Released by the French type foundry Deberny & Peignot in 1954, this bold, upright script was an early design of Adrian Frutiger and the only script face he ever created.

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Youngblood is a non-connected formal script with tall, sweeping ascenders and two alternates. These alternate forms can be mixed and matched for a custom look, and Youngblood is stronger in weight and is better suited for display work than most script fonts.

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Designed by expert ad artist Herbert Thannhaeuser for East German foundry Typoart in 1955, Lotto was until now one of the long lost gems of European sign and brush lettering faces. Unlike in Kurier (Thannhaeuser’s other brush face digitized by Canada Type as Puma), the brush constructs the letter forms using a series a strokes that are mostly sudden, whimsical, and at times even look like great genius being born out of simple afterthought or straight-forward idiosyncracy—for instance, check out the simple brush pause that is the top of the f, the confident yet welcoming serifs on the T, the similarly-themed C-E and O-Q relationship, and much more.

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Mildly abstract letterforms constructed with a decisive, flamboyant brush stroke are the hallmark of revered French designer Roger Excoffon. Choc was designed in 1955 by Fonderie Olive, but has only recently come into widespread popularity as the trend for casual display typography has grown.

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Designed in 1953 by leading French designer Roger Excoffon based on his own handwriting, Mistral has become an institution among script typefaces. It was the first of the textured edge styles and its fresh, distinctive appearance makes it very popular. The capitals can be used alone or with the lowercase that joins in true script fashion.

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Named for the strong, cold winds of southern France, Mistral was designed by Roger Excoffon for the Olive foundry in 1953.

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Designed by Georg Trump between 1951 and 1955 and released by the Weber type foundry in Germany, Delphin I is a beautiful roman typeface with strong calligraphic leanings.

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The Treasury script waited over 130 years to be digitized, and the Canada Type crew is very proud to have done the honors. And then some. After seven months of meticulous work on some of the most fascinating letter forms ever made, we can easily say that Treasury is the most ambitious, educational and enjoyable type journey we've embarked upon, and we're certain you will be quite happy with the results.

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Caroline is the script developed in the late 8th century scriptorium of Charlemagne in Franks' Kingdoms.

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Movie Script is the script that was used in German movie-brochures. Those were small four page leaflets with a lot of sepia-colored pictures about the movie one was about to see.

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Pauline is a sans serif with a strong influence from retro scripts. Pauline is a geometric face formed with slow and deliberate rounded brush strokes. The tall ascenders give it a useful touch of naïveté. It’s a face suitable for some interesting titling and short bits of copy.

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Rosadelia is a family of Calligraphic grunge origin, consisting of 4 styles: Uno, Dos, Blanca and Dingbats (Dingbats includes 26 illustration characters).

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Minuet, an informal script with crossover deco elements giving it an unmistakable 1940s flavor, is a revival and expansion of the Rondo family, the last typeface drawn by Stefan Schlesinger before his death.

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Based on a turn of the century design.

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A skillful revival of the Uncial by S.H. de Roos for Lettergieterij Amsterdam in 1938.

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Based on an early wood type design. An original creation.

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The Treasury script waited over 130 years to be digitized, and the Canada Type crew is very proud to have done the honors. And then some. After seven months of meticulous work on some of the most fascinating letter forms ever made, we can easily say that Treasury is the most ambitious, educational and enjoyable type journey we've embarked upon, and we're certain you will be quite happy with the results.

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Cake Script is the script that is used on birthday cakes, or at least it is what I think should be used on those cakes.

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Rosalia is an impulsive typeface designed by Heinz Schumann in 1964 as Stentor for Typoart Dresden. The marked stroke contrast and the spontaneous look typical of handwriting gives the typeface a lively, energetic character. The generous capitals lean slightly to the right and contrast beautifully with the reserved, upright lower case letters and can also be used for initialing. Rosalia is a good choice for headines and texts in middle to large point sizes.

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A semiformal “ribbon” script designed by Robert Hunter Middleton, Coronet was first released by Ludlow in 1937. The small proportions of the lowercase letters are part of the elegance implied by the name and work best at medium or large point sizes, such as short blocks of display copy or headlines. The face has a soft, comfortable quality that lends itself to a wide range of applications, from invitations to bubble bath packaging.

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Designed by R.H. Middleton for Ludlow, circa 1937. Digitally engineered by Steve Jackaman.

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Based on Iberica by Carlos Winkow for the Spanish foundry, Nacional, circa 1942.

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Ballerina Pro… sounds like music, ballet, elegance and classic quality. That’s exactly how Ballerina Pro carries the message to the reader. Ballerina Pro is more of a formal script, light-weighted and quite beautiful, redesigned, digitized, completed and expanded as OpenType in the profonts type studio.

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R.H. Middleton for Ludlow, circa 1956. Digitally engineered by Steve Jackaman.

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Panamericana is a family of calligraphic origin consisting of 10 styles: Blanca, Gris, Negra, Uno, Dos, Tres, Cuatro, Cinco, Seis and Dingbats (Dingbats includes 26 illustrations characters).

