Commercial Script is a sophisticated copperplate script design. Its capitals are elaborate initials, and the lowercase letters join together in the style of real handwriting. Commercial Script's elegant refinement makes it a classic and ever-popular typeface. The spark behind this typeface comes from centries-old English Spencerian copperplate calligraphy. In 1985, the American typefoundry Barnhart Brothers & Spindler released a typeface in this style. This was redesigned by ATF's Morris Fuller Benton in 1906, and ATF released Commercial Script" in 1908. In 1994, Letraset' released this digital version of the typeface."

Mochaik - Psychedelic Display Font Here's a lettering style that just might be exactly on your wavelength. Add just the right dose of vintage freak-a-delia to your retro graphics with this original psychedelic-style design. Great for music posters, album graphics, book titles, etc. Evoke a warpy, wavy, whimsical vibe that harks back to the carefree 1960s or early 1970s era with Sixties Flashback; it's pure hippie, trippy fun! Whats Includes : - Mochaik Regular, Outline, Italic - Multilingual Support If you want any Question, let me know Have a wonderful Day, Saystudio

Samuel Welo’s “Studio Handbook for Artists and Advertisers” contained dozens of hand-lettered alphabets used as inspiration for both the sign trade and for graphic designers. Intertitle Nouveau JNL – available in both regular and oblique versions – was originally an alphabet produced by a round lettering nib, and was first shown in the 1927 edition (later reprinted in the 1960 edition). It is reminiscent of the lettering used on intertitle cards of the silent film era. This font marks an amazing milestone - the 2000th release by Jeff Levine Fonts since its inception in January of 2006.

Terrified AOE was inspired by vintage horror movie poster titling from the 1960's. It is a Capitals and smallcaps typeface, that really feels like a mix of three typefaces in one. While the Capitals and Smallcaps typesetting works to the effect of the original inspirations, each case also works well amongst itself independently, and having very different vibes. I've always been a huge fan of horror movies, and some of the lettering from vintage horror movie posters are so cool and alive, I only wish there were more of them recreated as display fonts.

Eurostile, created in 1962 by Aldo Novarese for the Nebbiolo type foundry, is one of the most popular sans serif fonts of all, and has been for about 50 years. Originally designed as a screen font it was very popular from the beginning, even though it is only a slightly modified version of the 10-year-older Microgramma, but completed with lower case characters. On public demand, URW++ has expanded its range of Eurostile with Eurostile Round with 19 additional styles. Quite like Futura Round by URW++, Eurostile Round works perfectly well as webfont.

Journal Sans Old School is a new, modernized digital version of the widely popular Journal Sans. The new typeface preserves the character of the geometric sans from the famous “Science and Life” magazine of the 1960s. The weight of the basic styles corresponds to the Journal Sans regular and bold from the Soviet linotype catalogs. Also, the original vertical proportions and character forms match the original. Cyrillic Alternates, Greek language support expand the range of font’s usage. Journal Sans Old School was designed by Natalia Vasilyeva and released by Paratype in 2019.

When 45 RPM records were the norm for a teenager’s music collection in the 1950s and 1960s, many discs had their labels printed by letterpress. Some record companies utilized a bold, condensed typeface set in all caps for the song’s title and other pertinent information. The digital version of this font is called Recording Artist JNL, and is available in both regular and oblique versions. A companion font loosely based on this type design [but with more original characters and a slightly lighter weight] is Promotional Copy JNL.

A comprehensive set of initials (usually referred to as Uncials, Lombardic Initials, or Lombards) of the French variety, adapted from Bergling, J.M. (1918), Art Alphabets and Lettering (Second Edition), Chicago: Blakely-Oswald Printing Company. The font contains over one hundred glyphs, including character outlines for two-color layering. Suitable to accompany most Gothic (especially Textura and Rotunda) and many Roman typefaces, or to be displayed as drop caps or in full titles and headings. Specimen, detailed character map, OpenType features, and font samples available at Alter Littera’s The Initials “Bergling A” Font Page.

My affection for Slab Serifs began in the early 1960s in Kansas City with Rob Roy Kelly and his fabulous collection of wood type. In the 1970s tried to re-create a Nebiolo Egiziano for Roger Black. Again for Roger, in the 1980s I designed a Slab Serif logo for Newsweek Magazine. Finally, in 2003, designed the Sutro Family. There were things I didn't like about it, so when I did Version 2 for Open Type, I changed it around a little, making it a much nicer Sutro.

