A great multi-use face; powerful yet elegant with a little flair.

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This 60’s 70’s design has a great nostalgic look. It appears to flourish within itself.

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Fontana Type Foundry in Hungary has developed an archaic identity largely based upon lettering from a rare Type Specimen of the Jesuit Academy Press of Tyrnavia (1773). They have developed many baroque style typefaces of Hungarian derivation. Gábor wanted an authentic handwriting revival from that age as well. La Danse is a ‘facsimile’ font, based on the manuscript of an inventory found in the original Tyrnavia specimen. The manuscript was written in an archaic Latin alphabet therefore some modern interpretations have been inserted.

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Valet is inspired by an uncredited early 1970s all-cap film type called Expression. A very funky lowercase was added and a small caps style was made. The character sets of both styles were also expanded to include support for Central and Eastern European languages, as well as Baltic, Celtic, Esperanto, Maltese and Turkish.

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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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Asturias is a contemporary take on script fonts. Its characters are wider than most scripts, and the letterforms are somewhat geometric, giving it a modern and refined feel.

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Redwood is the fresh and lively digitization of the popular ATF landmark, Raleigh Cursive. Drawn by Willard Sniffin in 1929, and introduced by ATF in 1930, this classic script is prominently featured in almost every published type history book, and proudly listed among every letterpress printer’s type assets.

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

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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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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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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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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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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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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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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 astype series Accolades A offers the designer a fine balanced set of calligraphic swashes, swirls and floral ornaments. The shapes are in systematic order and harmonize in contrast and detail. The shapes can be combined easily and the advanced designer can build hundreds of sophisticated compositions. No matter, whether packaging lables, invitations or greeting cards - every assignment with the need of a delightful appeal will be served well.

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

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Beautiful and elegant, Black Swan BF lives equally in bliss as entrance signage for an exclusive housing subdivision, as it does on the cover of a hot new music CD.

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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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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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A popular typeface that has been widely used since its introduction by Letraset in 1972. This new and improved version includes many free-flowing swash alternatives that give designers more freedom for experimentation. Produced by Phillip Kelly in the Letraset Type Studio, based on his and Mike Daines' original design.

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Olidia is a script with tall sweeping ascenders packed with alternates and ligatures.

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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 astype series Accolades B offers the advanced designer a fine set of calligraphic swashes, swirls and figural ornaments.

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Inspired by an example of French handwriting ca. 1935.

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One can never be too tall or too thin, the old adage goes. Sympathique is quite fashionably both.

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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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Jezebel is all dressed up for you. And if she can't make your mouth water and eyes light up with love, nobody else can. She’s got bigger hair than Dolly and Elvira together, more tongue than a Kiss concert with Jagger opening, more leg than a Moulin Rouge premiere, more sword than a pirate ship, and more loop than a chartered accountant. She’s the queen of now, the essence of cool, the twenty-first century fox. She’s the ever playful and creative girl with so much talent her art just cannot be restrained. She’s got popular culture on a long but strong leash. She looks gorgeous and positively glamorous no matter what color she wears. And last but not least, she’s got the charisma to make people of all ages want more of whatever it is she feels like offering.

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A casual retro script refined and developed from some old handwritten letters.

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A new design inspired by the various mastheads used in children’s comic books in England, published by D.C. Thompson of Dundee, Scotland.

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ITC Galliard is an adaptation of Matthew Carter’s 1978 phototype design for Mergenthaler. Galliard was modeled on the work of Robert Granjon, a sixteenth-century letter cutter, whose typefaces are renowned for their beauty and legibility. Matthew Carter combined his design skills with computer-aided technology to produce this elegant revival.

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Linotype’s Serlio looks like a text face, but it is a display type with small capitals in place of lowercase letters. It has a narrow width and fine, delicate serifs and hairlines.

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Based on a turn of the century design.

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Ed Benguiat designed the Benguiat types for the International Typeface Corporation in 1977. The unusual character shapes and very large x-height combine to make a design that is at once playful and ornate. Use ITC Benguiat for an unusual look in advertising, menus, packaging, and other display applications.

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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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An endearing upright script with outspoken shapes, casual connections and generous swashes. Somewhere between very legible handwriting and calligraphy, Dominique captures the attention of a much larger audience than either strictly elegant calligraphy or regular everyday handwriting.

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VIP is a humanist sans serif uppercase and figures combined with a freshly redrawn revival of the classic Constanze initials originally designed by Joachim Romann for Stempel in 1956.

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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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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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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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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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It’s a very happy day when we stumble upon beautiful alphabets that were never digitized. It is even a happier day when the beautiful alphabet finds its way to us through friends and people who like our work. Some two months ago, the forms of this gorgeous font were pointed to us by a friend who saw it in an old Dover Publications specimen book showcasing historical alphabets. It was there under the name Vanessa, with nothing else to go by. We looked and researched for further information but found nothing else. So this gem comes to you like a coal that winked its way out of the ashes because it wanted to shine again.

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A 60s, 70s revival this curled casual latin brings back that great look. The font comes with an alternate version which can be used as a separate font or you can mix and match the two.

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Named after her 1968 Volkswagen Bug “Emma,” Kanna Aoki’s Emmascript reminds us of the unmistakable quirks of everyday handwriting. Idiosyncrasies of this whimsical ballpoint script include the looping lowercase “r”, the “A” resembling an oversized “a,” and the curlicue question mark.

