A casual, lighthearted script created by talented Letraset designer Vince Whitlock. The capital letters function as initials for a lowercase that connects by overlapping the linking elements on the bottom right side of each letter to the next. In order to achieve this effect however the last character in each word will appear incomplete. To overcome this problem a special ‘ending’ element has been included in the font to ‘finish off’ each word set. It can be found in the special characters window of the Character Chooser and can be inserted in the text in the usual way.

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Gracia Solo is a sister design of Gracia. Gracia Solo has left its connection forms without losing the typical look of English scripts.

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Whether with pen on paper, or in digital, realistically connecting vertical handwriting is never an easy task to accomplish.

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Alexandra Script is a beautiful Spencerian in the finest tradition.

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The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography, became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs.

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An elegant calligraphic font, ideal for any defined artworks.

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Querida is an elaborate, elegant, constructed script with intertwining swashes and a timeless appearance.

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Silken is a stylish and contemporary handwriting font that combines the elegance of fonts such as Zapfino with the immediacy of handwriting fonts such as Affable. There are many handwriting fonts out there, but many of them border on being grungy and irregular. This font combines beauty with individuality and spontaneity.

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Inspired by a series of handwritten menus produced in 1980, La Carte is a stylish but legible script that sets as well in body copy as it does in headlines.

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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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The name “Parchemin” is derived from the word in old English for “parchment”. Our modern word “parchment” changed its spelling to conform with French spelling practices during the French occupation of England. The font was created to suggest an informal but antique form of handwriting written on parchment with a quill pen. The scratchiness of the old quill pen is conveyed in the roughness of the characters. The font was loosely based on the font Queen>/a>.

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Originally a love/hate typeface it slowly changed into the typeface Squiggles. It can be described as a cursive serif font, to be used in titles and single lines of text.

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This was created during experimentation with thin pencil lines and thus unremitting was created.

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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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Yagi Link Double is a very famous 1970/80s typeface published within some old Letraset catalogues.

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Willard T. Sniffin deserves the credit for this charming little stationery and greeting card typeface developed for American Type Founders in 1930.

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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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P22 Zaner is based on ornamental penmanship as taught by Charles Paxton Zaner at his art college at the turn of the 20th century.

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This is a connected script font with a trendy flair. You can add little flourishes to the beginning or end letters for a whimsical touch.

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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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Snell Roundhand was created by Matthew Carter for Linotype in 1966. The design is based on the handwriting of Charles Snell, an English writing master who wrote The Pen-man’s Treasury Open’d in 1694.

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The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography, became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs.

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Lelet Script is a TrueType font that was inspired from my mother’s exquisite handwriting. It has a graceful, smooth look that makes it very legible for any project.

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P22 Allyson is based on an old metal font by Barnhart Bros. & Spindler named Hazel Script.

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Now showing at your local picture house is the latest romantic comedy coupling featuring Matinee Idol and Matinee Idol Bold; famous faces you've come to know and love in features like Warners' “Hush” and Columbia’s “The Evil That Men Do.”

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The only typeface in the world that looks like nice, ordinary, fully cursive handwriting. Or neon.

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Sodapulp is my simple script font!

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To make an odd dominos-style train, type an uppercase letter, then lowercase letters and end your sentence, phrase or word by holding down the option key and typing the last letter or puncuation.

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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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Nick Cooke’s G-Type foundry continues to trailblaze and top of the sales charts is the fabulous Olicana typeface.

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In the early 1980s, at the start of my career, I had the opportunity to work in a print shop with classic lead setting. In those days I would study issues of U&lc magazine from ITC. What really caught my attention were scripts in the Spencerian style. I’ve been fascinated by this American penmanship tradition ever since.

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Flavour is an elegant brush script headline typeface.

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Philip Bouwsma’s offbeat mind, always working in mysterious ways, brings us one the unlikeliest syntheses of historical influences in a perfectly fluid, organic, and highly expressive connected script.

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

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Sloop offers the adventurous typographer wide choices of variant forms in three weights of a classically elegant script.

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Schoko is a brush script headline typeface. It is elegant and still clear and self-confident.

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Susa is an elegant and flowing brush script typeface.

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

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Bello is a brush typeface for headline point sizes - it’s big & beautiful. Bello has lots of ligatures and start and ending swashes. They are automatic in Bello Pro, which is a cross-platform OpenType font with many OpenType features.

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The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography, became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs.

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Out of a lifelong inner struggle, Philip Bouwsma unleashes a masterpiece that reconciles classic calligraphy with type in a way never before attempted.

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The dynamic design duo of Koziupa and Paul strikes again.

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Sister Frisky jumps up and down and drinks a lot of coffee.

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Tasty is an strong self-confident brush script headline typeface.

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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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An elegant, contemporary and quirky handwriting font inspired by fonts such as Satisfaction and Nothing. There are many handwriting fonts out there, almost all of them tending to highlight the individuality of a particular person’s handwriting. I wanted to go beyond this.

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This typeface is based on the handwriting of Max Caflisch, one of the foremost graphic designers of this century. Caflisch, a teacher of graphic arts for more than three decades in Zurich, is author of several books on typography and designer of the 1952 Columna typeface. Caflisch’s handwriting has a free-flowing yet disciplined character, the result of years of practice and devotion to the calligraphic arts.

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Dolce is the next step in Elena Albertoni’s ongoing exploration of handwritten letterforms that started with her typefaces Dyna and Scritta.

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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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Stylishly handsome, devilishly clever, Spills has a forties flair that is guaranteed to add class and distinction to movie posters, packaging & invitations to soirees, nightclubs and weddings.

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The typeface was created for TypeMarket in 1998 by Natalia Vasilyeva. Based on Lainie of Soft Horizons.

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Intertype’s reaction to ATF’s Murray Hill.

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Based on the free-spirited handwriting style of a friend, this font features automatic ligatures, alternate character substitutions and swashes in applications that are OpenType-savvy.

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The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography, became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs.

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

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This typeface was created by writing with a brush pen, selecting the best characters, scanning and tracing exactly to maintain maximum character integrity. Extensive kerning ensures an even flow when set as text, so Gizmo appears as quickly-written handwriting.

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This is the last version of the dearJoe 5 series; dearJoe 5 Casual.

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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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The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography, became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs.

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This frilly script has been acid dipped, scratched and destroyed for use in grungy design jobs or any other use that calls for a ragged script.

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In spite of the fact that Portfolio’s capitals are highly ornate, it is still very legible.

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The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography, became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs.

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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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Coral had its origins in the font Leah. I had requests from users that I create a cursive version of Leah. (In a cursive font the letters are joined together as in handwriting). In the process of development it changed sufficiently that I decided to release it under its own name. Hence “Coral”.

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Machiarge is a casual, heavy, and decorative script font developed to be kid of Machia.

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Fertigo Pro Script. Fine connected type with a lyrical calligraphic touch.

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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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The unmistakable hand of Angel Koziupa and the technical expertise of Alejandro Paul brings us once more the kind of calligraphy that reads softly yet commands attention.

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Inspired by an example of French handwriting ca. 1935.

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The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography, became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs.

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

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Released by the Monotype Corporation in 1931, Script Bold is based on German script-lettering styles of the early twentieth century.

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The only typeface in the world that looks like nice, ordinary, fully cursive handwriting. Or neon.

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