Cat Burglar is another off-kilter sans-serif font by Pink Broccoli, this time inspired by the titling of a 1961 Looney Tunes cartoon called "The Pied Piper of Guadalupe". As with some of my previous type designs, it is a typographic drunken stumble, wonderfully and awkwardly stumbling across designs, surprising with each letter typed. With an extensive character set, and offbeat letter weighting, Cat Burglar is fun to typeset with, with a collection of double letter ligatures, as well as discretionary ligature combinations that add to the quirky playfulness.

The calligraphy font Banner was designed by Martin Wait in 1986 and mixes the character of the 1940s with that of the 1980s in its forms. The round and somewhat reserved lower case letters make a balanced basis for the generous capitals. Black outer contours surround a white inner area and are heavier on the right side of the figures, making the characters look as though they have shadows. Banner should be used in point sizes of 18 and larger and is meant for lighthearted short texts or headlines.

Commercial Script is a sophisticated copperplate script design. Its capitals are elaborate initials, and the lowercase letters join together in the style of real handwriting. Commercial Script's elegant refinement makes it a classic and ever-popular typeface. The spark behind this typeface comes from centries-old English Spencerian copperplate calligraphy. In 1985, the American typefoundry Barnhart Brothers & Spindler released a typeface in this style. This was redesigned by ATF's Morris Fuller Benton in 1906, and ATF released Commercial Script" in 1908. In 1994, Letraset' released this digital version of the typeface."

The first three weights of the family were designed at ParaType (ParaGraph) in 1997 by Dmitry Kirsanov . They were based on the artworks of Moscow graphic designer Andrey Kryukov (1923-1997). The original version was developed by Kryukov at the end of the sixties for Russian railways. The proportions and elements of construction were inspired by Eurostile (1962) by Aldo Novarese. It is intended for use in advertising and display typography. In 2009, Dmitry added the new styles, corrected the old ones, and enhanced them with extended character sets.

This font was made during testing of a neat little application, that traced hand-written letters on the fly. That application was later abandoned, and the font, named Simpel for it's obvious casual simplicity, was finished separately. This story goes up to the year 1998, and recently the font was returned from the archives. SImpel was completly remastered and some useful ligatures were added. It is nice, clean and really, quite simple. Which often comes very handy. It will work well in comic books, magazines and party flyers, for instance.

Here’s a novelty font emulating the plastic pennant streamers that were popular in the 1950s and 1960s used to decorate a store parking lot or used car lot for a sales event. The typeface inside the individual pennants is Manufacturer JNL, which can be used for body copy associated with titles made by this font. Parking Lot Sale JNL is available in regular (black letters on white pennants) and black (with white letters). A blank pennant for word spacing or end caps is available on the backslash key.

Dungeon is a glyphic font family that combines elements of both sans serif and spur serif typefaces. It was designed exclusively for the Red Rooster Collection in 1998 by Steve Jackaman (ITF). The family is loosely based on Dick Jensen’s famous design “Serpentine,” which was created for the Visual Graphics Corporation (VGC) in 1972. Dungeon is available in four weights, each of which is optimized for legibility at any size. The family’s masculine feel has helped it to turn up in a variety of projects, ranging from brand identity to advertising.

DALEK is a distressed, small caps typeface based on the lettering used in the Dalek Book of 1964 and in the Daleks strip in TV21 comic. The fonts have overtones of Greek, Phoenician and Runic alphabets. The updated Dalek fonts contain a full complement of Latin Extended-A characters, and also include Greek capitals and small caps. In addition to the original Regular font, Heavy and Light weights are available, and optically corrected obliques for each weight. Also check out Dalek Pinpoint, a clean and precise version of the Dalek typeface.

The roots of this font go back to 1967. A book title in trendy letters was created in a completely ingenuous way as a film prop for a Super 8 fun film. I drew the letters with felt-tip pen and poster paint without thinking too much about it. It wasn't until a good 50 years later that I realized, this was a first awkward typeface draft. The flower power vibe was captured here subconsciously. In 2019 I completed the few glyphs and created variants that I would not have thought of at the time.

