameplate of a New England newspaper from the 1920s. Its rough character is apparent at headline sizes, and it remains nicely legible at smaller sizes for diplomas and other formal documents. The OpenType font contains a variety of discretionary ligatures and contextual alternates, including the long s and other glyphs for classic German typography. Long s substitution can be achieved through either historical or titling alternate OpenType features.

Decode is a retro styled font, referencing the art deco typography from the 1920's and 30's. The font is designed to be in keeping with the art deco style but with a contemporary and modern finish making it a stylish font for all kinds of work. The typeface is available in 3 complimentary styles. Use one on its own as a headline font or combine all three to create eye catching typographic displays. Each version comes with deco styled caps with an alternate uppercase to add extra variation to your work.

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.