Fontcraft: Scriptorium Fonts, Art and Design 2016-03-28T00:46:09Z Dave <![CDATA[Spring Single Fonts Sale]]> 2016-03-28T00:46:09Z 2016-03-28T00:43:58Z springsaleWhan that Aprille with his shoures soote,
The droghte of March hath perced to the roote,
And bathed every veyne in swich licóur
Of which vertú engendred is the flour;
Whan Zephirus eek with his swete breeth
Inspired hath in every holt and heeth
The tendre croppes, and the yonge sonne
Hath in the Ram his halfe cours yronne,
And smale foweles maken melodye,
That slepen al the nyght with open ye.

Geoffrey Chaucer, The Canterbury Tales

As the fresh breezes of Spring begin to waft through the fresh green grass and blooms burst forth on the tress,  here in Texas we can smell the change in the air and as the bluebonnets spring up our prices come down and what could be a better deal than a sale on single fonts to start the new season?

For two weeks, through April 14th, if you place an order for an assortment of single fonts of your choice, the more you order the bigger the discount, as listed below. Your savings can be up to 50% off if you order enough fonts.

This is the best sale on single fonts we’ve ever offered. It rivals the pricing on some of our prepackaged font collections.


2-4 Single Fonts – 20% Off – use code ALPHA
5-7 Single Fonts – 30% Off – use code BETA
8-10 Single Fonts – 40% Off – use code GAMMA
11+ Single Fonts – 50% Off – use code DELTA

All you do is enter the code appropriate for the number of fonts you’re ordering while you’re checking out in our online store and it will give you the appropriate discount.

The discount applies to any fonts in our ONLINE STORE and there’s no top limit to the number of fonts you can order at the 50% discount rate.

To see a sample of any font use TYPESHOW

Dave <![CDATA[Zeitschrift: a Font from Ver Sacrum]]> 2016-03-25T06:33:47Z 2016-03-25T06:29:23Z


Following the model of Munchner Jugend in Germany and Wendingen in the Netherlands in the period after the First World War the Secessionist movement in Austria produced Ver Sacrum, a magazine which expressed their particular take on art and design.

In addition to featuring illustrations and design work by leading artists of the era, Ver Sacrum included unique original lettering styles which have been the inspiration for many designers in later eras.  For example, our Butterfield font is based on a 1960s design inspired by a Ver Sacrum calendar.

We will be developing a Secessionist font collection and the first entry for that collection is our Zeitschrift font, based on a unique lettering style featured in the magazine.  It is a lightwight font which has nesting upper and lower case letters so that you can integrate the type into interesting designs.  It has some unusual letter forms, like R, S and B which are typical of Secessionist design styles.

You can try the DEMO version of Zeitschrift for free. It has a limited character set. You can ORDER the full version for only $24..

Dave <![CDATA[Party Fonts for Easter]]> 2016-03-22T06:26:47Z 2016-03-22T06:24:29Z partyfontsWe have such a large selection of fonts that you can find some for any purpose.  We’ve made things easier for you by searching out fonts on related topics and putting them together into preselected theme packages at a great discount.

With Easter coming up our thoughts turn to parties, so we’ve put together a  collection of jolly fonts for party invitations on special days like Easter.

The package includes 7 fonts for only $39, including some of our most popular and unusual fonts.  You can order the package online and download it immediately from our ORDERING SITE.

Dave <![CDATA[Secessionist Origins of Butterfield]]> 2016-03-10T19:43:29Z 2016-03-10T19:43:29Z butterfieldmfIn the course of our ongoing research on old type and creative lettering, we stumbled on the origins of our Butterfield font and it is an interesting story.

BG047-POButterfield was based on lettering from a 1967 poster for the Paul Butterfield Blues Band at the Fillmore. We assumed the lettering originated in the psychedelic movement of the time, but assuming something like that is often a mistake.

