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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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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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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A funny look to the spirit of the days of the golden age of the radio, RadioTime is a type of letter inspired by the style of the writing of the ‘30s, ‘40s and ‘50s.

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Inspired by mid-century greeting card hand-lettering, Sheree is a unique serif font with some really fun qualities. While some characters are distinctly calligraphic and conformist in nature, Sheree bounces all over the baseline, displaying an unconventional attitude all her own.

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An original informal script designed for ATF by Emil Klump.

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Googie Architecture, also known as “Midcentury Coffee Shop Modern,” was born in California during the Atomic Age. Martini at Joe’s is based on lettering from several historic Googie sources - many of which no longer exist.

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An adaptation of the original Hand Drawn typeface from the Letraset range by Michael Gills. A set of numerals has been added to complete the font. Hand Drawn evokes all the charisma of 1950’s brush lettering and should be set closely for maximum impact.

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

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Yet another member of the Weird Bill dysfunctional font system!

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This new OpenType pro font has 468 characters and glyphs.

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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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This font contains 174 characters; a variety of leaf designs based on 1950s applied and textile designs.

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Penmanshift JNL by Jeff Levine is actually a semiscript - a vertical text font with the curved lines of a script alphabet, but the look and feel of a poster letter.

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Enamel Brush is a caricature of a 1955 font called Catalina by Emil Klumpp.

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Liza, lettres d’amour

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The Wendy family is modeled on an informal script from the 1960s. Garret Boge extended the original weight to a family of three—Light, Medium, and Bold.

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Bounce Script is a nice hand lettered upright font. This font has an appealing “bounce” characteristic which gives it its charm.

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Influenced by the 1960’s typeface, Design Fineline.

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A nice delicate script made for my little girl, Sadey.

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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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Tally Text Light is an early photolettering type, sometime in the 1940s, when words were hand assembled from individual film positives of the letters, then re-photographed.

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How about a light-hearted romp through the traditional roman alphabet?

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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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Astroboy is a retro connecting script inspired by 50s product packaging and adverts. While intended for use at large settings, it’s surprisingly readable small, and the uneven quality of the lines gives it a quite inky feel.

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Aw, aren't they sweet? This lettering is based on a 1950s note a husband wrote to his wife shortly after they were married. His beautifully controlled and strong handwriting knows no lowercase characters; he gets his point across in uppercase only.

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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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Vincent Pacella designed the inspiration for this typeface, which was called Carousel and was issued by Photolettering in the 70s.

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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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A vigorous Brush design by Paul Zimmermann for Wagner in 1945.

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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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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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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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Intertype’s reaction to ATF’s Murray Hill.

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When Aldo Novarese designed his “tipo inglese” Juliet typeface, he had a simple objective in mind: Reduce the inclination angle of the traditional 18th and 19th centuries English script in order to make the punchcutter’s job easier and the resulting metal type more durable.

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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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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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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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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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Designed to Swiss principles by Alessandro Butti and Aldo Novarese for Nebiolo in 1952 as an improvement on the squared-off Bank Gothic capitals.

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Clarendon Text is a contemporary remake of the truly classic slab serif typeface with a distinctively clear and legible visibility. It is a widely usable text type suited equally well to advertising, books, publications, and a wide range of corporate literature where large amounts of reading matter call for distinction and style without sacrificing readability.

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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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Sun-tanned, smooth, and fluid. Suave Script is based on disconnected calligraphy originating from a how-to lettering book from the 1950s.

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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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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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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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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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Weird Bill is Squid’s tribute to his most prominent influence, Bill Campbell, model kit box illustrator extraordinaire and creator of the Weird-Ohs!.

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

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Although the pattern for this typeface, originally named Glenmoy, was released by Stephenson Blake in 1932, the letterforms can be more aptly described as pure 1950s retro.

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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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Mullen Hand is the fresh digitization and expansion of a Jerry Mullen metal typeface called Repro, originally published by ATF in 1953.

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Savage Hipsters was designed by German pinstriper Tom Plate for Sideshow and all you retro kustom beatniks.

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Trump Gothic is a revival and expansion of two different takes on Signum, Georg Trump’s popular mid-twentieth-century condensed gothic.

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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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Berling was created by Karl-Erik Forsberg for the Berling foundry in 1951, with other weights added in 1958. The design is an old style roman, particularly useful for books, journals, and other text applications. Although it has higher contrast than most old style typefaces, Berling has the classic features of old style romans with its diminutive x-height, and ascenders that exceed the height of the capital letters. Berling is good for text settings as well as display work.

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

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

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Roger Roberson skillfully adapted the sanserif to the monospace IBM typewriter at Lexington, Kentucky, in 1956.

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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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