Twenties nostalgic oldstyle revival supervised by F.H. Pierpont at Monotype with echoes of Jenson, Caslon, and Goudy.

A nice delicate script made for my little girl, Sadey. This penline script has 26 alternate characters.

As personal as a handwriting can be, the ink drops add much of genuine touch to this childish script.

An offbeat, fun, and frightful serif typeface inspired by the 1969 Rankin Bass animagic classic titled, Mad Monster Party.

These are the letters I doodled in the margins of my high school notebooks. As it turns out, a man named Milt Glaser doodled them first. He doodled a lot of other amazing things too. Mr. Glaser called his blocky alphabet Baby Teeth. I think the type looks better when it says Surfside, so that's what I called my incarnation. This version has been digitized and expanded, and is available for Mac and PC. These letters remind me of the 80s and the 90s, of Gotcha shorts, Ocean Pacific shirts and fluorescent windbreakers. Surfside matched my Airwalks. They're big and bold. Clunky and funky. Spices up words. Makes 'em look great! Surfside is cool and available for a low low price... scoop it up today!

Digitally engineered by Steve Jackaman. Ludlow, circa 1939.

Write like the inventor of the diesel engine — it’s possible with the Diesel Rudolf Script (patterned after the original handwriting of Rudolf Diesel)... In 2008 the city of Augsburg and the MAN Group celebrated the 150th birthday of Rudolf Diesel, inventor of the diesel engine which was named after him. With the help of a few preserved original letters, it was possible to create a convincing digital version of Rudolf Diesel’s personal handwriting. The engineer and inventor Rudolf Diesel was born in Paris in 1858 and also went to school there. In1870 his family moved to England and Rudolf was sent to relatives in Augsburg where he continued going to school. Later, after completing his studies in Munich, he began working as an engineer in the machine factory Linde. Alone this part of his life makes clear why Rudolf Diesel’s handwriting was so ”jerky,“ hesitant and inconsistent. He learned to write according to the French style, that is, Latin cursive — completely different from the very correct and neat German handwriting taught at that time which he had to learn at 13 years of age. These circumstances explain why his handwriting is ”messy“ (especially for those days) with its mixtures of letter forms within a text, even within individual words. Plus, he obviously did not attach much importance to ”pretty writing.“ Sometimes the characters are wide, then narrow, sometimes large and clear and then again crammed and primitive. The individuality is emphasized with characteristics derived from quill and ink. The diversified images of the font Diesel Rudolf Script make more than 80 ligatures and stylistic alternates possible which can be selected with help from the OpenType functions Ligatures and Discretional Ligatures.

Designed by Les Usherwood. Digitally engineered by Steve Jackaman.

Designed by Les Usherwood. Digitally engineered by Steve Jackaman.

Designed by Les Usherwood. Digitally engineered by Steve Jackaman.

Based on the early original Monotype design, you can definitely see the influence of Italian Old Style, Jenson and Morris’ Golden Type.

This cute, neat handwriting font is perfect for a variety of uses. The font features genuine handwritten flair while still maintaining complete readability.

R.H. Middleton for Ludlow, circa 1956. Digitally engineered by Steve Jackaman.

Geometric dimensioning and tolerancing (GD&T) is a system for defining and communicating engineering tolerances. It uses a symbolic language on engineering drawings and computer-generated three-dimensional solid models that explicitly describe nominal geometry and its allowable variation. This highly specialized symbol font is designed specifically to be used by engineers to describe CAD produced outside the CAD environment. Included is a chart featuring character names and keyboard placement. Complies with ASME Y14.5M-1994. Updated to include 2009 addition of ‘unilateral’ symbol.

This font set is the second in a series from P22 Type Foundry based on the lettering styles of Frank Lloyd Wright. Created in 1931, the Exhibition lettering was intended primarily to accompany Frank Lloyd Wright's exhibition drawings and models. Many of the 72 Extras were designed to form continuous linking borders. Combinations of these geometric forms can provide endless variations of decorative elements in the style of Frank Lloyd Wright. Many of these images were based on Mr Wright's "Saguaro Forms and Cactus Flowers" illustration for an unused Liberty magazine cover of 1926. Other imagery in this set was derived from assorted geometric designs by Wright. Exhibition Regular, Light, and Bold have been remastered and now contain almost 400 characters including support for Western and Central European languages.

Carpenter® is a beautiful script perfectly suited for invitations and announcements. Created by James West, the design was a facsimile of the penmanship of Mr. Carpenter of R. Hoe & Co. and released by the Cleveland Type Foundry as one weight in 1882. It is now also available in SemiBold and Bold. The style of this script is very reminiscent of formal handwriting popular in the late 19 and early 20th centuries. It is graceful with formal structure. Its x-height is very small, with unusually long ascenders and descenders. Although there are many script fonts available, Carpenter is a historical design with a truly unique personality that will add a truly unique look and feel to your design. From GroupType™, Carpenter is available in TrueType and OpenType.

Richard Lipton’s inspiration for Englewood came from the calligraphic hand of Philip Grushkin. Lipton has always admired his somewhat loose but disciplined hand and felt that it was worthy of keeping this style alive in a typeface that could be a somewhat accurate emulation of the warmth and life found in these letterforms. Spontaneity is a challenge to capture in a type treatment but with Englewood, Lipton hopes to honor Mr. Grushkin with a design that works especially well for an invitation, a menu, or in any display setting that calls for an informal calligraphic hand. This single weight display script includes small caps — somewhat of a rarity for a handwritten script — for flexible typesetting, along with 42 alternates that include 18 contextual ligatures to simulate the appearance of spontaneous writing.

While watching the 1947 holiday classic “Miracle on 34th Street”, one scene in particular presented a chance to develop a retro type design. ‘Kris Kringle’ suggests to a mother visiting with her child in the Macy’s toy department to try Gimbel’s for a toy she couldn’t find at the store. The news of this behavior reaches Mr. Macy himself, who embraces the practice as a brilliant marketing strategy. A number of departments are then presented with reference books containing competitor ads, and the visual of the cover stating “R.H. Macy & Co. Shopping Guide for the Convenience of Our Customers” shows on screen. The thin, Art Deco sans serif monoline with a few serif-like hooks added onto some characters became the basis for Shopping Guide JNL, which is available in both regular and oblique versions.

Filou is a genuine bastard inspired by three different typefaces. It consists of three weights: "Regular", "Medium" and "Extra" which can be easily mixed together.

Designed by R.H. Middleton for Ludlow, circa 1930. Digitally engineered by Steve Jackaman.

Designed by R.H. Middleton for Ludlow, circa 1937. Digitally engineered by Steve Jackaman.

The regular style of this family was inspired from the typeface used in Nuremberg, Germany, by Johannes Petreius in 1543 to print the famous “De Revolutionibus Orbium Coelestium,” the well-known mathematical and astronomical essay by Nicolaus Copernicus. Petreius was also using an original italic style, as he did for the “De Sculptura” by Gaurico Pomponio, in 1542. Unfortunately, nobody seems to know who was the punchcutter of this Jenson-style font. Also included is a title file, containing initials (without diacritics) and small caps (with diacritics). In our three styles (Regular & Italic + Titling), font faces, kerning and spacing are as closely as possible identical to the original. This Pro font is covering Western, Eastern and Central European, Baltic and Turkish languages, with standard and long-s ligatures in regular and italic styles. Both have twin-letter ligatures, but the italic style has extra (genuine) ligatures for f and t with vowels.