Are there other implements that you experiment with in the courses you teach? I’m ready to start getting my hands dirty in this respect.

Different surfaces produce different results too, or using (thin) gouache instead of calligraphy ink. I'd recommend using flat nylon brushes with widths between 10 mm and 20 mm.

Also check the pictures of Yomar Augusto’s workshop at the last ATypI conference. He practised his brush calligraphy skills already before he enrolled at Type & Media and his graduation work Dendekker shows this influence clearly.

I think I would describe this as a Dutch quality after seeing the traits in so many Dutch faces.

From what I've seen, the French have the same affinity for the soft brush (again, correct me if i'm wrong), so i would avoid calling it strictly 'Dutch' as it is seen in other type cultures although it is quite prevalent in the low countries.

Can you approach this by choosing a different structure (Modern rather than Renaissance)?

I'm actually thinking a slab.

I came across a lovely (unreleased?) font from Reading MA student Yvonne Schuettler. See Mina on Flickr.

I am aware of all of the Reading MA's work from the past year. You can see all the faces in more detail at www.typefacedesign.org

Interesting thread, I've always loved Dolly and other similar typefaces because of the 'brushy' qualities.

I also saw Elena a while back (also a Reading face, from '07). And of course TEFF Collis. They aren't as rounded as Dolly, but I do see some similarities in structure.

Could Gerrit Noordzij be the father of this brushy (dutch, to me) style?
See chapter ‘Gerrit Noordzij, teacher & master of crafts’ in ‘Dutch Type’ by Jan Middendorp.

@Jan: From what I've read from Gerrit Noordzij, he was not exactly the father of this exact aesthetic -- brushy serifed type -- but it's certainly the result of his line of thinking about showing the construction and how all type is rooted in handwriting. I don't really think it was a "thing" until the mid 90s, though.

Anselm has a toe in but is not fully committed to the brushy look.

Sorry to resurrect this thread, but I just remembered something when thinking about the comments made in this thread if Gerrit Noordzij is the father of the brushy style.

Check his typeface called Ruit. It isn't available for sale as far as I know, but there is a small sample in the book Dutch Type (check here) and it's also used throughout the book Jan van den Velde -- schrijfmeester 1569–1623 where it was officially presented.

I'm sure most of you have seen it, but I thought I'd add it to the thread anyway, since these kind of typefaces interest me alot.

Cooper Old Style, from the 1920s, pre-dates Dolly.

Here are some from the phototype era:
Caxton, by Les Usherwood, 1981, an update of his earlier Graphis.

A lot of Typsettra display work had a brushy quality:

Usherwood's master artwork was done with a brush, caps 5" tall.
But really, the sharp-serifed Flange was also inherently brushy, as the fine points demonstrated a quality of brushwork.

And to repeat James' post: Garth Graphic (not by Usherwood), 1979:

If you want the ultimate brushy, the original Peignot Auriol is it. I've seen it on some old French magazines, and when it was in context it was awesome. If it were cleaned up, and the disconnected parts connected, it would be a pretty sweet design for today even.

do it, Dan!

...and the disconnected parts connected...

Quel sacrilege!