Bride Style, A sweet beautiful delicate script font. Inspired from the wedding modern calligraphy style but presented in a fashion editorial way. Perfectly fit for branding, logo, wedding things, greeting cards, fashion, lookbook, moodboard, presentation, imagine the luxury, beautiful, stylish, and casual in the same time.
A cool handwritten script with a warm and friendly voice.
Capistrano BF is an all-connecting, monolinear handwritten script that exudes much verve and vigor.
A number of Automatic Ligatures and Contextual Alternates, for beginning and ending (lowercase) letters are included in the font, along with Stylistic Alternates for uppercase letters A, F, and T. Enable these features in OpenType-savvy programs (such as InDesign CS+, Illustrator CS+ and QuarkXpress 7 and later) to enhance your typography.
In line-upon-line settings, Capistrano benefits from generous line spacing. More…
As with most scripts, it is not recommended that word settings be in all uppercase, but rather in settings of initial capitals together with lowercase letters.
Inspired by a 1940s “Century” record.
This fun-to-use font is great for anything.
Hand-lettered script with alternate characters. Looks especially nice when used in conjunction with bolder letter styles for good contrast.
Lovers is a romantic, elegant handwritten calligraphic script, with well over 300 additional characters, including standard and discretionary ligatures, swashes and stylistic alternatives. Use of its extensive OpenType features enable the designer to create text that constantly changes, giving the impression of genuine handwriting, but handwriting that has all the flair and styling of hand-done calligraphy produced towards the end of the twentieth century.
Lovers is based on traditional calligraphic ideals, but I’ve combined these with my own brand of relaxed, handwritten spontaneity, to design a font that is formal yet free and accidental, traditional yet contemporary. More…
The font’s extravagant curves and swashes make it perfect for valentine’s day and wedding media, book covers, greeting cards, and certificates, in fact for any design work that requires a romantic or opulently elegant look. The range of stylistic alternatives and swashes enable users to create a wide range of moods in their work. In many ways it is a calligraphy toolkit.
Lovers contains the accented characters used in the major European languages. What sets it apart from most other calligraphic fonts is that it appears so genuinely handwritten and avoids the uptight formality that characterizes so many of the fonts in this genre.
Try Lovers, enjoy its wealth of OpenType features and let its vigorous yet elegant exuberance delight you and enhance your creativity!
Legendaria is a very sophisticated and elegant connected script font. Its more than 1300 ornamented characters make it incredibly versatile. Most lower case letters have at least 15 different options, including tails and flourishes.
For Open Type users “Legendaria OT” is the best choice instead the separated files of ornamental complementary fonts.
Queen is based on the designer’s own hand. It is a handwriting font with a difference (just like Affable). It has all the vigor and spontaneity of a hurried note, combined with a skilled and precise joining of characters to give a true cursive script.
This font comes in three styles, Queen Regular, Queen Black & Queen Lite.
Use Queen for:
— invitations More…
— advertising material where an informal and personal mood is required
— greeting cards
— book covers
Queen is fully professional, carefully letterspaced and kerned, with line spacing (leading) that allows for accents for use in European languages. All upper and lower case characters, punctuation, numerals and accented characters are present.
Et Cetera is a beautiful, hand-lettered script. It abounds in OpenType features such as terminal swashes and ligatures and is best used with OpenType savvy software with the “standard ligatures” and “contextual alternates” features turned ON. Et Cetera is comprehensive and vigorous.
Most letters in the font are connected, but, as in typical handwriting fonts, not all are connected. Most characters have a consistent shape within the font, but not all. Some characters in Et Cetera are sensitive to their position in the text and change depending on the adjoining characters. This contributes to the casual and relaxed style of Et Cetera; not allowing the features of the font to get between the reader and the message. More…
A wealth of OpenType features lie beneath the mellow exterior of Et Cetera. These Open Type features make few demands on the user which makes for a versatile script font that requires no expertise from the user, performs well at larger sizes, and remains legible even when setting copy at very small sizes.
Et Cetera comes in three styles, Black, Regular & Line. Et Cetera Black is dramatic and bold, making a powerful statement. Et Cetera Regular is elegant and romantic, perfect for wedding stationery and clothing brands. Et Cetera Line is delicate and feminine, portraying a smooth, flowing effect.
Et Cetera is a breezy, light, yet expressive font that is perfect for titling work, product packaging and romantic stationery.
