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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A geometric script with a strong 1940’s early '50’s flavor. Varga’s lower case looks best when set closely, even with a little overlap on the linking elements where appropriate. Suitable for a wide variety of headline applications. Designed by British lettering artist Alan Meeks.

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Bossa Nova is intimate, soft and controlled. Bossa Nova is syncopated rhythms and understated emotion. Capture its essence with the typeface of the same name, based on hand lettering by an uncredited scribe in a 1946 copybook. MvB Design commissioned Holly Goldsmith of Small Cap Graphics to complete Bossa Nova’s character set and to modify the characters for digital type. The sensuous curves and unique lines grab attention at display sizes, yet it remains remarkably readable in short copy blocks. Bossa Nova is perfect for design concepts based on music, travel, or romance.

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Introducing... SPEEDING BULLET -- featuring SPEED TRAILS for increasing the, ah, speed of your bullets!

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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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The first of the popular American informal scripts designed by R.E. Smith for ATF in 1933.

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Birch Beer JNL comes from lettering spotted on a European business sign found in some stock footage that was used for an old black and white film about World War II.

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The OpenType versions of Pacifco and Pacifco Alternate use ligature features to substitute unique glyphs when any lowercase character is keyed twice in a row, as well as for fi and fl.

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Leslie Cabarga loves mid-century letterforms. Streamline carries us back to the joining typographic scripts of the forties. They recall the American industrial scene as designers celebrated growing recovery from the great depression with the burgeoning vitality of Art Deco letterforms and graphic design.

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In 1931 Monotype made this facsimile of the typeface cut originally for John Bell by Richard Austin in 1788, using as a basis the matrices in the possession of Stephenson Blake & Co. Used in Bell’s newspaper, “The Oracle,” it was regarded by Stanley Morison as the first English Modern face. Although inspired by French punchcutters of the time, with a vertical stress and fine hairlines, the face is less severe than the French models and is now classified as Transitional. Essentially a text face, Bell can be used for books, magazines, long articles etc.

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Enchanted is a unique contemporary font that mimics the style of handwriting and brush scripts; yet it is neither.

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Lombriz attempts to bridge the gap between different kinds of typography - including packaging, signage, and sporting. The result is a heavy, yet casual, 1950s-inspired semi-connected script.

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As a follow-up to his popular Chocolate font, Angel Koziupa softens his brush again to produce Felipe, a font made in the memory of his brother.

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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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The Redikut Letter Company of Hawthorne, California specialized in die-cut cardboard display letters used by sign makers to achieve a three-dimensional effect on show card and display work.

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This simple, condensed italic sans serif capital alphabet (formerly known as Reflection) was created by British designer Martin Wait. The letterforms were designed with a strong shadow effect for extra impact. Suitable for a broad spectrum of applications.

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Michael Doret had been doing lettering in styles similar to Metroscript in his design work for many years, but with the advent of OpenType technology he realized that he could actually put together a script font that would finally do justice to this style, and be almost indistinguishable from hand-lettering.

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In 2007, insigne released Aviano. It’s beautifully drawn extended letterforms were a hit with designers and Aviano quickly became insigne’s most popular offering of early 2007.

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Wrap your chilly fingers around this ultra cool swingin' typeface! Cocktail Shaker is a swanky retro connecting script born out of 1950s lounge culture. Often referred to as the ‘googie’ look, Cocktail Shaker blends a casual loungy script with clean readability and a twist of modern Atomic Age charm.

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Whether you prefer Drip or Automatic, there is nothing quite like quality Coffee Service!

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Sweetheart Script revives handwriting from the mid 20th century with a lot of bounce and personality.

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I wrote Freedom Writer out of a desire for a handwritten script that’s all-connecting. It’s partly based on my own handwriting style, and somewhat influenced by hand-lettered scripts of the 1940s and 1950s.

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Le Havre is a geometric sans serif inspired by the golden era of the passenger ship, when getting to your destination was a delight in and of itself.

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In 1952, Aldo Novarese and A. Butti designed Microgramma for the Nebiolo foundry. It was a popular face, but was available only in capitals. In 1962, Novarese produced a full character set, including lowercase letters, and the foundry renamed the family Eurostile.

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Luxus Brut breathes the spirit of hand lettered signage of the Fifties. It’s a formal script, inspired from a well concealed shop portal in Vienna/Austria. Large and distinctive capital letters (that won't share the baseline with lowercase letters), wide spacing as well as a low x-height make it an excellent choice for posters, magazine headlines, logotypes, branding and any design that requires a touch of luxury and sensuality.

