Goldenbook is based on the logotype of a literary magazine from the late 1920s called The Golden Book Magazine. It is meant to be used large and includes fonts with both old style and lining numerals in each weight.

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This font was originally designed for a chocolate box design project; it does have something of a luxurious quality.

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Shàngó, inspired by the initials from Professor F.H. Ernst Schneidler's classic design released in 1936 as Schneidler-Mediaeval mit Initialen, is an elegant design that looks best when used at large sizes, as the original name suggests. Shàngó is available in two styles: Classic, available in 3 weights, and Gothic, available in 4 weights.

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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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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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BluHead Studio LLC is pleased to announce the complete Prenton typeface family!

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A contemporary calligraphic style with flair for the Medieval.

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P22 Albemarle is a smooth reworking of the popular rough textured Roanoke font.

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A festive, elegant script, Corinthia flows with perfect connections and beautiful curves.

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Royal, majestic, elegant. These letters are based on Roman and Greek characters carved on stone. They come in 3 different styles. Normal and Shaded are designed to have serifs with a finer thinning. On the other hand, Metallic is bolder and simulates in the most realistic way three-dimensional metallic lettering. There are some alternate characters placed at lowercase positions as well as a few stylistic alternates which are accessed through the OpenType features. Pay attention to letters like Greek Omega (lowercase position) and Greek Xi (lowercase position) as well as B, R, K (lowercase position). Monumenta Pro was recently upgraded to support Latin, Greek and Cyrillic.

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Richard Lipton’s Bickham Script is a flowing, formal script typeface based on the lettering of 18th century writing masters, as rendered in the unparalleled engravings of George Bickham. This ornate script lends a signature flourish to invitations, menus, annual reports, restaurant logos, and packaging. With dozens of alternate letterforms in addition to its range of weights, Bickham Script’s personality can range from poised to extravagant.

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Plumero is the wild, playful side of calligraphy.

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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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Malbeck is a script which is both as elegant as it is unique. Very playful typographic treatments can be produced using the large selection of alternate characters.

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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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Designed for ParaType in 2002 by Sergey Volhonsky (Moldova).

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Karmina Sans follows the steps of its successful award winner cousin, Karmina Serif. It shares the same technical excellence and it achieves similar stylistic features, but the new sans serif version proposes a much more versatile tool for editorial designers.

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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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Shàngó is CastleType’s beautifully-rendered interpretation of Professor F.H.E. Schneidler's elegant titling typeface released in 1936 with the name 'Schneidler-Mediaeval mit Initialen'. This latter design is usually referred to as Schneidler Initials.

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Blandford Press strikes again, with a delightful, delicious, de-lovely offering from their 1946 tome, Lettering for the Commercial Artist. The editor, A. H. Hunter, called this one simply “The Elegant Alphabet” and cautioned that it, “being neither quick nor easy, needs to be used with discrimination.”

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Odyssey is a display face with a variety of ligatures and alternate characters. The family includes regular, alternates and ligatures.

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An exquisite calligraphic font, ideal for any elegant work.

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Some of the most popular typefaces in history are those based on the types of the sixteenth-century printer, publisher, and type designer Claude Garamond, whose sixteenth-century types were modeled on those of Venetian printers from the end of the previous century.

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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 script font was inspired by the “Ronde” French script. It was in use from 1700s to 1900s (until 1960s in special circumstances) for registers, legal documents and texts, certificates, labels and other documents that must be particularly legible.

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Oksana Text is the demure version of Oksana, with shorted serifs, higher contrast, more slender proportions.

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The inspiration for this elegant, willowy typeface was found in the 1903 type specimen catalog of Barnhard Brothers & Spindler.

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Quaestor was designed to be a strong a decided text typeface because the Quaestor was a Roman magistrate, with responsibility for the treasury and in early times a quaestor also had judicial powers.

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This “very elegant and British alphabet” was originally released in the 1920s as “Richmond Oldstyle” by the Blackfriars Type Foundry of London. Touted as highly artistic and graceful, it is exceptionally “at home” wherever style and charm are called for.

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Front Desk is designed to be easily readable, its increased legibility coming from the slightly enlarged lower case letters (a greater x-height) which make it easy on the eye.

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Since Mommie I gradually got more into swirly ornaments. The massive contrast in the neoclassic style is perfect for thin swirly extensions to the characters. Even in an upright typeface. Narziss is very elegant in big headline sizes.

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Aphrodite Pro is an amazing handmade font full of alternate and ligature forms designed by Sabrina Lopez and Maximiliano Sproviero.

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PF Champion Script Pro is the most advanced and powerful script ever made.

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Calluna was born more or less by accident.

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The tradition at the New York Times magazine has been to dedicate the year’s last issue to the people who passed away during the year, especially those whose lives have affected us. Art director Nancy Harris Rouemy, whose typographic design sense has earned her many prestigious awards over the years, decided on an all-type magazine cover for the 2008 issue, and commissioned Canada Type to do a new typeface especially for that project. Now Memoriam is finally here in retail form—not least because hundreds of people have asked for it.