Salty Dog’s a rough-hewn but sturdy rope script in two styles; a ready-made outline version and a solid that suits it for a variety of multicolor highlight and shadow effects. Rich with the hearty spirit of the wide open sea, landlubbers’ll also find it handy for rounding up them dogies, Bronco bustin’ and showin’ off fancy lasso tricks.
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.
What I’ve always wanted was to write in an elegant, casual yet legible style: something which my own hand often refuses to do. So I set out to produce the handwriting of my dreams – this font. While it doesn’t match my dreams 100%, it certainly comes close! More…
Affable comes in three styles, Affable Regular, Affable Blak and Affable Lite.
The Affable family is fully professional, carefully letterspaced and kerned. All upper and lower case characters, punctuation, numerals and accented characters are present.
An elegant, handwritten font to convey your message with that personal flair.
Bobbi Bee won’t stop popping her bubblegum, even though that’s not very ladylike.
Bobbi Bee is very proud of all of her 361 numbers, letters and alternates – all of which are chock full of summer sunshine and life. The font comes in a single weight (because she’s perfect just the way she is.) She’s cut out for a very special book title, logotype, or love letter. Keep Bobbi’s hand firmly in yours in shopping malls, as she tends to get distracted and wander, and though it’s hard, always remember to tell her how smart she is, as well as how beautiful.
Celestina is the lively spirit, just like drops of ink on a piece of paper or clouds in the sky. The same spirit is maintained by the rounded letters of the script and by the characters’ small whorls.
Celestina has come to life as a result of a peculiar game in which I tried to bring together the letters with different tempers with help of calligraphic instruments. I wanted to create a very light and playful font which would look like a quick inscription on a piece of paper, but would also be easy to read in a text array. More…
As I was working on the font, my cat Celestina has been very interested in the brush painting process, and I had no other option but to name the font after her!
Celestina works perfect for both Moomins stories and personal blogs, as well as for the design of hand-made things, and even just then when you want to put yourself into a good mood!
Centennial Script was designed and cut by Hermann Ihlenburg in 1876 (the centennial of American independence, hence the typeface’s name) for the MacKellar, Smiths & Jordan foundry in Philadelphia. Ihlenburg was then only 33 years old, and these beautiful forms put him on his way to become the most prolific and innovative deco, ornamental and script typeface designer and punch cutter of the nineteenth century. More…
In trying to be a true homage to the history of the new world, Centennial Script transcends its then-contemporary deco fashion to embrace script elements historically similar to lettering found on maps or political documents of the 18th century. Letters like the p and s extend themselves high and mighty to accentuate words and lines of text in a fancy hand-drawn manner. The dots on the i and j are those of a careful scribe who acknowledges the importance of the document being lettered. The lowercase letters connect with two slight angular motions of the hand, also very carefully and elegantly. Even the ligatures and ending swashes Ihlenburg made for this face were reminiscent of a mapmaker’s patient hand, though Ihlenburg’s elegant touch in them cannot be mistaken.
Although Centennial Script was one of the few Ihlenburg faces to make it to film type technology, the transition was neither credited nor faultless. The film type version was a bit sloppy in the way the connectors were made, so the lowercase needed a lot of manual work to typeset properly. To alleviate such waste of time for the user of this digital version, the connectors were redrawn according to the original metal ones made by Ihlenburg himself, and tested thoroughly in print to ensure the quality of the typeface’s flowing cursive nature. This wasn’t an easy task, and very time-consuming, since the changing angles on both ends of the connection made it impossible to escape from having to build every lowercase letter with both left and right connectors that would fit with the rest of the letters. This is one typeface that couldn’t be revived in any other manner than the way it was originally made, regardless of more than 130 years of technological advances since the face was designed.
Centennial Script comes in all popular font formats, and supports most Latin-based languages. Also included is an Alts fonts that contains alternates, ligatures, snap-on swash endings, some ornaments, as well as a complete set of the lowercase without left side connectors, for a more natural combination when following a majuscule, or just in case the user finds it fit to set the copy in a non-connecting script instead of the face’s original connected flow.
Centennial Script Pro, the OpenType version, combines the main font with the Alts font in a feature-packed single font. Use the ligature feature to set wordmarks like Mr, Ms, Mrs, Dr, and &Co, the stylistic alternates feature to replace some letters with their alternative forms, the contextual alternates feature for better uppercase-lowercase sequences, and the titling feature to set your text in a disconnected script.
