Brazil Nut JNL comes from hand lettering on some 1920s sheet music from Florenz Ziegfeld's musical comedy "Rio Rita".

The unusual hand lettering found on a piece of 1940s sheet music forms the basis for Pencil Pusher JNL.

Turn on the mirrored ball, and haul out the gold chains and white suits! This Disco dazzler is a new take on Bass Rainbow, designed by Saul Bass in the 1970s. Hip, hot and heavy, this typeface is ready to get down. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

A modern display typeface with ultra sharp detailing. The unique line style takes influence from earlier fonts produced in the 1970’s by Letraset. These lines are then blended with a stronger letterform creating a more visually dynamic font suitable for today’s market. Details include: three unique styles, all caps character set with alternatives, manually edited kerning and Euro symbol.

Head 'em up and roll 'em out! Western styling with a wagonful of whimsy combine in this little beauty, based on a typeface named Blackjack, designed by Vincent Pacella for Photolettering in the 1970s. The PC Postscript, Truetype and Opentype versions contain the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well

A delightfully different typeface named Aphrodite, designed by Richard Nebiolo for Photolettering in the 1970s, provided the pattern for this svelte beauty. Graceful and elegant, it's the perfect choice for tasteful yet commanding headlines. The PC Postscript, Truetype and Opentype versions contain the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

Good Vibes is a three-variation font family with a groovy retro vibe. This lettering style conjures up the early 1970s and the whimsical post-psychedelic graphic era. Stack the three styles to build different combinations of shaded and outlined layers. Good Vibes, as it's name suggests, has a charming and lively funkiness that will add splash and pizzazz to your designs.

Based on a typeface named "Viola Flare", issued by Franklin Photolettering in the 1970s, this version has been kerned for every possible letter combination, so you can mix the swash uppercase letters with the lowercase as you please, creating distinctive and delightful headlines. Both versions of this font include the complete Unicode Latin 1252 and Central European 1250 character sets.

This quirky little number is based on a typeface originally named Turtle, which made a very brief appearance in Letraset's product line catalog in the 1970s. Admittedly, its uses are limited, but its cryptic and playful nature will reward those with imagination. Both versions of this font include the complete Latin 1252, Central European 1250 and Turkish 1254 character sets.

Dime Store is a font inspired by childhood memories of dime stores in downtowns and shopping malls in the 1970s. The font was tweaked and digitized by Bob Alonso, who also digitized Breauhare’s Cooper Goodtime font. Dime Store is a cool, hip, nostalgic way of creating a decorative display, and at times it seems to have a slightly futuristic look, too.

Bravissima is the dynamic and spirited embodiment of the 1970s, when food was food and the wild brush ruled. It tells you to eat, and to do it right now. Another perfect blend of traditional Koziupa calligraphy and Paul tech, spiced up with OpenType features like the meal of your dreams. A personal favorite for food packaging design, especially hot stuff. Bon appetit.

An extreme headline font with six optical variants. Black 24 is loosely based on ITC Grouch (1970) by Tom Carnase. It has some 2000 hand-adjusted kerning pairs for TNT (that’s Tight, Not Touching), a very popular type treatment from the seventies and eighties. Take your pick, or get them all, so you don’t have to buy another one later on.

With a large variety of stencil fonts contained within the Jeff Levine Fonts library, Another Stencil JNL is simply another stencil design added to this growing collection. Modeled from a lettering guide manufactured in the 1970s, the style is influenced by Franklin Gothic, but has enough differences in the shapes of the stencil characters to be considered a cousin to that classic design.

Welcome to the cosmic dance of typography with Groove Galaxy, a captivating and thrilling rounded vintage typeface that swirls you into a time warp of retro charm reminiscent of the beloved 1970s. Just like stars twinkling in the night sky, each letter of Groove Galaxy emanates a mesmerizing aura, pulling you into a captivating journey through the groovy days of the past.

A whimsical semi-script typeface named Belcanto, designed by Edwin Sisty for Photolettering in the 1970s, provided the pattern for this typeface. Elegant and engaging, this face is sure to put a smile on yours. The PC PostScript, TrueType and OpenType versions contain the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

The hand-lettered name on a couple of 1940s-era piano course books was the basis for Piano Solo JNL.

Vogue is extrapolated from some words in a 1930s brochure from Western Union called The Vogue of the Social Telegram.

Inline Lettering JNL was directly inspired by the opening title of a classic 1940s horror film, "The Invisible Man's Revenge".

Dorsal is a display typeface that is based on a rare bit of lettering from a 1910 German lettering book.

Based on a 1940s lettering stencil, Teacher JNL continues Jeff Levine's extensive collection of stencil fonts based on original sources.

Railroad Gothic Pro is a condensed, sans serif typeface, exclusively licensed from the Ludlow Collection. The original Railroad Gothic was produced by Ludlow in the early 1900’s, and Steve Jackaman (ITF) produced the digital version in 2017. The font provides support for Latin 1, Central, and Eastern European languages, and Cyrillic. Railroad Gothic Pro is reminiscent of typefaces used in 1900’s railyards, hence the name.