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Susa is an elegant and flowing brush script typeface.

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La Portenia pays homage to the spirit of early 20th-century show card writers and type designers.

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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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Aviano is an extended titling face with influence from the power and timeless beauty of classical letterforms.

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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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Dolly, a book typeface with flourishes.

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Insigne’s popular Aviano series returns with Aviano Serif.

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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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Young Finesse is a light, two-weight, announcement face with a large x-height whose characters contain only a few straight lines.

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Dederon Serif has been specifically designed for book setting. Preliminary sketches were drawn in 2004. Its inspiration — particularly its weight and width proportions — can be traced to the Liberta typeface from the TypoArt type foundry in former Eastern Germany. After a careful study of the model, the design of Dederon branched off into its own direction, finding its distinctive voice and becoming a wholly original type family. Dederon Serif kept most of the elements typical for the Old Style Roman lettering, such as the angle of the stress, the medium x-height, and lower contrast. In large sizes, the typical shapes of the letters stand out — the calligraphic feel characteristic for the Czech typefaces by Oldrich Menhart, the unusual serifs hinting at the angle of the pen, the shapes of the stems, or the terminals of dots and ears.

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Dederon Serif has been specifically designed for book setting. Preliminary sketches were drawn in 2004. Its inspiration – particularly its weight and width proportions – can be traced to the Liberta typeface from the TypoArt type foundry in former Eastern Germany. After a careful study of the model, the design of Dederon branched off into its own direction, finding its distinctive voice and becoming a wholly original type family. Dederon Serif kept most of the elements typical for the Old Style Roman lettering, such as the angle of the stress, the medium x-height, and lower contrast. In large sizes, the typical shapes of the letters stand out – the calligraphic feel characteristic for the Czech typefaces by Oldrich Menhart, the unusual serifs hinting at the angle of the pen, the shapes of the stems, or the terminals of dots and ears.

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Based on Hispalis from the Spanish foundry, Nacional.

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This elegant, semi-informal script style recreates a copperplate form of handwriting. The capitals are for initialling and offer a flowing compliment to the lower case letters which join to simulate handwriting. An asset to any work requiring such a light, refined effect. Created by renowned British type designer Alan Meeks.

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The idea for Duet started when I decided to create a complex, elegant, and easy-to-read script with particular emphasis using a double line feature in the capitals.

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Register Sans is a typestyle family inspired by the draft-letter handwriting samples from old Speedball booklets, with a little variation for a more friendly flair.

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A sensual typography designed by Lián Types. Very suitable for wedding invitations or sensitive pieces of design.

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Kartago was inspired by the inscriptions in the Roman ruins in the city of Cartago in Tunisia.

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Schwung is a brush script headline typeface. It has round elegant swirls that get stronger in the alternate version.

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Maryam is an Outras Fontes type family designed by Ricardo Esteves Gomes.

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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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Crown Jewels is a massive Super Pro font like no other.

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Grant is a custom font which is applicable for any type of graphic design - web, print, motion graphics etc and perfect for t-shirts and other items.

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Named after Maurice Ravel’s masterpiece, Bolero likes to find itself in places of classical elegance.

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Latinaires is a 5-weight font family with some uniques characters including the ch ligature and some other Spanish language characters.

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This elegant copperplate typeface is somewhat different from others in the script category due its slightly condensed lowercase letterforms. With its beautiful, free flowing initial capitals and stunning array of lowercase alternatives, Young Baroque looks magnificent in word settings and is ideally suited for diplomas and citations. Created by the well-known American west coast designer Doyald Young.

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A light roundhand with mildly clubbed terminals on the capitals. It was expertly transferred from an engravers’ pattern plate to the Fotosetter Intertype about 1955.

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In spite of its name, this font family embodies the ultimate classic modern advertising typeface, rather than concern itself with revivalism or Didone authenticity. Naturally the spirit of the original Didot faces still exists in this family, but over twelve years of work on it have made it more fitting to the luxurious expression of our day and age, rather than nineteenth century Europe.

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Charles Gibbons' Fleischman BT Pro revives J.M. Fleischman's quirky and elegant text faces of the 1730s. Born in Germany, Fleischman worked in Holland, primarily at Enschedé en Zonen where he cut dozens of faces. His types represent some of the earliest examples of the Transitional style, predating and influencing the work of Fournier, Baskerville, and Bodoni. They were wildly popular in their day, used for everything from newspapers to currency, and Fleischman himself has enjoyed a renaissance of late.

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In case you find yourself looking for an erratic, inconsequent and loose free-style calligraphy font, I guess you need to look no further and try fancyPens.

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An ornate roundhand with looped ascenders and strongly flourished capitals prepared at Photon for their phototypesetters about 1960.

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