Centennial Script is the only script we currently know of that can be set connected or disconnected simultaneously, either using the titling feature in the OpenType Pro version, or manually in the other formats.
Hortensia, designed around 1900 by Emil Gursch for his own Berlin foundry, is a typeface most expressive of the post-Victorian aesthetic that was all the rage in both Europe and America during the second half of the 19th century and up until the Great War. It is a reduced aesthetic of sharp points and natural curves that almost want to apologize for their own elegance, but clearly embody the simple excitement about the blossoming of industry and crafts during the period. This deco script trend would get a re-run for about a decade on either side of the second World War — especially in the entertainment and financial industries — before giving way to art nouveau and big brush faces. More…
Hortensia was Gursch’s most popular typeface, used extensively and prominently in many beautiful type catalogs, and a commonly seen design element in Germany for quite a while after its release.
This digital version brings plenty of fixes and additions to the original metal Hortensia design, including many alternates sprinkled throughout the character set, and support for a wide range of Latin-based languages (including Central European, Baltic, Turkish and Welsh).
Beware The Neighbors is based on “Personality Script”, a rough alphabet originally drawn by Ross F. George, and published in one of the Speedball series of lettering catalogs that ran from 1935 to 1948.
The design is something of a minor classic, and several foundries have recreated digital fonts based on it. However, mostly of these interpretations are very “geometric”, formed using straight lines. Intellecta preferred to create a new interpretation using smoother, curved lines to create a creepy appearance. Also included are several ligatures and OpenType stylistic alternates. More…
This version also has an extended character set for use in Central as well as and West European countries, plus Baltic, Turkish and Romanian.
Check out Intellecta’s Clarvoyant for another creepy experience based on lettering from old Speedball catalogs.
CLOSE THE DOORS AND WINDOWS AND BEWARE OF YOUR NEIGHBORS!
Blanchard is a revival and elaborate extension of Muriel, a 1950 metal face made by Joan Trochut-Blanchard for the Fonderie Typographique Française, that was published simultaneously by the Spanish Gans foundry under the name Juventud.
Blanchard is a script that embodies the post-war narrow decorative aesthetic that would become the instantly recognizable feature of that era’s design. Its high ascenders corners make it the tuxedo of fonts, with slight and casual angles gradually revealing a trustworthy confidante, and sharp corners signaling a most expressive ally. Font. James Font. More…
This digital version updates the original metal shapes to work within today’s design tools and designer needs. Some of the questionable metal shapes were optimized, plenty of alternates were added, and as many as five ending forms were built for most lowercase letters. Overall, this is one of the most useful packages for book cover, magazine and packaging design.
Blanchard is available in all popular formats. Blanchard Pro combines all five fonts into a single one that makes use of OpenType’s cross-platform compatibility and programs that support OT’s fine typography features, like recent versions of Adobe InDesign and QuarkXpress.
Tamara is a very open kind-of-art-deco script based on some initials for Semplicita made in the 1930s by the Nebiolo foundry.
I designed a complete family with three weights.
Since I am an ardent admirer of Tamara de Lempicka the Polish-French painter who was in her prime during the 1930s as well, I thought “Tamara” would be a good name for this script. More…
I sell all three weights for the price of one.
Your very generous Gert Wiescher.
Novelty Script is a bold dynamic script, sharply delineated, yet fluid. Most of the lower case letters and many of the upper case letters have joins. The typeface was designed by Nicholas J. Werner and Gustave F. Schroeder and patented in March 1893. The original release was by the Central Type Foundry of St. Louis, Missouri. Although a part of ATF from 1892, the Central Type Foundry continued to operate under its own name until 1895. More…
Novelty Script uses our new encoding, as noted in the All_customer_readme.txt. The Euro symbol has been moved to position 128 and the Zcaron/zcaron have been added at positions 142/158 respectively. Otherwise, Novelty Script has our usual idiosyncratic glyph selection, with the German ch/ck instead of braces, Western European accented letters, lower case “o” and “u” with Hungarian umlaut and our usual Hand-in-Hand symbol. But that is not all. With the takeover of the Central Type Foundry by ATF, a group of special characters appeared. All are included in this font, except the “&Co” and the “‘s”, for a total of nine in all. The “Ch” and “nd” ligatures are especially interesting because of the impact they have on the color and overall appearance of the page. Download the PDF Type Specimen for locations.
This is a fun font to use. Its strength is print, where it gives a page a refreshing look. The joins sometimes have difficulty on the screen, in spite of extensive hinting. Playing around with small changes on the point size can pay dividends. Not for the faint-of-heart. Are you up to the challenge?