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Olidia is a script with tall sweeping ascenders packed with alternates and ligatures.

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Adagio Pro… sounds like music, elegance and classic quality. That’s exactly how Adagio Pro carries the message to the reader. Adagio Pro is a rather formal script with very beautiful, generous and swashy upper case that were redesigned, digitized, completed and expanded as OpenType in the profonts type studio.

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In 1995, FontHaus came upon a rare opportunity to create a revival of Aries, a little known and previously unavailable typeface by the legendary Eric Gill. Discovering a lost typeface by one of the major designers of the 20th Century, was the discovery of a buried treasure, and being the first type company to release it was an honor.

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Hortensia, designed around 1900 by Emil Gursch for his own Berlin foundry, is a typeface most expressive of the post-Victorian aesthetic that was all the rage in both Europe and America during the second half of the 19th century and up until the Great War. It is a reduced aesthetic of sharp points and natural curves that almost want to apologize for their own elegance, but clearly embody the simple excitement about the blossoming of industry and crafts during the period. This deco script trend would get a re-run for about a decade on either side of the second World War — especially in the entertainment and financial industries — before giving way to art nouveau and big brush faces.

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Londsale is a structured script loosely based on a font called Parkway Script. Parkway Script was designed by Emil Hirt in 1964. Lonsdale’s capital letters are very similar to the capitals in Cinecav Script™, a closed-caption font.

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Silk Script is a revival and elaborate expansion of a 1956 Helmut Matheis script called Primadonna, which strangely remained a metal face and never made the leap into the film age.

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The inspiration for Jeeves came from Leslie Carbarga’s wonderful book LETTERHEADS, One Hundred Years of Great Design, 1850-1950. It was based on a secondary type usage for the letterhead for Sutherland in New York. The rest of the letterhead had features that were more typical of the Art Deco period, but this script added a touch of timeless elegance. And since at the time I was reading every scrap of P.G. Wodehouse I could get my hands on, the name Jeeves seemed like a perfect fit.

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Based on the earliest ATF/M.F. Benton versions of the Bank Gothic typefaces. ‘Fleshed-out’ into a full family.

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Here at Comicraft we have seen the signs on the headline news, we have read the portents of things to come... yes, just as thunder is a sign of storm, just as pumpkins outside Ralph’s on November the 1st are sure to be on sale, just as fresh produce becomes rotten, as sure as night turns to day, dark turns to gray, winter turns to spring and milk turns sour if you leave it out on the kitchen table overnight...

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Beautiful and elegant, Black Swan BF lives equally in bliss as entrance signage for an exclusive housing subdivision, as it does on the cover of a hot new music CD.

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The Scrivano family was designed by Ricardo Esteves Gomes, inspired by some handwritings from the Middle Ages and Renaissance period.

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An original design.

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MonsterDays comes with an EPS Set with 13 vector ornaments.

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An original informal script designed for ATF by Emil Klump.

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Sonora is a new profonts script typeface family supplied in the new OpenType Pro font format. Sonora contains six styles as light, medium, bold and the corresponding italics. The character set covers about 1.500 glyphs for the complete Latin character set (West, East, Baltic,Turkish, Romanian), and a huge number of handmade ligatures and alternates to make it a perfect OpenType Pro connecting script.

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Based on Hispalis from the Spanish foundry, Nacional.

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Originally, Arabella Pro was designed by Arnold Drescher around 1936/1939. Drescher created this wonderful script for former Germany typefoundry Joh. Wagner. The typeface has been redesigned, digitized, completed and expanded as OpenType Pro in the profonts studio by Ralph M. Unger.

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Cuisine originated from a how-to lettering book from the 1950s. It suggests the script style found on food and beverage labels in the early 20th century.

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Generous free flowing capital initials combine with a more restrained lowercase to create this very effective script typeface. Vivaldi’s letterforms incorporate a beautiful mixture of calligraphic and copperplate elements that make it unique and especially appropriate for invitations, announcements and other work requiring a distinctive, formal appearance.

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Brush Script was designed in 1942 by Robert E. Smith for American Type Founders. It has a spontaneous, brush-written look, and the lowercase letters are connected as in handwriting. Brush Script is ideal for casual display work where an informal, handwritten style might be advantageous, such as posters and signage.

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This broad pen classic is a revival of Walter MacKay’s Heritage font, made for ATF in 1952.

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The archetype of the Brush Script, designed for ATF by R.E. Smith in 1942.

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An original design. A memorial typeface by Pat for her mother, Alys, who was tragically killed.

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Blanchard is a revival and elaborate extension of Muriel, a 1950 metal face made by Blanchard Trochut for the Fonderie Typographique Française, that was published simultaneously by the Spanish Gans foundry under the name Juventud.

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Designed by Carl Reissberger for the Monotype Corporation in 1962, Forte is a bold display script that has no connections between the letters of the lowercase alphabet.

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Designed by Douglas C. McMurtrie. Digitally engineered by Steve Jackaman. Based on the original Ludlow drawings, circa 1928.

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