is an experienced lettering designer, typographer and teacher of all matters typographic. He has many fonts and logos for prominent corporations to his credit, including Mattel, Max Factor, and Vidal Sassoon. Doyald Young is also the author of several books on lettering, which you may browse in our Bookshop
You may already be familiar with his two of his typfaces, which have been available at Linotype.com for some time: Eclat
™ and Young Baroque
™, his most famous typeface, which is a sensual “copperplate” script. Now we are proud to introduce two more of his designs.
Home Run is a new look at an old friend: American baseball-style lettering. Assertive and economical in width, Home Run’s letters have a large x-height, making them command extra attention. Like Young Finesse, Home Run has two fonts available for customers: Script and Sans Script.
Home Run Script typeface has roots in English Roundhand lettering – but this interpretation makes a much more forceful statement. Young challenged himself to draw a bold condensed design with a tight fit, while still maintaining a high level of character legibility. This called for some compromises – like the tall lowercase ‘t’ – but the end result is at once commanding, easy on the eyes – and great fun.
Home Run Script’s companion font, Home Run Sans Script, is sold separately. If you ever want to use a sans serif with a script? Home Run Sans Script lets you do that. Home Run Sans Script has sans serif caps that enable the user to combine complementary script and sans serif caps in blocks of copy. Home Run Sans Script has the same lowercase as Home Run Script – but features a small suite of alternate characters in addition to lining and Old Style figures.
The Young Finesse family has two fonts on offer. The Regular is a light, legible, serifless roman. Its design is sophisticated, elegant, luxurious, graceful, sleek, and cool. Young Finesse Italic bows to the 16th century, with a modest four-degree slant, as well as alternate swash caps inspired by the Italian writing masters Arrighi, Palatino, and Tagliente.
The Young Finesse typeface began life as the handlettering for the dust jacket for Young’s book Fonts & Logos
. “The book is big and demanded a big title,” Young writes about the design. “But I didn’t want the letters to be overpowering, because ultimately the book is about the subtlety and nuance of typography.” What emerged was a graceful, svelte, yet full-bodied sans. A very slight incline and a suite of alternate swash capitals mark the italic.