Daisie Alfaro

The above-the-store signage for many newspaper stands, soda shops, candy stores, luncheonettes and pharmacies of the 1950s and early 1960s were what was referred to as “privilege signs” provided by one of the major cola brands.

Consisting of the brand’s emblems on the left and right, the remainder of the sign would carry the desired message of the storekeeper (such as “Candy – Soda – Newspapers”) in prismatic, embossed metal letters.

Inspired by these vintage signs, Privilege Sign JNL recreates the condensed sans serif lettering style in both regular and oblique versions. The typefaces are solid black, but adding a selected color and a prismatic effect from your favorite graphics program can reproduce the look and feel of those old businesses.

A photo of the now closed [circa-1953] Lowell Municipal Pool (at 1601 N. 28th St.) in Boise, Idaho shows the words “Municipal Pool” formed into the cement of the entrance to the above-ground swimming facility.

Both the lettering and building entrance designs harken back to the Art Deco era and the sign features stencil-like characters.

This inspired a typeface aptly named Municipal Pool JNL, and is available in both regular and oblique versions.

Inspired by the hand lettered opening credits for “(The Many Loves of) Dobie Gillis” – a teen-oriented televisioncomedy that ran from 1959 to 1963 on CBS - Teenagers JNL is available in both regular and oblique versions.

Whatever the medium, Girard’s love for typography was the common thread that wove his work together. We are honored that the Girard family has entrusted us to celebrate and expand upon the legacy of this design icon with this collection of fonts. The Girard Slab family gracefully synthesizes illustrative sensibilities into a practical typographic framework. Slab’s three widths and four weights ensure versatility in a modern editorial setting while its gentle curves transcend the sterility of traditional typography to add an unprecedented warmth and personality. From boutique chocolate packaging to the titling sequence for an indie vegan superhero cartoon, Girard Script deftly adds a contemporary sophistication to text and display settings. Inspired by a workhorse lettering style that helped Alexander Girard implement thousands of design elements in his overhaul of the Braniff identity system, Girard Sky pulls its weight in any contemporary application. In Girard Sansusie, each character stands alone as an illustrative element while coming together with its counterparts as a whimsical yet functional typeface.

FEATURES:

• The ligatures feature substitutes specially-drawn letter combinations that combine two, three or even four characters to create smoother transitions and simulate lettering sensibilities.
• Girard Slab’s three widths and four weights ensure versatility in a modern editorial setting while its gentle curves transcend the sterility of traditional typography to add an unprecedented warmth and personality.
• Copious alternate characters and “smart” OpenType programming allow Sansusie to escape the rigid confines of typography to come alive as if flowing from Girard’s sketchpad. This animation shows a sampling of the swash characters available in the font.

GIRARD CREDITS:

• Typeface Design: Alexander Girard, Ben Kiel, Ken Barber, Laura Meseguer
• Typeface Production: Ben Kiel
• Typeface Direction: Christian Schwartz, Andy Cruz, Ken Barber

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.

Klangfarbe is a quirky ultramodern script with unique stroke tapers and droplet-like finials. This font is a true chameleon and is very much at home with a variety of looks: from a reimagining of kitschy 1950s scripts, to analog retro-tech, to steampunk, to high-fashion futuristic logos and beyond. Klangfarbe — a German language term meaning “timbre” or “sound color” — references the visual appearance of audio frequency waveforms echoed in many of the lowercase letters. A truly eye-catching choice.

The extra bold sans serif stencil lettering on movie posters and lobby cards for “Reform School Girl” (a 1957 film by American International Pictures) was the basis of Reform School JNL, which is available in both regular and oblique versions. 

A very expanded sans serif font in capital letters inspired by the inscription on a bank note

Old bank notes tend to have a very typical typography. Usually they carry decorative and elaborately designed markings. For one thing, they must be practically impossible to forge and for another, they should make a respectable and legitimate impression. And in the days of copper and steel engravings, that meant nothing less than creating ornate, shaded or otherwise complicated scripts. Designing the appropriate script was literally in the hands of the engraver.

That’s why I noticed this bank note from 1948. It is the first 20 mark bill in the then newly created currency ”Deutsche Mark.“ All other bank notes of the 1948 series show daintier forms of typography with an obvious tendency toward modern face. The 1949 series which followed shortly thereafter reveals the more complicated script as well. For whatever reason, only this 20 mark bill displays this extremely expanded sans serif variation of the otherwise Roman form applied. This peculiarity led me in the year 2010 to create a complete font from the single word ”Banknote.“

Back to those days in the 40’s, the initial edition of DM bank notes was carried out by a special US-American printer who was under pressure of completing on time and whose engravers not only engraved but also designed. So that’s why the bank notes resemble dollars and don’t even look like European currency. That also explains some of the uniquely designed characters when looked at in detail. Especially the almost serif type form on the letters C, G, S and Z, but also L and T owe their look to the ”American touch.“

The ingoFont Banknote 1948 comprises all characters of the Latin typeface according to ISO 8859 for all European languages including Turkish and Baltic languages.

In order to maintain the character of the original, the ”creation“ of lower case letters was waived. This factor doesn’t contribute to legibility, but this kind of type is not intended for long texts anyway; rather, it unfolds its entire attraction when used as a display font, for example on posters.

Banknote 1948 is also very suitable for distortion and other alien techniques, without too much harm being done to the characteristic forms.

With Banknote 1948 ingoFonts discloses a font like scripts which were used in advertising of the 1940’s and 50’s and were popular around the world. But even today the use of this kind of font can be expedient, especially considering how Banknote 1948, for its time of origin, impresses with amazingly modern detail.

Say hello to the new workhorse for packaging and advertising design! Chonky — playful version of chunky — is a bold script font based on the former English calligraphy but with touches of the vitality that the commercial lettering of 1950s had, and it is mostly inspired in the work of the master Doyald Young and his lessons. Following the advice where he explains that boldness requires simple forms, this modern typeface wasn’t designed to imitate calligraphy but it was typographically thought, being as minimal as a script could be. The eye was put on legibility as well as on spacing and connections, which were specially cared, as it is usual in all Typesenses’ scripts. The upright axis makes the curves slower while the rounded terminals give a warm look. The ascenders, descenders and capitals are the shorter they could be, mostly in the Regular style. The Poster font, has larger ones in order to achieve more graceful forms. Both options include stylistic sets and ligatures to embellish the words. Just keep the Standard Ligatures and Contextual Alternates features always active and see how the typeface writes perfectly while having fun with OpenType alternatives (*). Additionally, Chonky has extensive Western, Central and Eastern European language support. 

Due to its classical base mixed with modern touches, this is a typeface that will live for decades instead of fading away with fashion.

(*) Take a look at the User Guide to see all the features available.