Ht Pizzeria is strong looking script for eye-catching part. Holiday Type Project offers retro hand drawing scripts. Inspired by retro script on shopfront lettering, wall paint advertisements in Italy around 1950s. Check out the script fonts from Holiday Type!

Used Cars JNL is based on one of the many unique alphabets created by the late Alf R. Becker for Signs of the Times magazine from the 1930s through the 1950s. Special thanks to Tod Swormstedt of ST Media (who is also the curator of the American Sign Museum in Cincinnati, Ohio) for providing the reference material for this design

Designed in 1976–81 by Michael Rovensky (1902–1996) as the body text companion of his Bazhanov Display typeface (1961), of Polygraphmash typefoundry. Based on the lettering by Moscow book designer Dmitry Bazhanov (1902–1945). With old-fashioned flavor, this design recreates the Soviet hand-lettering style of the 1940s. The digital version was developed at ParaType in 1996 by Lyubov Kuznetsova.

The chamfered block style of lettering has been a workhorse for years. From the early signage of the 1800s to military markings to the techno fonts of the 1980s and beyond, its clean and simple look gets the message across easily and boldly. Industrialist JNL and its oblique partner were modeled from the title on a piece of sheet music from the 1940s.

PT Bazhanov™ was designed at Polygraphmash type design bureau in 1961 by Michael Rovensky (1902-1996). Based on the lettering by Moscow book designer Dmitry Bazhanov (1902-1945). Old-fashioned flavor of this design recreates the Soviet hand-lettering style of the 1940s. For use in title and display typography. The digital version was developed for ParaType in 2001 by Lyubov Kuznetsova.

Bill Rigney, an old job printer in my home town, established his shop in 1896, closed it in 1900 to take a steady job, stored the equipment in a large shed, and reopened for business upon his retirement in 1950. What a find! A bonanza of old type! We became good friends and upon his death I bought the type. Bless you Bill.

Hand lettering on the packaging for an Arrow "Commander" Staple Remover seen in an online auction is the inspiration for the unusual and angular typeface comprising Staple Remover JNL. The Art Deco era of the 1930s and 1940s offers many wonderful examples of stylized and experimental lettering, and this, by far is one of the more eclectic styles of the time.

This exuberant face was suggested by a piece of French sheet music from the 1930s for the song Sur un Air de Shimmy, The name comes from an Australian song from the 1950s about a noncompliant boomerang. Both versions of this font contain the Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

A playful, casual take on round nib pen lettering was spotted amongst some online scans from an old lettering book. The free-form and stylized shapes of the letters and numbers are reminiscent of old-time show cards, movie titles and signage in vogue around the early 1900s through the 1920s. Fancy Show Card JNL is available in both regular and oblique versions.

Grafiker means 'Graphic Designer' in German. This fat, colored, uneven font with a 1001 uses was loosely based on the work of designers Oskar Kokoschka (1886 - 1980) and Jean Carlu (1900 - 1997). The glyphs were hand-drawn with a 0.5 roller ball and colored in with Chinese ink, using a stiff brush. The result is a lively, rather unusual font.

Cooper Black's second coming to American design in the mid-sixties, after almost four decades of slumber, can arguably be credited with (or, depending on design ideology, blamed for) the domino effect that triggered the whole art nouveau pop poster jam of the 1960s and 1970s. By the early 1970s, though Cooper Black still held its popular status (and, for better or for worse, still does), countless so-called hippie and funk faces were competing for packaging and paper space. The American evolution of the genre would trip deeper into psychedelia, drawing on a rich history of flared, flourished and rounded design until it all dwindled and came to a halt a few years into the 1980s. But the European (particularly German) response to that whole display type trend remained for the most part cool and reserved, drawing more on traditional art nouveau and art deco sources rather than the bottomless jug of new ideas being poured on the other side of the pond. One of the humorous responses to the "hamburgering" of typography was Friedrich Poppl's Poppl Heavy, done in 1972, when Cooper Black was celebrating its 50th anniversary. It is presented here in a fresh digitization under the name Gator (a tongue-in-cheek reference to Ray Kroc, the father of the fast food chain). To borrow the title of a classic rock album, Gator is meaty, beaty, big and bouncy. It is one of the finest examples of how expressively animated a thick brush can be, and one of the better substitutes to the much overused Cooper Black. Gator comes in all popular font formats, and sports an extended character set covering the majority of Latin-based languages. Many alternates and ligatures are included in the font.