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Sweet Gothic is a 2009 addition to the Sweet Collection of engraved lettering styles from the 20th Century. 

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A set of square capitals developing from the interest in geometric forms stimulated by the Bauhaus, Bank Gothic was designed by Morris Fuller Benton for ATF in 1930, the same year that Georg Trump designed City for Berthold.

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The Roos family is a digitization and expansion of the last typeface designed by Sjoerd Hendrik De Roos, called De Roos Romein (and Cursief). It was designed and produced during the years of the second World War, and unveiled in the summer of 1947 to celebrate De Roos’s 70th birthday. In 1948, the first fonts produced were used for a special edition of the Dutch Constitution on which Juliana took the oath during her inauguration as the Queen of the Netherlands. To this day this typeface is widely regarded as De Roos’s best design, with one of the most beautiful italics ever drawn.

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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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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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Another version of the Century family was produced when Ginn & Company, a textbook publisher, commissioned American Type Founders to design a typeface with maximum legibility. Morris Benton researched the subjects of eyesight and legibility, then created Century Schoolbook, which was released between 1918 and 1921. Century Schoolbook is still seen in elementary school texts, and can be used for text work where legibility is a primary consideration.

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MVB Solano Gothic Bold was originally designed as a display face for the City of Albany, California, located on the San Francisco Bay facing the Golden Gate Bridge and bordering the the Berkeley hills. Named for the City’s main street, the typeface needed to work on signage in proximity to older buildings, in contemporary settings, and for general print and web use. Rather than creating a neutered design to cover all bases, Mark van Bronkhorst chose to develop a simple, strong, condensed face that would offer flexibility of style by providing both retro and neutral forms.

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A longtime font favorite of his, Michael felt that a set of lowercase characters would make Bank Gothic a more universally useful font. He set out on this ambitious task always mindful of the huge presence of its original designer, Morris Fuller Benton, hoping that whatever he did would live up to the high standards of this former giant of the font world.

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Hiruko is a full family of 16 different styles. Inspired by the early Swiss movements, Hiruko offers creativity and clarity within many media. Influenced by Japanese culture, Hiruko is based on the idea that less is more, however this applies in other directions when referring to the amount of work gone into producing the type family.

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Originally conceived as part of a unique display design created for Hershey’s Times Square flagship store, the PowerStation family is the perfect choice when looking for a font that speaks of strength, solidity and character. It comes in two “faceted” 3-D versions: “Block” where the dark side is dominant, and “Wedge” where you see more light than shadow. The family also includes both “Solid” and “Outline” versions of the font. They are all available in both normal and wide versions.

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An elegant face with dashing swash caps, based on an old American Type Founders typeface called Canterbury.

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The Le Havre series is a series of geometric sans serifs inspired by the dignified era of the passenger ship, when getting to your destination was a delight in and of itself.

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Kinescope is a dashing 1940s-style brush script.

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Mahalia draws inspiration from vintage hand-lettering, but adds a modern, European twist.

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Inspired by a piece of cigarette pack lettering by the great A. M. Cassandre, Nick designed the rest of the characters as an experiment. Geetype evokes the 1920s & 30s and is an unusual, eye-catching display face.

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Lorelei is an exuberant and bouncy script.

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Based on the Morris F. Benton for ATF in 1920, it was not completed for production until 1926. The serif version we released a few years ago was so popular, that we decided to design a complementary sans serif version in three weights, along with three corresponding Swash fonts.

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Neon Bugler is a font based on the third logo created by Harry Warren in early 1975 for his sixth grade class newsletter, The Broadwater Bugler, at Broadwater Academy in Exmore, Virginia, on Virginia’s Eastern Shore.

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A. R. Bosco made Romany for ATF in 1934, when there was much demand for script types in advertising and publishing. It was the high times of Speedball lettering, and a casual script in that fashion was naturally very welcome. It became an instant hit and was used widely for a good part of the 1930s and 1940s.

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Originally designed by Morris F. Benton for ATF in 1920, it was not completed for production until 1926.

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Inspired by retro lettering on advertising & propaganda posters from the 30s to 60s.

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Inspired by an example of French handwriting ca. 1935.

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The famous Italian type designer and Nebiolo director Alessandro Butti designed Rondine in 1948. Not so surprisingly - given its beauty - it quickly became quite a commonly copied metal type. But for some reason Rondine was spared during the massive “phototyping” that happened with the introduction of film type. Perhaps this is why no digital version of it ever existed until now.

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Based on a turn of the century design.

