This vintage set with a hand-drawn look comes with seven harmonious yet totally distinctive fonts, including four script fonts and seven display fonts, all with complete selections of swashes and stylistic alternates.
Miss Fajardose is another font from the Charles Bluemlein Script Collection. The ornate swashes are more feminine in style than other classic script fonts and have a bit of whimsy to them. This font is great for invitations but could also look great on labels for natural health care products.
Ink Blossoms Script Font Style..epub
Southampton is one of the favorite elegant script style fonts from the Creatype Studio. Both modern and elegant, the ligatures are delicate and classy. This font is perfect for signature style logos, unique packaging labels and business cards.
Italianno is a tight script font from the same designers as Great Vibes and Allura. This elegant font comes in only one weight but includes over 600 glyphs for most languages and plenty of different compositions. Unlike most script fonts, Italianno works quite well in longer text as long as the line height is a bit wider than usual.
Allura is a perfectly digitized script font with rounded edges which works great in both print and web for elegant text of all kinds. Allura is a very versatile font which can easily be used in elegant invitations as well as social media graphics.
Another masterpiece by Mans Greback, Qaskin is a script reminiscent of the classic vintage style for posters and signage. This illustrative style elegant font can be used in logos and invitations as well as for T-shirt designs or greeting cards.
This thick style script font falls into the modern elegant category. Created by the designer team at Pixel Surplus, Adrenaline works well for all sorts of projects, from branding to merchandising. The elegance is this font is found in its clean lines and connected swashes.
Envato Elements has some of the best script fonts for Cricut at a bargain price. One low fee gets you access to thousands of professionally designed fonts. This also includes commercial licensing, so you can use them in your business ventures too.
Here's another vintage-inspired cursive font for Cricut! The cursive script, with its classic serifs, really gives off some classic vibes while feeling personal and homey. Try one of these fancy Cricut fonts on your next wood project.
In search of cute Cricut fonts for cool projects? Check out the fun, chunky contrast in this Cricut script font. Try it on your next T-shirt, or iron it onto a pair of pajama pants. It could look great cut out of a variety of papers too.
This is a collection of the best handwriting fonts from Google Fonts. For a more vintage/classic or elegant look, check out the Elegant script fonts and for a modern look, check out the Modern script fonts.
Script fonts are beautiful for printing out your wedding vows and wedding calligraphy, but hiring a professional calligrapher can get expensive. Today, we are sharing with you 15 script fonts you can download for FREE to print out your wedding vows with.
Brush style typefaces range from brush scripts with a casual, relaxed look such as Salted Mocha and Debby to energetic and bold fonts like Macbeth and Rustico. These fonts add a lot of personality to typography and work best for headlines, titles or any attention grabbing text.
A free brush script typeface, Hensa comes with basic latin lowercase and uppercase characters, punctuations, numerals, ligatures and ornamental swashes. This semi-connected script font will look great in logos, greeting cards and packaging designs. Designed by Vlad Cristea, Hensa is available for download in both TTF and OTF formats.
The Woodlands is a brush script font with modern calligraphic aesthetic. Created by Jeremy Vessey, the font features slanted characters made up of smooth strokes to help you achieve a hand lettered feel. Free for commercial use, Woodlands is available for download in OTF format.
Selima by Jroh Creative is a free brush-lettered script typeface. The font features a bouncy baseline and irregular shapes, perfect for adding a personal touch to your designs. Font format: OTF.
Bonjour is a beautiful brush lettered font by Nicky Laatz. A flowing, semi-connected script typeface, Bonjour features contrasting bold and thin strokes and is perfect for using in ink and watercolor based designs.
Hey Girl is a fun, casual brush script font by Skyla Design. Its bouncy baseline and even strokes give it a fresh, modern feel that will look lovely on quotes, cards and posters. The font contains uppercase and lowercase characters, numbers, punctuations, ligatures, and international characters. Font format: OTF and TTF.
Saturday Script by Nicky Laatz is a casual brush script font with a care-free feel. A loose flowing script with dry brush texture, Saturday Script has an elegant handwritten look which will work great in branding, invitations, greetings and social media banners.
A very attractive script font which balances feminine and masculine tones, and retains a sense of tradition while looking ultra-contemporary. You could use this font almost anywhere and it would up the elegance factor of your design, making it appear instantly high-end.
Billy Ohio is a playful script typeface that is almost built entirely for fancy quotes, t-shirt designs and coffee mugs! Pick up one of the many variants and get to work with a swirly script font guaranteed to make a great impression.
Haearty is a sleek script font that comes with extra swashes for various options on the beginning and ending letters of a word. Bonus: it comes with a commercial license included! (Yes, the spelling is unique on this one.)