Sam Suliman is a condensed display face supplied in three weights – Regular, Medium and Bold – plus a set of handy italics (obliques). All six fonts are included in the value family pack. The fonts are inspired by lowercase lettering on a Sarah Vaughan album cover designed by Sam Suliman in 1962, a style which contrasts sharp tight outer corners with soft rounded counters. The letters were perhaps influenced by a Solotype font called Herald Square, but without that font’s aversion to diagonals, and adding distinctive perky ascenders/descenders on the lowercase r, a, u, g and n. The Sam Suliman fonts also add the nubs to d, m, p, and q. Suliman was born in Manchester, England in 1927. After working for McCann Erikson in London, he moved to New York where he took on freelance work designing album covers, particularly celebrated are his striking minimalist designs for jazz records. He moved back to England in the early 1960s, designing many book jackets, film titles and fabrics, also working in Spain and India before settling in Oxford in the 1980s.

Eurostile® is one of the most important designs from the Italian font designer Aldo Novarese. It was originally produced in 1962 by the Nebiolo foundry as a more complete version of the earlier Microgramma, a caps-only font designed by Novarese and A. Butti. Eurostile reflects the flavor and spirit of the 1950s and 1960s. It has big, squarish shapes with rounded corners that look like television sets from that era. Eurostile has sustained the ability to give text a dynamic, technological aura. It works well for headlines and small bodies of text. The Eurostile font family has 11 weights, from roman to bold and condensed to extended. In 2009 Linotype released a revised version in the Platinum Collection under the name , with three weights in all three different styles. And additionaly there are now new weights for the Eurostile family as , and ."

This script font was inspired by the “Ronde” French script. It was in use from 1700s to 1900s (until 1960s in special circumstances) for registers, legal documents and texts, certificates, labels and other documents that must be particularly legible. Today in France, it is still being used for menus, advertising, and labels. The present version is a late 19th Century pattern. This font supports very strong enlargements as well as small sizes. When printed, it remains perfectly legible and elegant from 9/11 pts even if using an ordinary inkjet printer.

Architype Ingenieur was inspired by Wim Crouwel’s late 1950s exhibition catalogues and posters, for which he had created a few geometrically constructed, simplified letterforms. In the 1960 Venice Biennale Dutch entry poster, he drew grid-based letters with 45-degree angles for ‘olanda’, the style influenced by his boyhood fascination with naval lettering. A subtle variation appeared in the Stedelijk Museum catalogue for painter Jean Brusselmans. Several dot matrix versions followed. The themes and systems in these early letterforms are encapsulated in this new four weight family Architype Ingenieur.

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

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.

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.

The Sabon® Georgian design translates the original Sabon typeface into Georgian language. Its old style Latin-based design traits and proportions have been carefully and beautifully interpreted as Georgian script characters. In the early 1960s, a group of German master printers wanted a typeface family which would provide them with consistent and predictable results, whether it was used as machine or hand-set composition. They approached one of Germany’s most distinguished type designers, Jan Tschichold, to undertake the design task. The end result of the design commission is a typographic tour de force, and the face that establishes Tschichold’s reputation as a type designer. The completed design, released in 1966, not only solved the imposed design problem of the early 1960s, it is also an exceptionally beautiful and useful digital design. The Sabon® Georgian design further extends the range of this remarkable typeface

Influenced by the 1960’s typeface, Design Fineline.