Dirty Baker’s Dozen, was released in 1998 and has since become the gold standard in raunchy stencil fonts. This version of Dirty Baker’s Dozen is pants-full of handy symbols, fractions, accents and what not. Need numeric ordinals? Probably not, but if you do, Dirty Baker’s Dozen will be there with boots on and numeric ordinals a-blazing. Two new styles were introduced in 2009: Scorch & Spraypaint. When you're using Scorch or Spraypaint styles in an OpenType savvy application, common letter pairs will be automatically replaced by custom pairs for a more realistic, filthy effect.

Surf and Turf JNL was redrawn from hand-lettering on a souvenir folder for an event believed to be sponsored by Miami Beach's exclusive Surf Club on March 19, 1938. Entitled "Steeplechase Pier March 19 Surf Club Stroller", it's now lost to time whether the event recreated some of the fun and games of Atlantic City's famed Steeplechase Pier at the Surf Club, or if this was a special event trip to the New Jersey venue. It's also highly possible that the Steeplechase Pier referred to in the title was the one at Coney Island.

Bike Decals JNL captures the fun and nostalgia of the 1950s and 1960s when kids all around the country ran to their local five and dime or hobby store to purchase water applied decals. The "cool" thing would be to customize your bike, little red wagon or anything that would be fair game with various racing symbols, weird space creatures or other unusual images. In this font, Jeff Levine has put his own spin on some of the classic designs of yesteryear, drawing from scratch some of the most popular of their day.

Kopik is a modern hand-drawn script inspired by the 1960's architectural handwriting style practised by draftsmen. Originated using a Copic 1.0 Multiliner pen, then traced digitally using a stylus and tablet to help reduce imperfections. The result is a simple, readable, monolinear typeface with a marker pen quality suitable for a wide range of written applications. Details include 440 characters, three weights with matching italics, alternative a, g, and y four numerals variations. Opentype features inferiors, superiors, fractions and language support covering Western, South and Central Europe.

While we can’t comment of the suggested definitions for ‘tuggle’ that you might encounter online, we are happy to expound on Tuggle’s quirky and endearing characters. The gravity of its bellbottom slab-serif structure is mitigated by soft rounded corners, while surging swashes and globular stroke endings further attenuate Tuggle’s otherwise would-be uptight tenor. The ideal typographic solution for children’s blocks, candy packaging, vape shop signage, and hospital way finding. Pair Tuggle with an equally juicy script like Dave West’s Superstar. Designed by the Photo-Lettering staff, and digitized by Susana Carvalho. TUGGLE CREDITS: Typeface Design: Photo-Lettering Staff Typeface Digitization: Susana Carvalho Typeface Production: Bas Smidt Typeface Direction: Erik van Blokland, Ben Kiel 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.

Humanist sans in 8 styles Designed by Jean François Porchez, Le Monde Sans is a sanserif based on Le Monde Journal — a practice that become commonplace from early nineties. Designed originally in 1994 for the Le Monde newspapers, it was expended over the years to the large family we know today. Le Monde Sans features a “traditional g” in addition to the usual 1994’s g. Le Monde Sans is offered in numerous weights — in roman, italic to meet all kinds of situations. It will help designers to select the best weights depending their needs, from glossy paper printing to high resolution screen. Superfamily The design of Le Monde Sans continues the basic common structure found in the members of the Le Monde family: its proportions, a relatively narrow width, a fairly oblique axis, etc. The typographer can, at all times, switch between Sans & Journal or Courrier without any disruption in the composition. The verticals metrics and proportions of Le Monde Sans are calibrated to match perfectly others Typofonderie families. This family was designed in 1994 as bespoke typeface family for the French newspaper Le Monde. The family is not used any more by this newspaper from November 2005. Type Directors Club .44 1998 European Design Awards 1998

OCR-A was originally designed in 1968 as a machine-readable alphabet. Its functionality was its most important element, instead of its design. Over the following decades, the typeface has become popular in the design world nevertheless. But typographically pleasing results are often hard to come by, due to the original design’s “non-design design”, as well as its undeveloped character set. In 2006, Miriam Röttgers revised and extended OCR-A, creating OCR A Tribute. OCR A Tribute is a typeface family comprising of two versions: one in which the glyphs have been proportionally-spaced, and another that is monospaced. In the monospaced version, all glyphs have the same width, like the letters in the original OCR-A font do. Both versions of OCR A Tribute contain complete character sets and expert glyphs, as well as lining and old style figures. Now you can rest easy, and finally use this classic design for display purposes and headlines!