While researching the Vienna Secession, the Austiran branch of the Art Nouveau movement, we came upon Ver Sacrum magazine which was published from 1898 to 1903. Ver Sacrum was the publishing outlet of Vereinigung Bildender Künstler Österreichs and published artists like Gustav Klimt and Max Kurzweil. Just as we were influenced by the Psychedelic movement from about 50 years ago, the artists of that era looked back about the same amount of time to the design movements of the early 1900s.

versacrum2Looking through old issues of Ver Sacrum for design ideas, we discovered the real origins of the lettering on which Butterfield was based. The actual origin of the lettering is a calendar published by Ver Sacrum and the design and lettering are by Alfred Roller.  There are some difference between the original design and the 1967 poster but the relationship is obvious.  The 1960s version regularized some of the characters and eliminated some of the interesting quirks, like the peculiar F and W characters and the width.

We’ve put the Roller lettering sample in the queue for development as a font.  That will take a while, but for now if you like the style, Butterfield is available in our ONLINE STORE.

Dave <![CDATA[MapMaker Collection]]> 2016-03-07T19:31:38Z 2016-03-05T06:47:32Z

Making functional and attractive maps is a very specialized skill, prized by game designers, roleplayers and artists. To make exceptional maps, you need to have the right tools. Our MapMaker font and art package provide the fonts, textures and emblems which make drawing floorplans and developing stylish world and regional maps a breeze. Our map resources are based on the designs of classic cartographers like Abraham Ortelius and Johan Hondius give your maps a unique antique look which will inspire the imagination.

The core of the collection is the extraordinary collection of more than fifteen original fonts specially created for cartographic design. They include fonts for mapping terrain, fonts of complete building plans, fonts for designing buildings and a selection of cartographic lettering fonts.

Basilica is a font of architectural elements fordesigning floorplans of churches, castles, houses and other buildings. It includes a variety of wall thicknesses, windows, doors, stairs and other essential pieces which you can easily assemble in any graphics or desktop publishing program to create impressive, easy to understand layouts for anything from a hut to a palace to a house by house map of a city.

The characters in Ortelius can be combined to make traditional geographical maps in an antique style. They include segments of coastline and rivers which can be combined in thousands of different patterns, plus city, town and fortification emblems, terrain symbols, compass symbols and everything else you need for a high-quality map of your world or key parts of it.

Our Landscape fonts are a pair of fonts containing landscape symbols, images and textures ideal for adding details to your maps and plans, such as trees, rocks, terrain features and other important elements of the environment. It’s excellent for architectural plans and building layouts.

Cityscape is mainly a decorative font, but it can add flair to your maps and plans. Each character is the silhouette of a building and they can be combined to create a complete panorama of a city. Samarkand is a decorative building silhouette font like Cityscape, but with a middle eastern theme. It includes mosques and towers and all the elements of a medieval islamic city.

Our three floorplan fonts include Temples, Castles and Houses. Each font includes a large selection of complete building floorplans which you can access with a few key clicks. Plans include original designs and notable historic buildings, mostly medieval and renaissance designs. The floorplans of temples, churches and cathedrals are particularly impressive.

The package also includes a selection of fonts for doing the titles and labels on your maps, plus several select highly decorative cartographic calligraphy fonts. The six main title fonts were selected for readability and for their historical accuracy for the era of exploration.

Brandywine is based on the lettering of Howard Pyle and is very clear and readable in small sizes, despite having a hand-drawn look. Queensland is a bold, hand-drawn italic font ideal for titles and captions. Windlass is a bold titling font with an antique look ideal for headings and large captions. In some of the alternate character locations it includes decorative map elements with a pirate theme. Buccaneer is based on hand lettering by Howard Pyle for his Book of Pirates. Walsingham is very similar to the lettering style favored by 16th century English mapmakers. Pavane is similar to the style of continental mapmakers like Abraham Ortelius. All six fonts are versatile and are similar to typefaces and lettering styles used on historical maps of the 15th and 16th centuries. Also featured in the package are the new fonts Platthand, John Speed and Hexmap.


The LITE version of the package includes just the fonts for only $59. The PLUS version includes all the fonts, plus a large selection of color design elements and over a hundred antique maps for only $89. The current release is the new 5th edition of the package. Just ORDER ONLINE. You can also order it in a discounted combo package with the Colonial Fonts for just $129 and save $20.