Inspired by public fonts in New York in the 1970s. Authority pays tribute to the almost unnoticed but powerful effect type have on our lives. From waiting on a cold morning to catch the 307 to Morton West High School, to the rain and snow worn stencil on a postal box. Public typography is a part of the little spaces in your lives where life actually happens. Government designed fonts were chosen to communicate authority and help grease the gears of the day-to-day grind. Authority beckons back to these days with it's mildly condensed feel, squared corners and weight presence.

A quirky semiscript, derived from lettering in an 1930 ad for the beauty salon of Kathleen Mary Quinlan on New York's Fifth Avenue. The Opentype version of this font supports Unicode 1250 (Central European) languages, as well as Unicode 1252 (Latin) languages.

The Journal Sans typeface was developed in the Type Design Department of SPA of Printing Machinery in Moscow in 1940–1956 by the group of designers under Anatoly Schukin. It was based on Erbar Grotesk by Jacob Erbar and Metro Sans by William A. Dwiggins, the geometric sans-serifs of the 1920s with the pronounced industrial spirit. Journal Sans, Rublenaya (Sans-Serif), and Textbook typefaces were the main Soviet sans-serifs. So no wonder that it was digitized quite early, in the first half of 1990s. Until recently, Journal Sans consisted of three faces and retained all the problems of early digitization, such as inaccurate curves or side-bearings copied straight from metal-type version. The years of 2013 and 2014 made «irregular» geometric sans-serifs trendy, and that fact affected Journal Sans. In the old version curves were corrected and the character set was expanded by Olexa Volochay. In the new release, besides minor improvements, a substantial work has been carried out to make the old typeface work better in digital typography and contemporary design practice. Maria Selezeneva significantly worked over the design of some glyphs, expanded the character set, added some alternatives, completely changed the side-bearings and kerning. Also, the Journal Sans New has several new faces, such as true italic (the older font had slanted version for the italic), an Inline face based on the Bold, and the Display face with proportions close to the original Erbar Grotesk. The new version of Journal Sans, while keeping all peculiarities and the industrial spirit of 1920s-1950s, is indeed fully adapted to the modern digital reality. It can be useful either for bringing historical spirit into design or for modern and trendy typography, both in print and on screen. Designed by Maria Selezeneva with the participation of Alexandra Korolkova. Released by ParaType in 2014.

The Face2Face (F2F) series was inspired by the sound of 1990s music, personal computers, and new font creation software. For years, Alexander Branczyk and his friends formed a unique type design collective, which churned out a substantial amount of fresh, new fonts, none of which complied with the traditional rules of typography. Many of these typefaces were used to create layouts for the leading German techno magazine of the 1990s, Frontpage. The typeface F2F OCRAlexczyk is one of the Face2Face fonts in Linotype's Take Type Library. It is based on the popular computer font OCR A, which was developed by the American National Standards Institute in 1966 as a system of letters that both humans and machines could easily read. Alexander Branczyk made a more 1990s/techno version, which later became this font.

Honest draws inspiration from the serif fonts prevalent in print media during the 1970s and 1980s. Its letter shapes are well-suited for prominent uses like logos and striking headlines due to their distinctive style. The font's large x-height makes it suitable for tight leading in headlines. Honest offers a variety of options, including seven different weights and two styles: Standard and Italic.

Roadstar is a script designed in the style of the classic American advertising font from the 1940's-1950's. Roadstar is a retro brush-style script designed for logotype, packaging, posters, T-shirts, signage & design projects with a retro & vintage feel. Roadstar comes with two styles that both contain all upper and lower case characters, punctuation, numerals and mathematical operators, as well as all accented characters.

From alphabets created for book illustrations in the 1970s to lettering created for a book jacket in the 1990s, the Mentor family of typefaces has developed along its own slow and circuitous path. Always present in its evolution, though, has been the influence of three 20th century design giants: Eric Gill, Reynolds Stone, and Hermann Zapf, as filtered through the meticulous sensibility of Michael Harvey.