Smart, legible and elegant, Gravesend Sans is a based on the unique typeface used for the iconic grass-green signage for the Southern Railway. In existence from 1923 to 1948, when the network was nationalised, the Southern Railway linked London with the Channel ports, South West England, the South coast resorts and Kent. The same design was also used for the ‘hawkeye’ signs on the London, Midland and Scottish Railway, differentiated by black letters on a yellow background. Reference for each letter was taken from vintage ‘target’ station nameplates and other platform signage. The rarest letters were the Q, seen in Queens Road Battersea, the X, seen in East Brixton, and the Z, used in Maze Hill, site of an infamous train crash in 1958. Being hand-made, the letters often differ in width and thickness. There was no lower case. The Bluebell Railway, a heritage steam line, runs over part of the old Southern Railway network and uses a very similar type. The design of the numbers differed considerably, but here have been taken from the Device 112 Hours font Smokebox. As well identifying platforms, they were used on the front of the steam engine’s smokebox, hence the name, and stylistically are more in keeping with the letters than some of the squarer versions that can be seen in old photographs. William Caslon IV is credited with the first Latin sans-serif type, shown in a 1816 Caslon specimen book. ‘Two Lines English Egyptian’, as it was called, was caps-only, and there are several other correlations between that type design and this one. Includes a selection of authentic arrows and manicules, plus abbreviated ligatures such as ‘St.’ (Saint or Street) ‘Rd.’ (Road) and ‘Jn.’ (Junction). The Cameo version includes many graphic banner elements that can be freely combined.

Lomo, PLC is a Russian optical manufacturer, whose cameras have built up an international cult following since 1992. Swiss designer Fidel Peugeot recently tapped into this phenomenon, creating an astounding series of pixel fonts for use in a variety of applications-from websites to mobile phone displays. Now available as a single family from Linotype, Lomo's versatility extends itself across 37 various faces. Whether on screen or online, Lomo's different weights deliver great legibility at low resolutions. Additionally, the amazing breadth of this family allows these pixilated faces to crossover into print, bringing a contemporary technology feeling to your more traditional pieces, too. Worth experimenting with is the Lomo Wall series, of which 14 of the Lomo family's 37 fonts belong to. In graphics applications like Adobe's PhotoShop of Illustrator, the Lomo Wall fonts may be layered over top of one another in various combinations. For example, Lomo Wall Chart 50 could be colored red, and layered behind Lomo Wall Pixel 50. The text in Lomo Wall Pixel 50 would then looked like it had been painted over top of a brick wall. With 14 fonts, and millions of colors in your application's color palette to choose from, the combination possibilities for this layering technique are endless! (If you really like this layering feature, check out what Karin Huschka, another Linotype designer, did with her Chineze Dragon family.) Convinced? Give the unlimited possibilities of Lomo a spin today! The entire Lomo family is part of the Take Type 5 collection, from Linotype."

Aleesya Rose is a Stylish Font Family to bring a touch of elegance to any design. The clear contrast blends into all styles - even thin styles - and the strong individuality by weight delights the designer's imagination. 14 styles including 7 weights and italics are essential for designers to complete more detailed and sophisticated typography. This style has 426 glyphs each, check the glyph window in your app. The upright standing of the vertical stems stably supports the center of gravity of the entire font. And the thin strokes used as finishing touches will convey an elegant personality to the layout. The ligatures are designed to appeal to the reader with their beautiful tenderness, and they are: Ba, Be, Ha, He, LO, Le, Lo, Re, Ro, ck, de, do, ee, ff, fi, oo, rr, th. In particular, we recommend that you choose this font family to achieve the following purposes: Editorial design, Personal branding, Branding business, logo design, portfolio, and any special design.

Welcome aboard the Hyperspace Race Capsule! Let the weight of gravity slip away as our interplanetary transport system takes you around the solar system in unparallelled style and comfort. Our reclaimed UFO has been remodeled with soft, luxurious curves on the interior and the latest cutting edge flight technology under the hood, to meet all your typographic travel desires. Each weight and package includes these luxurious five-star amenities: Kick your Capsule into TURBO mode to access eleven sleek, fast-moving alternate letter shapes. Hit WARP SPEED to cross time and space with hundreds of auto-connecting letter pairs. Chat with passengers from all over Earth, as Hyperspace Race Capsule effortlessly presents speech in 224 languages. Use the versatile Variable font to access 20 preset weights plus over 100,000 options between. Hyperspace Race Capsule is a versatile, full-featured font that's perfect for galaxy-wide branding projects, now and into the future.