To get an idea of what our MapMaker fonts are like, try out the demo version of our Floorplan fonts. It combines selected floorplans from all three of our Floorplan fonts. You might also want to check out a set of sample maps or try our map design tutorial.

Dave <![CDATA[Wendingen: New Font]]> 2016-03-08T19:25:03Z 2016-03-04T02:35:44Z


Wendingen  was an architecture and design magazine published in Amsterdam from 1918 to 1932.  It was one of the leading influences in the Art Deco movement and the the related Amserdam School of Dutch Expressionism.  It featured issues which focused on the work of DeKlerk, Liszitsky, Frank Lloyd Wright and others. Although it was published for only a few years it had a profound influence in popularizing modern art.

Almost every issue of Wendingen included unique lettering and original type design.  Some are hits and some are misses, but they’re all interesting.  Our new Wendingen font is based on the style of lettering most associated with the magazine over the years.  It’s a bold, constructed font with contrasting widths.

You can try the DEMO version of Wendingen for free. It has a limited character set. You can ORDER the full version for only $24..

Dave <![CDATA[Momento Mori Font]]> 2016-02-29T08:02:49Z 2016-02-29T07:56:43Z mementomorimfWhile working on a graphic design project we needed a font similar to the hand carved letter style used on tombstones in the 17th century. After doing a little research we realized that we already had a font which was quite similar, so we made some basic modifications and added some important characters and soon we had transformed the Primer font into the Momento Mori font.

Memento Mori has upper case and small caps letters and it also includes 6 special image characters based on gravestone rubbings. You can order Momento Mori from our Online Ordering Site.



Dave <![CDATA[Textures and Patterns]]> 2016-02-24T22:34:24Z 2016-02-24T03:04:34Z texturehead
One of the first areas we branched out into after starting out exclusively with fonts, was an early package of interesting textures and background patterns. These were graphic resources we originally designed for use in various print projects – some of them pretty peculiar – which we thought were potentially useful to other designers for their projects. The problem we ran into almost immediatly was that very few designers realized how valuable and flexible texture designs can be outside of a few very limited and familiar applications, like wallpapers. As a result our texture collections have never really been hot sellers and we’ve let them languish in obscurity. We hope this new page will help educate and inform to bring about a full realization of the extraordinary value of textures in all areas of design.

What on earth is a texture? Basically, a texture is a graphic which doesn’t necessarily represent a particular scene or object, but rather preserves the specific look of an area of surface on an object, or a particular space within an image which has an identifiable distinct appearance, such as a group of clouds, the bark of a tree, the surface of a stone, etc. Textures can be very complex or very simple, and you can find them all over virtually any image, but you rarely notice them because you see the compisite image, not the variety of textures and texture variations which make up the image, in combination with other elements such as outlines and shading. You can see a wide variety of our textures sampled on this page, both presented flat and demonstrated as textures on curved surfaces with lighting effects.

For the designer and artist there are many uses for textures. Digital animators use textures all the time in helping to make their spaces and objects look more real. If you look at any environmental game or animated movie you will notice how textures have been used to give walls and floors, objects and backgrounds a feeling of reality. The thing which makes a door look like wood and not metal, or makes a ball look like leather and not plastic is probably a texture. What many designers seem not to realize is that with the internet and printing technology available today textures can be valuable in many areas of design where you might not expect them. Textures have great potential in web design and in areas of print design which are traditionally fairly static. Many of the best designers already realize the value of the subtle use of texture. Look closely at the areas of color you see in print ads or on the web. Sometimes those aren’t colors, but are actually subtle textures used in place of a flat color to engage the eye and make a page look more interesting.

On the web the most common use of textures is in providing backgrounds or wallpapers for a web page. While many design guides recommend against doing this, out of concern for inexperienced users, they rob you of one of the most powerful tools for giving your web page a distinctive appearance. While it’s true that overly complex and colorful backgrounds can distract and confuse readers, subtle use of appropriate textures which are designed to work well with text will help keep readers attention and make the theme of your page more pervasive. Try to avoid textures which have dark shades (unless you use light colored text) and lots of contrast. Textures like our paper textures work particularly well. You may also want to fade the texture you use for your background by using a 20-60% white or light colored fill, keeping in mind the threshold at which the fill overwhelmes the texture and creates an ugly white blur.