Strictly speaking, a printing "companionship" is a small group of compositors working on a book, one of whom is the head, called a "clicker."Loosely speaking, I think of me and my Sumac Press as a companionship of a sort. I have been clickering along for 70 years come Christmas 1985. While I have never uttered a credo, I have found a working procedure that could be called rising to occasions. This rising is a falling in with companions or situations of interest.To illustrate, a colleague at Syracuse University was always writing poems and throwing them into the waste basket. I filched one manuscript, printed it, and pleased his friends. He did not sue me. (Number 9 in the following list.)I did the same with two of Logan Pearsall Smith's Trivia, sent him a confessional copy, and received a reply saying, "I'm a pirate too." (20)Private printers floating around sometimes drop in for a joint print, and the "Impromptu Chappel" develops. (130, 134, 146)My chairman of the English department at Hamline University was a stimulating teacher of creative writing. I offered to print and publish some of the student poems. One book was in boards, printed with a single font of type on a 4x6 bench model Caxton. (13) The other was hand set in the same font, but with display lines, 82 pages, treadled on a 7x1 I welded nondescript without a throw-off, cloth bound by A. J. Dahl, a long-established Minneapolis family of binders. (23)An undercover group of Sherlockians in the Twin Cities surfaced with several dissertations. I was enlisted. (65, 70, 77, 81, 107, 154, 166, 167) By then I had a New Series 8x12 Chandler and Price press, with an ink fountain and vibrating roller (which I still have). Composition was by Fred Phelps, whose father had pioneered trade composition in Minneapolis.I caught some students at La Crosse State trying to write poetry. I said if they would organize and sell, I would print. They did, with over 30 Fledglings and Quills, 10 cents each.I did some initiating on my own, such as printing excerpts of literary interest to me instead of underlining them in a book, feeling companionable in a general way with the authors. (17 items from 3 to 88)Another form of companionship was attending meetings of the Ampersand Club in Minneapolis and printing notices and a Prospectus. (104) A brief pleasure was attending meetings of the Society of Printers in Boston as a guest of my preceptor, George P. Winship, for whom I got up a list of Merrymountiana (which I ran through a typewriter).Enough on this line. Sumac is one kind of a private press -- not "fine," "alternative," "bibliographical" -- but personal, like Henry Daniel's and, like his, long lived.But I am not in the Daniel class. I am a job shop sort of printer, having learned under a job printer who directed the work of the Boys' Printing Club at my church. He also hired me after school for a winter in his shop downtown. In one of my Press Preterites (131) I gleefully reprinted a comment by William M. Cheney, the gist of which was that one gets tired of the plushy presses and gets back with relief to a job shop as to meat and potatoes.Job shops are of many kinds as, for example, the Merrymount Press of Daniel Berkeley Updike who would print anything, provided he had control of design.And how about the Prairie Press of Carroll Coleman? Single-handedly he put Iowa on the map of significant private presses. His equipment is that of a job shop. He knows how to use it to the extent of Fifty Books quality. He knows how to get new texts to encourage new writers of eventual acclaim. And he is being succeeded admirably by other important private presses in Iowa.Back to Sumac. I bought type slowly. From Cheltenham I went to Caslon 471 on the advice of the American Printer's reviewer of specimens. I went on my own advice to Bulmer, because the American Type Founders displayed it beautifully; and it was available downtown when I was in Minneapolis.Then Californian from Richard Hopkins who shared one of our "impromptu Chappels." And Legend, and Libra, and Melior, and Bembo. Fred Phelps gave me a case of Tell Text which he, an alumnus of Porter Garnett's Laboratory Press, used in a "master" book after graduation. Also Ed Erickson, a Rudge foreman during the Bruce Rogers years, gave me a two-thirds case of Centaur, in which I printed Smith's two Trivia.I will not push this companionable/companionship further than to mention the help which fellow Ampersander, Arnett Leslie (of John Leslie Paper), gave me in getting paper in small quantities. He put me on to Worthy Hand and Arrows, the most amiable paper of the century, I do believe. I have used other print-happy papers: Warren's Olde Style, Curtis Rag, Howard Permalife, Strathmore Text, Mohawk Letterpress. Never have I used handmades, though I have a ream of Winterstoke tucked away somewhere. I am afraid of it.Glancing over the tersely detailed checklist which follows, a reader may think it miscellaneous and not programmed. Yes, it is miscellaneous in the way I have indicated. Mostly I have responded to chance typographical associations with family and friends. Programmatic, no, definitely. I have wandered from my programmed life of teaching English, a strong interest also, into side roads of personal byplay and private pleasure, thanks to Sumac, an outcome of an educational toy under a Christmas tree.Not only were the associations rewarding, but also the problem of turning copy into print. Legibility is first, of course, but not enough. The real problem is readability. How the pages are to be held and opened, how comfortable the size and shape of the type, how optically arranged the words and spaces, how illustrations blend with the type and certainly how they set up the text, how color is controlled, what materials are available, even how weight and shape of the finished piece fit the postal regulations.Then there is the work of the hands in the shop, as for example, copy fitting, word spacing, watching the nicks, makeready, precision of register, ink control, feeding quickly and accurately. There is a starter!The insurance tables give me another decade, and I will continue to try printing good writing in good style. Style is "good" in many ways. In building a typographic library and a collection of "press" books, I am quite aware of how many and varied are the "clickers" past and present. Much to learn, much to attempt, never an absolute.I could hope no better joy for a friend than a personal press. 2ff7e9595c
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