Streetbrush is a brush script font with a difference. It is not the kind of smooth and elegant font that hopes to end up on a soup package or a restaurant menu. It is dirty, fast, and real — a script with attitude.

Before embarking on a professional design education at Parsons, designer Robert Arnow was a graffiti writer in Brooklyn. Over the years he developed a signature style of expressive brush-rendered handwriting and illustration. The Streetbrush typeface evolved out of this, by repeating each letter hundreds of times with brush on paper. Streetbrush represents a unique blend of styles — urban graffiti meets Asian calligraphy. Being extremely detailed in its representation of a brush pulling ink across a textured surface, it is best used for large titling or signage. Have fun!

There used to be a time when a majority of advertisements and packaging had hand-lettered headlines and slogans, with matching hand-made borders and ornaments. Today, with shrinking margins and deadly deadlines, we often turn to digital ornaments and picture fonts to add a festive touch to our typographic designs. However, the standard frames and borders offered by layout and drawing programs can be stiff and boring. This is probably why Frames and Borders is so successful. This font from Outside the Line (also known for their delightful Party Doodles and Wedding Doodles) offers a collection of whimsical, hand-drawn frames for your invitation, packaging or book cover designs.

Just over two years ago the Italian design group Studiocharlie presented their cool, clean sans-serif Superbastone. The latest addition to the Superbastone family is a display variety called Superpois. Its name is based on the French word for green pea, and describes its appearance: a sans-serif made out of dots in three different diameters, resulting in a three-weight family. Superpois is, of course, the perfect companion to Superbastone. A very nice bonus is that all three weights share the same width and the same number of “pois”, so that they can be layered in different colors. Depending on your choice of color, the effect can be charming, playful or downright dazzling.

After Flavour, Schoko and other tasty scripts for food packaging , Hubert Jocham recently brought out Susa, a script with a slightly different look. It is a flowing, connected brush script, but has a sturdier character thanks to the almost monolinear strokes — i.e., strokes with hardly any difference between think and thin parts. The curves flow freely, with verticals at varying angles, giving an impression of spontaneity and playfulness. Susa’s bold and heavy weights are ideal for striking headlines, while the lighter weights work well for accompanying short texts in intermediate sizes.