The Samaritan script has a distinctive look that comes from how it is made. It is written with a reed, and the reed is held so that the strokes are weighted along the top of the line, with lighter strokes hanging below. The result is angular and strongly horizontal: a block of Samaritan text has an almost continuous upper edge, and the letters read as a row of forms suspended from it rather than as shapes sitting on a baseline. Nothing joins. Every letter is drawn separately and finished before the next one is begun.
There is a formal book hand, used for scrolls and liturgical manuscripts, and there are less formal hands used for letters, notes and inscriptions, but the gap between them is narrower than in the scripts that developed a true cursive. Because the letters do not connect, speed changes the weight and the finish of a stroke rather than the structure of the letter, so an informal Samaritan hand stays legible against the formal one in a way an Arabic or a Latin cursive does not.
Printing and then digital type arrived late for this script and had to abstract a set of shapes out of a handwritten tradition that varied. Modern Samaritan fonts, and the alphabet charts taught in the community, are that abstraction. They are faithful, and they are not the whole of it: a manuscript page carries variation that a typeface flattens, which is a reason to look at the manuscripts rather than at the chart if the question is what the script actually looks like.