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

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Gothic capitals of the same form as Copperplate Gothic, lacking only the oversharpened corners.

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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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Kelvingrove is an attractive new small-cap copperplate with alternate swash K, Q and R. A small ampersand is also included. The numerals are perfectly balanced to work with either caps or small caps.

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By no means a cheap spinoff of a great original, the Copper Penny family is a completely revamped tribute to Frederic W. Goudy’s venerable Copperplate Gothic. After much attention and care, this freshened-up face takes a century-overdue leap forward, anxious to take on the needs of an ever-changing design world. Even as it serves a dual role in Computer Aided Signmaking (CAS) and Desktop Publishing (DTP), this family is also brimming with an extensive range of alternates, plus a set of small uppercase characters for that traditional look, and lastly and most welcome, a viable lowercase that pays clear homage to its classic roots.

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Sometimes you need to gild the lily, add a little drama. With that in mind we’ve created a collection of flourishes & embellished letters to enhance Nelly Script’s romantic appeal.

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Nelly is a beautiful yet sensible romantic, clearly hand drawn but easy to read. She’s a bit formal but not stuffy and simply adores a lovely party.

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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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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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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 concepts of this font come from the Palmer’s Penmanship guides and manual from XIX century.

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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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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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Natalya is a flashy and rhythmic script. The script has more space between characters than most for better legibility, and the basis point for the ornate swirls is the golden ratio. This makes for an especially harmonious typeface with timeless appeal.

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Fable is an elegant, hand-crafted typeface that evokes the magic of fantasy weddings, of castles and wizards, of dragons and dungeons. Among others it combines elements that are suggestive of Greek mythology, of runic scripts, of Scandinavian tales and of the stories of King Arthur. Difficult to categorise, Fable effectively combines features of uncial, calligraphic and script fonts.

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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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Zoe is a hand-drawn script that has a very even flow and is readable down to very small sizes.

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Brigitta is the complementary joining script that can be mixed with Annabella. Also written with a Japanese brush on rough paper, first scanned and then carefully finished by hand on screen.

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Doria was developed from my handwritten script Xan that has a definite Japanese touch.

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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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Based on a turn of the century design.

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Bea is my Racetrack-Script. I call it that, because it gives the impression of speed.

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Kato is a handwritten mostly-joining script with long, but not overly long ascenders and descenders, that make it a very elegant font.

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Constanza is a joining high-contrast-script, extreme ascenders and descenders for added personality some descenders swing under its neighboring letters.

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After researching the type styles contemporary graphic designers have been using over the past few years, I noticed a consistent use of Copperplate Gothic, and its derivative designs, for various corporate advertising campaigns.

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Novita is a new something. This font is a new very elegant – extremely slanted – joining script with long ascenders and descenders.

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Arcana Manuscript is a calligraphic exploration of the Victorian gothic aesthetic that created literary classics such as Frankenstein and Dracula. Designer Gabriel Martínez Meave first wrote with a fountain pen, then digitized the results to create this unique typeface. “Arcana ” takes its name from the ultimate secrets that lie behind astrology, alchemy, and magic. In gothic novels, such secrets were written in forbidden books, hidden in the dark and grotesque sanctums of magicians or mad scientists (possibly the ancestors of today’s computer scientists and type designers).

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Annabella is a joining classical English script, written with a Japanese brush on rough watercolor paper, scanned and finished by hand on screen, taking care to keep the “rough” touch.

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Xan is a very expressive script, that was written with a brush on rough Japanese paper and then digitized taking care not to destroy that Japanese touch.

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Ysadora is a very elaborate script with high contrast and big swings.

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CheapThrill is a very elegant and expressive script in the tradition of the 70s with a touch of flower power.

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Maeva is a non-joining wide formal 60s script, directly designed and carefully finished by hand on screen, trying to keep the script alive – preventing it from looking mechanical – by drawing each letter from scratch.

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Isara is a rough script written with a flat-nibbed marker, scanned and then carefully digitized to keep that spontaneous feeling.

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Novido is a new very elegant – extremely slanted – joining script with long ascenders and descenders.

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Tina is another powerful script designed in the style of the classic forties and fifties American advertising fonts.

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

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Nana is a classic joining script with long ascenders and descenders, that is based on a set of unique but forgotten initials that were designed in the roaring 20s and 30s in Paris.

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Wally is an elegant hand-drawn script that has a very even flow and is readable down to very small sizes.

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Chloe is a very dramatic script with high contrast between the up- and down-strokes.

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Oona is a joining script with that classic, elegant “Old England” touch.

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Flatpen is a font that was written with a pen we used to call "Redis-Pen". It had a flat, round tip that enabled you to write letters, with the same width of stroke.

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Donna Julia is the embellished version of DonJulio.

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FatSally is written with a broad felt-tip marker, scanned and finished by hand on screen, taking care to emphasize the typical “marker” feeling.

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Helenia is a classic broad-nib script with joining letters.

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Simona is is a very lively narrow script designed in the style of the classic American advertising font from the forties or fifties.

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Elisara is a joining high-contrast-script, with extreme ascenders and descenders;
the capital letters and some lower case letters are highly ornamental with swirls galore.

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WildThing is just that, a script that has a real wild character.

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Viva Maria could have been used for that famous, hilarious movie by Louis Malle staring Brigitte Bardot and Jeanne Moreau.

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Joyosa is an elaborate script written with a broad pen; it gives the impression of a flowing ribbon.

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Juliana is a handwritten non-joining condensed script, scanned and finished carefully by hand on screen, with that little bit of extra effort to keep the “rough” touch.

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Leona is a handwritten script, that has been tweaked here and there to make it more smooth.

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Dalia is a joining high-contrast-script, with extreme ascenders and descenders
for added personality; some descenders are looping into each other and under its neighboring letters.

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Grazia is a joining script with zero contrast. That means that I designed the line of the letters so, that they look equally thick all the time.

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Verena was written with a common felt marker pen, scanned and worked over, to keep just the right amount of roughness.

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Astria is a swinging script, that works best in short headlines or as a decorative Element.

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Arcana Manuscript is a calligraphic exploration of the Victorian gothic aesthetic that created literary classics such as Frankenstein and Dracula. Designer Gabriel Martínez Meave first wrote with a fountain pen, then digitized the results to create this unique typeface.

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