The Metro Office family is designed after the model of the original sans serif family – Metro No.1 – produced by W.A. Dwiggins and Mergenthaler Linotype’s design studio during the late 1920s and 1930s. A distinctly new interpretation of the sans serif idea, Metro was a thoroughly “American” sans serif when it was released. However, over the ensuing decades, it became a favorite the world over. Moreover, it is one of the first “humanist” sans serif typefaces designed. While redesigning Metro in 2006, Linotype’s Type Director Akira Kobayashi drew from his own knowledge of humanistic letterforms. The result is a redefined Metro; a typeface that is finally ready for heavy text setting. The original Linotype Metro No.1 never had italic variants. Kobayashi has created oblique variants, extending its use in document setting. A double-storey a and g, as well as a wider w were features of Dwiggins’ original Metro design that were filtered out by Mergenthaler Linotype in the 1930s. Kobayashi remedied this historical slight, retooling Dwiggins’ original forms and optimizing their legibility. Kobayashi has additionally retooled some of Metro’s more troublesome letters, which has black elements that became too dense. By opening up the troublesome joins (like that on the Q), Kobayashi has given his new Metro a more even color in text, improving its legibility while retaining its original spirit.

PyeMan is a rounded block typeface influenced by home computer games from the 1980s. Examples include Asteroids, Defender and Pac-Man.

C-V dashes are transcribed from 72-pt ornaments designed by Enric Crous-Vidal and issued by Typefoundry Amsterdam c. 1950.

Playful JNL takes its name from the obviously playful lettering found on the title of a piece of 1940s sheet music.

Easy Living JNL is a bold Art Deco type face modeled from the name of a 1930s magazine entitled "Country Living".

The Vondelpark is the famous Amsterdam city park, 47 hectares stretching out from Leidseplein to the Amstelveenseweg. It was founded in 1864 when a group of well-to-do Amsterdam citizens got together and bought land at the (then) edge of the city centre in order to create a park ‘for riding and strolling’. Designed by architect J.D. Zocher, it opened officially in 1865. The park received its name two years later when a statue of Dutch writer Joost van den Vondel was placed in the park. In the 1960s and 1970s the Vondelpark became a symbol and epicenter of the hippie flower power era. The park was declared a state monument in 1996. Donald DBXL was intrigued by the handmade iron nameplate lettering on the park’s entrance gates, and decided to design VLNL Vondelpark in its glory. The somewhat clumsy iron letters were not revived as is but optimized to turn it into a useful typeface. The all-caps serif with a deliberate constructed feel, contains a Positional Open Type feature that places half circles on the vertical stems, at the beginning and end of a word, to enliven the rhythm.

The Colville fonts began their existence in 2015 as a project-specific typeface, made to be used on a custom-made headstone commemorating Canadian artist Alex Colville (1920-2013) and his wife Rhoda Wright. For that purpose, some initial shapes were modelled after letters Colville himself had used on a Governor General gold medal he designed in the mid-1970s. From there started a year-long project that culminated in a set of four comprehensive fonts ranging in weight from Light to Bold, each containing over 750 glyphs to cover Pan European language support, stylistic alternates, five sets of figures, automatic fractions, and some ornaments rooted in Alex Colville’s art. These fonts exhibit a strong art deco aesthetic that has always been a favourite of architects, metal casters, and sign makers. This is a very humanist geometry alternating from the precisely calculated to the curvy and lithe, subtle contrast, flat stroke stops, and airy proportions that make for a counterspace built for accommodation and comfort. The breadth and timeless humanism of the Colville set makes fit in a variety of applications, from straightforward headlines, titles, and emphasis captions, to branding and packaging.

Raljon is a display typeface created by designer and lettering artist Mark Robinson. It is a collaboration between the Mmarkk and Teen-Beat Graphica visual design studios. This single font was created over a period of five years. Mark took great care in finessing each character and making sure that each character would stand on its own and yet simultaneously, be an integral part of the whole. The typeface is inspired by Gothic letterforms, horror novels, speed metal bands of the 1980s, techno and electronic music of the 1990s, and Washington, DC football teams whose stadiums lie in the Maryland suburbs. While it doesn’t have multiple weights, Raljon does have a deep depth and breadth. It has a seemingly endless amount of alternate characters and ligatures. There are nine letter Ms, eight letter As and Fs, seven Rs and Ts, and the list goes on. Even the figures have alternates.

Here's a posh serif typeface and its matching italic. Glowing with elegance, Cosmetiqa can go head to head with classic evergreens like Bodoni, Didot, or Century. And just like those go-to favorites, Cosmetiqa really shines at the huge, layout-dominating sizes which have been a staple of top-shelf fashion branding and magazine design since at least the mid-1980s. You'll also find this font to be a great workhorse at much smaller sizes and in extended text passages, as the hairline serifs don't disappear in the smaller size ranges. As its title suggests, Cosmetiqa's unique look works perfectly in cosmetics and fashion branding, but also try it with 1990s-style message forward ad headline applications if you're after a retro look with a hint of a modern twist. The semi-condensed proportions and tall x-height make it great for pull quotes, page banners, and logo design.