Doublethink was developed from lettering drawn in the 1960s by Vinko Ožić-Pajić and used on the shop fronts of Yugoslavian state-owned clothes company Standard Konfekcija. The original design has been reinterpreted and expanded and is offered as a two weight typeface—Doublethink Medium and Doublethink Bold Inline. Standard Konfekcija was established first as a military fabric company and later became the premier fashion brand outlet in the Communist state of Yugoslavia. It is famous for being the first shop in the country to offer plastic bags (Standard Konfekcija stores ceased trading after the fall of Communism).

Othello's dense graphic demeanor delivers a straightforward, no-nonsense message. This versatile revival has a direct, experiential quality that suggests action and the outdoors. Originally released by Monotype in 1928, Othello was offered as competition to Rudolf Koch's Neuland typeface. This new digital version includes a wide variety of previously unavailable characters. Small caps, alternate letters, ligatures, and special joined logotype" characters add to the versatility of this powerful communications tool. These many letter variants create new possibilities for headlines and short text blocks in advertisements, signage, and packaging, suggesting the immediacy of woodcuts or hand-drawn lettering."

Swan Song is a digitization of gorgeous free form calligraphy by British artist Rachel Yallop. It first appeared in The Calligraphy Source Book edited by Miriam Stribley (Running Press, 1986). Rooted in day to day handwriting, Swan Song is a quick and irregular artistic jolt at first impression, and surprisingly richly-textured art at second glance. Whatever these letters are used to communicate, the communicator is content, confident, humorous, strong and experienced, and the reader will be glad to receive the personal contact of such a communicator. Swan Song comes in all popular font formats, and includes plenty of built-in alternates.

NixonScript is a display typeface inspired by the typographic emancipation given voice by 1950s and '60s north American vernacular type. NixonScript's starting point was lettering found on a 1960s camera found in a Chicago junk shop, but its development saw it transformed from a punchy sans-serif to a more thoughtful serif, with a lowered x-height and a vibe of almost priestly piousness. Rather than a simple regular italic, a bold italic is offered. During its development, the regular version seemed almost placid but with the double emphasis of bold and italic, NixonScript gained an energetic, self-congratulatory form.

Kevlar was initially inspired by an obscure logo discovered in a 1960s radio-fan magazine. Of immediate interest was that the upper half of the typeface appeared to be a sans while the lower half appeared as a curious blend of a slab serif imbued with a script-like quality. First came Kevlar Bold in 2003, closely followed by its text weight companion Kevlar Regular. The original source of the inspiration as then revisited to develop the third in the set, Kevlar Slab, a truly individual mix of script-like fluency with the heavy weight base of a slab serif.

An unsold 1973 TV pilot for the series “Catch 22” (based on Joseph Heller’s 1961 book and the subsequent 1970 movie) had its title hand lettered in an extra bold stencil type style. Heller coined the phrase as a satire on absurd military rules and bureaucracy. Although the show’s title provided only five characters to work with, there was enough inspiration there to create the military styled Enlisted Stencil JNL, which is available in both regular and oblique versions. According to Wikipedia: “A catch-22 is a paradoxical situation from which an individual cannot escape because of contradictory rules or limitations.”

Flawless Flygirl is a quirky sans-serif font inspired by the titling sequence from the 1964 film, "The World of Henry Orient". Fun and full of personality, it is one of those lettering styles that was a joy to flesh out and make into a typeface filled with double letter ligature alternates to keep the typesetting weird and wonderful. With a pseudo unicase character set, and offbeat letter weighting, Flawless Flygirl is fun to typeset, with ligature combinations that are pleasant surprises. You’ll find this Flawless Flygirl is ready to dance to the beat of your designs.

The movie poster promoting the 1962 James Cagney comedy "One, Two Three" had it's text done in free-style hand lettering. Starting with an auto-trace in order to have an isolated version of the black letters separated from the red poster background, the tracing kept the basic forms intact, but with limited accuracy. Cleaning up and digitally reshaping the letters manually to form a more correct version [closer to the original movie poster], additional figures, foreign characters, accents and punctuation were drawn from scratch. This is now available as Handwritten Note JNL in both regular and oblique versions.