Lisa is an elegant script family in the tradition of early Italian type designers like Bodoni. I added counter strokes and floral embellishments to the font.

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Morris Fuller Benton’s version of the standard American nineteenth century blackletter made for ATF in 1901.

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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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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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Copperplate Classic Light Floral is the latest addition to my Copperplate Classic Group of fonts. The floral decorations go perfectly well together with the classic forms of the Copperplate. Your decorative designer Gert Wiescher.

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Based on an engravers’ pattern plate, this outline form deriving from an English roundhand was fitted to linecasting matrices by Intertype about 1940.

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An elegant new design with just a slight bit of flare.

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Madisonian has been found in a catalogue of the New York Bruce type-foundry, dated 1859. The lower cases have the feeling of a Bodoni Italic and the initials have a “spencerian” touch. This font did exist originaly in a single weight. The family has been extended with a bold and an engraved version.

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It was the original work of fifteenth century designer Nicolas Jenson that formed the basis for this roman serif style developed by Ernst Detterer in 1923.

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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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Lisa is an elegant script family in the tradition of early Italian type designers like Bodoni. I added counter strokes and floral embellishments to the font.

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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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Naomi is a rough script with extremely long ascenders and descenders that make it elegant despite the roughness.

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The Penman fonts are partially based on the 19th century penmanship of one of the designer’s ancestors, and originally created for a personal mailing with an “old-times tradition” flavor.

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An informal script designed at Intertype for wedding invitations.

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Gracia is a classic connected script design.

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

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Originally designed by Bruce Rogers for the Metropolitan Museum in 1914, Centaur was released by Monotype in 1929. Modeled on letters cut by the fifteenth-century printer Nicolas Jenson, Centaur has a beauty of line and proportion that has been widely acclaimed since its release. The italic type, originally named Arrighi, was designed by Frederic Warde in 1925. He modeled his letters on those of Ludovico degli Arrighi, a Renaissance scribe whose lettering work is among the finest of the chancery cursives. Arrighi was produced by Monotype as the companion for Centaur in 1929. Centaur is a beautiful typeface for books, and can be used effectively for shorter text as well. The Centaur Italic (Arrighi) Alternate offers a different design for the lowercase z and zcaron.

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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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Swan Song is a digitization of gorgeous free form calligraphy by British artist Rachel Yallop. It first appeared in The Calligraphy Source Book edited by Miriam Stribley (Running Press, 1986).

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The Morris Benton 1918 American classic, Announcement Roman, comes to digital life with more pizzazz than it ever had.

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One of the more elegant script fonts available, this design is based on calligraphic handwriting called “Copperplate” because of the copper plates that it was etched into for reproduction. This face is not related to Copperplate [Gothic] by the American type designer, F.W. Goudy. The name Copperplate comes from the fact that writing masters used to hand-write their books and then send them to an engraver who recreated all the subtle details onto copper plates, which where then used to print the handwriting books.

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

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An elegant calligraphic font, ideal for any defined artworks.

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Canette is a hybrid script italic named after the noble quill (Canette=Quill in French). What makes Canette distinctive, is the bold swashes that are created by the ascenders and descenders flaring out from the main vertical stem. In addition, Canette’s alternate character provides design opportunities for embellishment!

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CurlyJoe is a fast, informal handwritten font. A bit in the line of the dearJoe series, with a different style of caps.

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DB Bridal Doodles is a mixture of lovely phrases and cute doodles themed after that special day.

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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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Originally designed by calligrapher Arthur Baker, Marigold was released by Agfa Compugraphic in 1989.

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Excelsor Script is inspired by lithographically produced scripts. It is softer and simpler than, for example, engraved Splendid Script, because its designer used pens and lithographic needles. The graver for steel is held in a quite different way and this has an influence on the shape of the letter. Similar type faces were in use from Neo-Classicism until the beginning of Art Nouveau, when they were pushed aside by a completely different view of festive typography. It has, in contradistinction to other scripts, slightly narrowed letters, which signifies a distinctive elegance without wasting space on the line. For practical reasons it was not possible to encircle the bottle with too long a label. It is, therefore, a suitable type face for labels. Its body and extended designs cover a wide range of sizes.

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Orphiel from a sample of Edwardian period hand lettering, mainly because we wanted to offer an alternative to our Belphebe font for invitations, menus and wedding announcements.

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The inspiration source for Pantomime Monogram is an unusual Art Deco design from a vintage embroidery publication which combines both sans-serif and flare serif styles to create a diamond monogram format. This monogram, which evokes visions of it etched into bakelite, was originally intended to adorn handkerchiefs and towels, but it has so many other possibilities. It is one of many monogram designs from the early 1900’s which fall into a two letter format that is either adorned or interwoven with framing styles.

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Aphrodite Slim Pro is not just a lighter version of its sister Aphrodite Pro. Aphrodite Slim Pro has duplicated the quantity of characters of its partner, and that means more than 500 new glyphs, reaching a total of more than 1000.

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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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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 2007, insigne released Aviano. It’s beautifully drawn extended letterforms were a hit with designers and Aviano quickly became insigne’s most popular offering of early 2007.

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"Always intrigued by Bodoni’s original work, I was set out—back in 2000—to examine his work and study Manuale Tipografico, one of the greatest specimen books ever printed. Issued in 1818 at Parma, Italy by Bodoni’s widow, the two-volume work shows an impressive array of 142 roman alphabets and some foreign ones such as Greek and Cyrillic.

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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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Mustang is a powerfully expressive brush font that combines an edgy urban aesthetic with a smooth feminine flow. Some have suggested that Mustang is romantic. Some say it has something to do with speed or freedom. While precisely what Mustang expresses is up to debate, there’s no doubt that it’s expressing it with intensity.

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

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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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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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Susa is an elegant and flowing brush script typeface.

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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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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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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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Mainly for invitations; Mon Amour Script Pro, is an Open-Type font, which will delight you.

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The designer-favorite Blue Goblet series has been extended once again with Blue Goblet Frames and Vignettes.

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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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Bembo was modeled on typefaces cut by Francesco Griffo for Aldus Manutius’ printing of De Aetna in 1495 in Venice, a book by classicist Pietro Bembo about his visit to Mount Etna. Griffo’s design is considered one of the first of the old style typefaces, which include Garamond, that were used as staple text types in Europe for two hundred years.

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

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

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Sensual is ideal for invitations, greeting cards, logotypes, or anywhere a touch of elegance is desired.

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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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Ability is a family of stylish and contemporary handwriting fonts that combine the vigor of hand-drawn fonts such as Affable with the elegance of fonts such as Blythe. What is unusual about Ability is that it enables a word to be formed from a group of letters in a variety of ways: not only the conventional linking of letters as in a cursive script or the placing of letters close to each other on a common baseline, but it uses the overlapping of the swashes and swirls that contribute to the individuality of the characters to integrate the letters into a single word.

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Hiruko is a full family of 16 different styles. Inspired by the early Swiss movements, Hiruko offers creativity and clarity within many media. Influenced by Japanese culture, Hiruko is based on the idea that less is more, however this applies in other directions when referring to the amount of work gone into producing the type family.

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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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Thought, with its versatile five styles, is ideal for contemporary display work. It has style, flair, legibility, and interesting, flowing letter shapes.

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

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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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Since I designed Mommie you can see a lot of script typefaces with big contrast for big sizes.

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

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Mittwoch is an extended modern serif and a new companion to insigne’s Montag and Dienstag extended sans serifs.

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

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