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Deisgned by R.H. Middleton. Digitally engineered by Steve Jackaman. Based on the original Ludlow drawings, circa 1938.

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With all the aloha you could ask for, famous tiki artist and sculptor Squid has created Bamboozle! It looks like real bamboo because it’s made from real bamboo! Really! Bamboozle is perfect for any Hawaiian luau, pig roast, tropical gathering, or enjoying strong rum drinks with friends!

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A font inspired by 40s movie posters.

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Sterling Script was initially meant to a be digitization/reinterpretation of a copperplate script widely used during what effectively became the last decade of metal type: Stephenson Blake’s Youthline, from 1952. The years from 1945 to 1960 saw a heightened demand for copperplate faces, due to post-war market optimism, as well as the banking and insurance industries booming like never before, which triggered the need for design elements that express formal elegance and luxury.

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Thin strokes, an Art Deco feel and useful in both text and display work... that’s Stylor JNL by Jeff Levine.

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Lydian is Warren Chappell’s almost calligraphic sanserif, designed for ATF in 1938.

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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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Chikita greets you with big, happy eyes, and all the energy in the world. She wants to skip the talking and get to the dance floor, where she owns the beat and sways like a tongue of fire. She doesn't settle for anything less than everyone in the room fixating on her, and every pair of eyes is indeed happy to oblige. Being both the noumenon and phenomenon of the party, she remains in your mind long after closing time. And you just know the next time you see her your heart will skip a beat and a welcome wave of contentedness will wash over you.

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Future Bugler is a font based on the second logo created by Harry Warren in early 1975 for his sixth grade class newsletter, The Broadwater Bugler, at Broadwater Academy in Exmore, Virginia, on Virginia’s Eastern Shore.

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Florencia flows with the spirit and excitement of a beautiful dancer. Its extended and flowing letterforms are designed to glide across the page.

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Sweet Gothic Serif is a 2009 addition to the Sweet Collection of engraved lettering styles from the 20th Century. It is a serif variant of Sweet Gothic.

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Concurso Italian was inspired by travel posters of the 1920s. Use it for travel posters, passports, luggage stickers or an elegant vintage look.

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The story of Serena is a unique one among revivals. Serena was neither a metal face nor a film one. In fact it never went anywhere beyond Stefan Schlesinger’s 1940-41 initial sketches (which he called Saranna). A year later, while working with Dick Dooijes on the Rondo typeface, Schlesinger was sent to a concentration camp where he died, along with any material prospects for the gorgeous letters he'd drawn.

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Designed by the outstanding British designer Alan Birch, this dramatic typeface conveys all the immediacy, impact and effect of a stencil or rubber stamp on paper. Suitable for many large display applications, and any work that would be enhanced by a stencil, branding or rubber stamp effect.

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Although initially inspired by the neon sign in front of Canter’s Delicatessen in Los Angeles, the design of Deliscript Upright and Deliscript Slant soon took on a life of its own–and its own distinctive look. Like its sibling Metroscript, Deliscript has many features that expand its usability such as the the variable length tails which can be accessed in 6 different styles, and the never before seen crossbars which can be extended outward in either direction from the lower case “t”. Throw in the special “WordLogos”, tons of ligatures and foreign accented characters, and you have a recipe for typesetting that approaches the look of hand-lettering. For a better understanding of its unique features please download The Deliscript User Manual—available in the Gallery section.

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Graphique was originally created by Swiss designer Hermann Eidenbenz in 1945, and issued as hot metal font by Haas’sche Schriftgießerei, Switzerland.

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Wouldn't it be nice to have an assortment of little hand-lettered words? Words like “The” or “A”; “With” or “At”; “To” or “From”? Headline Helpers are word accents that can go just about anywhere. Set off the title of your next design project with one of these little gems. Or use a Helper with your new product introduction headline. Convenient instructions and character map come as standard equipment with this highly desirable addition to your type library.

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Graphique-AR is a digital version of a type designed by Hermann Eidenbenz and issued by the Haas foundry in 1946.

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In 1939 the Stephenson Blake Company bought a very popular script called Undine Ronde and began marketing under the name Amanda Ronde. Although Undine/Amanda was quite popular and can be seen in many advertisements from the 1930s and 1940s, there seems to be no surviving record stating the original foundry or designer.

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Based on the original design by Robert Hunter Middleton. Digitally engineered by Steve Jackaman and Ashley Muir from the Ludlow drawings, circa 1931–1942.

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Pendulum is the much-anticipated digitization and swashy expansion of Americana, an amazing yet long overlooked treasure from the Nebiolo foundry, circa 1945.

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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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