The Confetti is a typeface created about 1930 by the defunct José Iranzo foundry in Barcelona, and imitates the forms and gestures of handwriting created with a round nib as “Speedball”Series B.
The original typefaces were a pair, called “Escritura Energica ” and “Escritura maravilla”. The typography has a dynamic air, caused partially by irregular alignment of the characters respect to the baseline and aesthetics takes us to the proposed commercial lettering or advertising of years 20-30. More…
Confetti was one of the fonts selected by the website Typographica.org in its prestigious list of “Our Favorite Typefaces” in 2006.
Regina-Cursiv is a warm, bold, casual typeface. Its friendly, rounded curves remind me of the line from a gospel song by the Canton Spirituals, about “smoothin’ up the roughway.” Jointly released by the Bauer and Berthold foundries of Germany during the fin-de-siecle period, this typeface has some cultural flexibility. There are alternate versions of the uppercase ‘H’ and ‘I’ that can be chosen to reflect a humanist or blackletter tradition, whichever you prefer. Other alternates offer various stylistic choices.
Regina Cursiv is a friendly, comfortable font. You will enjoy using it. Alternative letters: D, E, G, I, K, S, T, d, h, k, m, n and z. The numerals are old-style figures.
In 1927 Albert Auspurg cut Trocadero for the Trennert foundry in Hamburg. This new version is not a mere digitalization, but many letterforms were altered and updated, and missing links in the complete alphabet had been drawn afresh. Out came a beautiful cursive font with a certain charm of its own which covers beside the West European languages also those of Central Europe and Turkish.
This extremely heavy informal script was created in the early 1920s by Lucian Bernhard. Like so many of his designs, this typeface has its roots in his earlier poster work. Bernhard Brushscript invokes a rather warm, pleasant feeling despite a number of quirky characters. Originally created for the Bauer Foundry of Frankfurt, Germany, the face looks as though it’s been drawn with a brush and contains looping ascenders and descenders. Perfect for situations where a quaint and casual lettering effect is desired. More…
The Bernhard Brushscript is also available in the OpenType Std format. Some new characters have been added to this OpenType version. Advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress 7. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.
This gem of a script was what metal era typographers called a “continental face”, which essentially meant an old, most likely uncredited, metal face that was common to many European foundries. This particular one ran the rounds in the first half of the twentieth century under the names Donatello, Aigrette, Troubadour, Hertha, Butterfly and Gracia. A little research reveals its true origin to be circa 1926 at the Wagner & Schmidt foundry in Leipzig, where it was a bold script named Troubadour. A cut that was much lighter, more elegant, and much more suitable for larger display applications was made by the Amsterdam Lettergieterij in the late 1930s, under the name Gracia. Gracia was a common sight on perfume bottles, wine labels, chocolate boxes, and book covers in Europe for about four decades. Like many treasures of its kind, it seems to have never been considered for digital retooling until now. More…
Wagner Script corrects and greatly expands on the original metal concept, to include plenty of alternate forms, even as many as four variations on some characters. It also comes with extended range Latin-based language support. The Wagner Script package contains both Wagner Script Pro, a premium feature-loaded OpenType font for advanced typography applications, as well as three TTF fonts for the legacy format user.
Okaycat Font Foundry proudly presents “Lawson Vintage”! A retro classic style font, perhaps futuristic, with vintage textured edges. containing European accents. Beautifully connected cursive with high legibility and style for your design, great for web, print and publication.
See original Lawson without texture.
CA Recape is a weird and beautiful vintage script family with two styles. It’s an excellent choice for creating logotypes, headlines, signs, poster and any design that requires a custom-made feeling.
The basic inspiration for CA Recape comes from American 50s lettering. But instead of reviving one special style, it is a kind of “Best of”-Remix. It takes the weirdest and most beautiful letterforms of a weird and beautiful time and merges them into one font. The outcome is a charming bastard. Guess what it looks like: Weird and beautiful. More…
CA Recape is packed with a lot of OpenType features like underlining swashes, Stylistic, Discretionary, Titling and Contextual Alternates and Ligatures for use in OpenType savvy programs. It also comes with some nice Ornaments.
Derived from the original typeface, Cape Arcona Type Foundry also offers a Raw style that has the distressed look of a poorly printed raw font.
See the specimen PDF in the Gallery for all OpenType features and instructions.