Linotype Balder is an early 1990s take on 1950s and ‘60s advertisement and poster lettering. It is all caps, making it perfect for initials and headlines. Balder looks as though it were written with a broad tipped marker or brush; the light serifs at the tops of its characters, and the slant of some of the strokes, give Balder a dynamic feeling.
Cascade Script comes from Matthew Carter, one of the 20th century’s most respected typeface designers. Reserved yet cheerful, Cascade Script has slightly angular outlines and the look of having been written out quickly. Its spirit evokes the 1940s. Very agreeable on the eyes, Cascade Script’s lively and balanced forms are particularly good for short texts and headlines.
Challenge comes from an era when designers had to rub down letters onto signs from transfer sheets. This brush-lettering style gives off a unique and spontaneous quality. Its capitals should be set closely, with its lowercase letters overlapping in order to produce the feeling of authentic handwriting. Challenge is informal and authoritative at the same time: good for a variety of display applications!
Dom Casual is an informal script that looks like brush writing. This typeface actually comes from the 1950s. Peter Dombrezian created it for American Type Founders in 1952, and it enjoyed immediate success. Dom Casual helps create a friendly and informal look in signs, advertising, or invitations.
Linotype Gneisenauette was designed by Latvian artist Gustavs A. Grinbergs, and is available in eight weights – remarkable for such a script inspired design! This dynamic font also reflects a bit of the optimistic spirit of the 1950s, with its technological visions of the future. Linotype Gneisenauette is best used for headlines or middle length texts with a point size 12 or larger.
Laser is available in two versions: a slick and modern script typeface, and Laser chrome, its glossy, chromium alternative. The capitals are meant to be used only in combination with the lowercase in display sizes. Laser is ideal wherever an energetic style is needed.
Laura is a brush-style typeface with an effective three-dimensional look. The forms are a little more formal than those of many other brush style typefaces. Laura is well-suited to a variety of uses … wherever a strong, eye-catching typeface is needed.
Mistral is a loose running script based directly on the handwriting of its designer, Roger Excoffon. It is quite possible the most famous display typeface ever made in France. Excoffon’s goal was to create a type with a truly written style. Do you agree that it is successful?
ITC Puamana, graceful as a palm tree in the ocean breeze, comes from the fluid brushstrokes of Teri Kahan, its designer. This typeface sees lettering as a tropical treasure. ITC Puamana first came to life on apparel art for a Hawaiian clothing company. Now it is a complete alphabet, useful for both text and titles. ITC Puamana may be employed in everything from book jackets to in-store signage.
Carlos Winkow designed Reporter in 1938 for the Wagner foundry. The strokes of this interesting script have the texture of dry brush-written letters. The alignment is slightly irregular, giving it a spontaneous feeling. Reporter No. 2 is the slightly simplified version of the original Reporter, without the numerous small white strokes inside its stems, which gave the original a scribbly effect. The font is bold and informal. It works well in signs, posters, and other display uses.
Retail Script was designed by Vince Whitlock in 1987. It is a type with strong, dynamic base forms and very small ascenders and descenders, which creates a closed and solid overall image. The fine white lines which are traced within the figures make the font a bit more cheerful, and the shading makes the figures look three dimensional. The energetic Retail Script is best used in headlines in larger point sizes in order to preserve the look of its fine details.