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Bolívar is a contemporary calligraphic display typeface inspired in the handwriting of one of the most prominent personalities of the nineteenth century in latin america: Simón Bolívar, “the liberator".

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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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Silk Script is a revival and elaborate expansion of a 1956 Helmut Matheis script called Primadonna, which strangely remained a metal face and never made the leap into the film age.

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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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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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Hey kids! What’s wacky, bouncy, and jam-packed with excitement and thrills? It’s DOINKY! That’s right, you'll have bucket-loads of fun with this new OpenType font from Sideshow. Amaze your friends with tons of DOINKY ALTERNATES! Yes, DOINKY will make you the envy of all your pals so order yours today! (Batteries not included. Sold separately or in the big action-packed Doinky Play Set!)

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Inspired by logotype of the Mirage Resort and Casino in Las Vegas comes the Montelago typeface, complete with a restrained capitals version, and a flare version with true to form lengthy capitals.

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ITC Tiffany is a blend of two typefaces: Ronaldson, released in 1884 by the MacKellar Smiths & Jordan foundry, and Caxton, released in 1904 by American Type Founders.

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An original design.

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Philip Bouwsma makes use of his extensive calligraphy and type design experience by reaching into his vault and completing one of his unfinished projects from the mid-1990s. The result is Styx, a four-font connected-script family, with rough and smooth variations, each containing two sets of majuscules and plenty of alternates sprinkled throughout the character map.

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Lourdes is an informal script font drawn with quick, thick brush strokes. The script appears to be quickly dashed down, and the characters were carefully designed to create a subtle rhythm. The strokes are slightly muted to avoid an overly aggressive appearance.

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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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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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Inspired by logotype of the Paris Resort and Casino in Las Vegas comes the Paradiso typeface, complete with an unusual array of leaning and unusually large capitals versus a petite lowercase that have a loosely drawn feel.

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Fantini is the revival and elaborate update of a typeface called Fantan, made in-house and released in 1970 by a minor Chicago film type supplier called Custom Headings International. In the most excellent tradition of seriously-planned American film faces back then, CHI released a full complement of swashes and alternates to the curly art nouveau letters. Fantan didn't fare much among the type scene’s big players back then, but it did spread like electricity among the smaller ones, the mom-and-pop type shops. But by the late 1980s, when film type was giving up the ghost, most smaller players in the industry were gone, in some cases along with little original libraries that existed nowhere else and became instant rarities on their way to be forgotten and almost impossible to resurrect for future technologies.

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Mirabel is based on the handwriting of Beverly Bouwsma (Philip’s mother), which she developed in the 1930s in, as she puts it, an act of teenage rebellion. In the 1960s, Philip gave her a broad-edged Osmiroid fountain pen which she took to immediately and has used ever since, along with the computer fonts he made from her script.

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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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Black Pearl is a revival of a middle 1800s ornate calligraphic font possibly created between 1850 and 1870, I spent two years looking for all the letters of this font, once I found them all I immediately went to work on recreating this old classic. I was not able to find any numbers for this font so new to this style are numbers, some punctuation and currency symbols. The Truetype and OpenType formats include an extended character set with Central and Eastern European accented letters.

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Lorelei is an exuberant and bouncy script.

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profonts Sonata and profonts Concerto are closely related to each other. In fact, the only difference between the two related fonts is in the upper case characters. profonts Concerto’s upper cases are more complex, swashier than those in profonts Sonata. One is a perfect complement to the other, and that is why they are offered together at special rate.

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Felt tip-written and full of expressive lines, Brandy BF exudes much verve and energy; and unlike many scripts, sets rather well in all caps situations.

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British designer Trevor Pettit based this dramatic typeface on the signature of the great 20th century master, Pablo Picasso. The result is stunning - a chunky lowercase captures the very essence of Picasso’s influence and the capitals, although designed for initialling purposes, can be used on their own with an equally artistic effect. Excellent for work requiring a vivid, cutting edge appearance.

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

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Designed at American Type Founders in 1930-33 by Morris F. Benton.

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See also BF Fiona Serif and BF Fiona Slab.

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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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Dutch Mediaeval is a text family based on Hollandse Mediaeval, the 1912 Sjoerd Hendrik deRoos classic, arguably the most popular Dutch text face of the 20th century. Over the years, many typographers and pressmen have gushed loving words about this typeface in metal, and now it comes to digital life in wonderful and expert style.

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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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Beware: Here be Dragons! It Be Dangeroues to Venture Yonder!

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Sweet Upright Script is the first release for Sweet Fonts Collection, published by MVB Fonts. It is an interpreted revival of a vintage, social engraving lettering style that was popular during the 20th Century. It is probably the first digital version of the design.

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Named after the trendy New York City locale, SoHo Nights BF features sensuous curves and tapering lines that combine to create a unique new look that’s a little bit art deco and a little bit art nouveau. The font also exhibits attributes that can be described as cartoon-like, and even “spooky” when seen in short blocks of large text.

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Charme was designed in 1958 by Helmut Matheis for the Ludwig & Mayer typefoundry. A flowing, informal script with a steep incline, small x-height, and lowercase letters that connect, Charme has a fresh and lively look. Charme works well when used frugally on packaging, letterhead, invitations, and in other casual display situations.

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