For decades, spot illustrations - whether by hot type, photoengraving, clip art or (in later years) digital means provided decorative and often lighthearted breaks in reading printed copy. This collection of twenty-six cartoon images has been meticulously re-drawn in digital format from 1920s-1930s era source material. By adding a simple caption underneath a design, your ad copy can be enhanced with these wonderful period pieces.

Mayak is a geometric sans serif inspired by the Soviet constructivist fonts of the 1920s-1930s. It contains traditional upper and lower case characters as well as small caps and a great number of stylistic alternates. The font comes in 12 styles: 4 weights in 3 widths. Mayak was designed by Yana Nosenko with contributions from Dmitry Kirsanov and released by ParaType in 2017.

Balcony Seats JNL is a different take on Jeff Levine's Aisle Seats JNL. The original font was modeled from Redikut die-cut cardboard letters - used in the 1940's and 1950's for display and show card work). Although the basic letter shapes are similar, the horizontal stroke weights have been narrowed, providing a type variation with a classic Art Deco "thick and thin" look.

This typeface is inspired from the old display fonts that used to decorate the world around us, but just because we don't see such beautiful signage these days, doesn't mean we should lose the great typefaces used. Foreman is a condensed serif display typeface, with hard geometric lines inspired from fonts used in the 1930s and 1940s, and very much used by the American Art Deco movement.

Neue Rinjani is a all-caps sans serif with Wide Stretch contemporary typographic, vintage futuristic art-deco touch Streamline influence of the 1930s and 1940s. A mix from the old Euro-American signage/advertising letters and modern clean sans serif, carefully mousecrafted to bring you the genuine feel of the era. If you're into classic/vintage letter designs, then this typeface suits best for you.

The hand lettering found on a small catalog sheet for decorative decals from the 1930s-1940s era was the perfect source material for Crestview Six JNL. Handmade typefaces or signage from past decades offer a wonderfully humanistic change from the perfectly-crafted designs of printer's type (or digital type in the modern era). The font's name comes from the old alpha-numerical phone exchanges of the past.

This big family summarizes and develops the tradition of boldface squared-off 45° shear sanserifs. Known from the middle of 19th century and actively used in different times (1920s, 1970s) is still usable now, thanks to its brutal expression, monumentality and possibility to fully maximize the flatness without loss of readability. This font is especially good for filling letters with photos or to create geometrical “constructivist” compositions.

Originally presented as an alphabet suitable for movie title cards, this font is based on a 1920 work by showcard artist E. C. Matthews, and named after the eponymous 1940s radio show about a local saloon and its never-present owner. Both versions of this font contain the Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

Liturgisch was created by Otto Hupp for Klingspor foundry in 1906. The basis of this font is a publication in the magazine "Das Plakat" of October 1921. The font contains contextual alternates, ligatures, discretional ligatures for use in German, ornamental bullets and other OpenType features. It supports all the European languages using Latin alphabets (including slashed S and slashed longs used in Latvian old orthography till 1930s).

Karaoke JNL is one of the many alphabets created by the late Alf R. Becker that was showcased in Signs of the Times magazine from the 1930s through the 1950s. Thanks to Tod Swormstedt of ST Media (and who is the curator of the American Sign Museum in Cincinnati, Ohio) for providing Jeff Levine the research material from which this font design was modeled.

General Chang JNL is one of a number of fonts redrawn by Jeff Levine from the creative output of the late Alf R. Becker. Becker's alphabets were a monthly feature of Signs of the Times Magazine from the 1930s through the 1950s. Thanks to Tod Swormstedt of ST Media (who also is the curator of the American Sign Museum in Cincinnati, Ohio) for the resource material.

Inspired by the Techno sound of the 1990s, Alexander Branczyk designed a series of new, wild and controversial fonts which mark a complete departure from typographic traditions. MadZine font is part of the Face2Face package, together with 7 other fonts from young and unconventional designers.

Broad pen script typeface based on late 1960s Turkish signage.