There are basically two important types of textures. A ‘spot’ texture is one which has a unique and distinctive pattern, but is not intended to be used as wallpaper and is not designed to form a continuous uninterrupted pattern when used as a tile. A ‘pattern’ texture is one which is designed to be used as a style and is made in such a way that when multiple blocks of the texture are laid out next to each other they form a a continuous, non-interrupted pattern so that you cannot tell where one tile ends and the next begins. Pattern textures are not necessarily the same as traditional pattern tiles, since they are designed to look like a continuous texture when tiled, not like a series of more complicated interconnected forms. Spot textures are usually used in artistic design to add depth and complexity to elements of an image. Pattern textures are mostly used in graphic design for forming backgrounds and wallpaper type effects, either in print or on the web. All of our texture packages include a mix of both kinds of textures, and in many cases both spot and pattern versions of the same texture design. We’ve used pattern textures extensively for the backgrounds on our web pages, particularly textures from our paper and fabrics collections.

The Scriptorium Texture Collection contains hundreds of original texture and pattern designs organized thematically. It is an enormously valuable resource for any digital artist or graphic designer. Many of the textures in the collection were developed in the course of projects on which we were working, from game designs to book covers, to original art projects, to web pages. The thematic sub-collections can be purchased individually, or they can all be purchased together as a group on a single complete textures CD. The sub-collections include wood textures, stone and mineral textures, fabric textures, paper textures, metallic textures, animal skin textures, sky and sea textures, artistic textures and more. The complete collection is $89 and you can order directly from our ONLINE ORDERING SITE Or you can call us at 1-512-656-8011.

The texture packages shown in the samples on this page are (from top to bottom) – Skin Textures, Stone Textures, Wood Grain Textures, Artistic Textures, Paper Textures, Fabric Textures.

Dave <![CDATA[Aesop’s Fables by Charles Folkard]]> 2016-02-20T18:01:35Z 2016-02-20T17:53:19Z aesop5Our latest mini-package is a collection of beautiful art by Charles Folkard from his illustrated edition of Aesop’s Fables.  Folkard was an English illustrator who many see as the successor to Arthur Rackham, though he has not become as famous.  His Aesop’s Fables was published in 1912 and is one of his outstanding pre-war works.  He was known for his lettering and marginalia as well as his full color illustrations.

This mini-package contains all of the color plates from Aesop’s Fables.  It will be included in our forthcoming Folkard package, but who knows when that will come out, so is available to download for only $10. It contains 11 large size images, some of which are previewed here. You can download it from our ONLINE STORE.

aesop10 aesop2 aesop3 aesop4 ]]>
Dave <![CDATA[Owen Jones’ Illuminated Gray’s Elegy]]> 2016-02-19T07:18:30Z 2016-02-19T06:03:50Z homas Gray’s Elegy Written in a Country Churchyard is probably one of the greatest poems in the English language and certainly of the 18th century.

On the hundredth anniversary of the release of Gray’s classic, legendary book designer and illustrator Owen Jones produced a special illuminated edition of the epic poem with detailed page borders, decorative initials and original lettering of the verses, which stands as one of the finest examples of his book design work.

The curfew tolls the knell of parting day,
The lowing herd wind slowly o’er the lea
The plowman homeward plods his weary way,
And leaves the world to darkness and to me.
Now fades the glimm’ring landscape on the sight,
And all the air a solemn stillness holds,
Save where the beetle wheels his droning flight,
And drowsy tinklings lull the distant folds;
Save that from yonder ivy-mantled tow’r
The moping owl does to the moon complain
Of such, as wand’ring near her secret bow’r,
Molest her ancient solitary reign.

ur Gray’s Elegy design package preserves Jones’ book with all of the pages of text and decorations in digital form (as a PDF), as well as extracting all of the decorations, frames and initials so that they are ready to use for your design projects in high-resolution, full-color format.

This has all been collected in a package which is now available for purchase and download. It can be ordered for just $49 from our ONLINE STORE and downloaded right away, or you can download and examine some of the contents in the free PDF PREVIEW featuring selected pages from the book.