Bookman, a little lighter than the original, is the ATF version of Phemister’s Antique Old Style, introduced as a textface at the turn of the century.

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New Telegraph is designed for daily use on any good occasion. This typeface keeps a fine legibility even in small sizes.

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Theodore Low DeVinne, publisher of Century Magazine, commissioned Linn Boyd Benton to design a new typeface for the magazine. The result, in 1894, was a roman type called Century Roman; a large x-height gave Century Roman the appearance of being condensed. Benton’s son, Morris Fuller Benton, redrew Century Roman for American Type Founders in 1900 so it would meet the standards of the Typographical Union. Benton’s Century Expanded is only slightly wider, but was advertised by DeVinne as allowing for an expansion in the number of characters that could fit in a line, “the expansion is upward, enabling one to get much matter in a small space.” Century Expanded is useful for text settings of magazines, books, newsletters, and brochures.

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A creative variation of the Oldstyle form designed by E. Pechey for Stephenson Blake early in the twentieth century.

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Mahalia draws inspiration from vintage hand-lettering, but adds a modern, European twist.

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Shortly after the preparation of the original Century, the two Bentons (father Linn Boyd and son Morris Fuller) prepared a wider version for De Vinne’s press and called it Century Broadface. In 1900 ATF released the design for general use as Century Expanded, one of the most popular and effective of typefaces, to this day the text face of the New York Daily News.

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URW Grotesk was designed exclusively for URW by Prof. Hermann Zapf in 1985. At the same time, Zapf designed URW Antiqua to go with URW Grotesk. At that time, we were working with a large German publishing house (Axel Springer) on type design solutions to replace certain of their newspaper fonts. Test pages of large German newspapers (e.g. Bildzeitung) were printed with URW Grotesk and URW Antiqua font families. For reasons not disclosed to us, the project was dropped and Springer never used URW Grotesk and URW Antiqua for that purpose.

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Copacabana is heavily based on one of my favourite typefaces Goudy Old Style Italic. It is sharper and more clearly defined than Goudy yet still retains it old style characteristics. The face is slightly angled so is basically upright whilst still retaining Italic characteristics.

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Based on the popular VGC typeface from the early 70s.

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Dederon Serif has been specifically designed for book setting. Preliminary sketches were drawn in 2004. Its inspiration – particularly its weight and width proportions – can be traced to the Liberta typeface from the TypoArt type foundry in former Eastern Germany. After a careful study of the model, the design of Dederon branched off into its own direction, finding its distinctive voice and becoming a wholly original type family. Dederon Serif kept most of the elements typical for the Old Style Roman lettering, such as the angle of the stress, the medium x-height, and lower contrast. In large sizes, the typical shapes of the letters stand out – the calligraphic feel characteristic for the Czech typefaces by Oldrich Menhart, the unusual serifs hinting at the angle of the pen, the shapes of the stems, or the terminals of dots and ears.

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Based on Hispalis from the Spanish foundry, Nacional.

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Tribute is a new typeface by German type designer Frank Heine. This is Heine’s fourth release with Emigre Fonts. Remedy, released in 1991, was a major commercial success. It’s curlicue, free-style, comic appearance, provided a perfect counter to Emigre’s then primarily modular type designs. Dalliance, a classic roman and script combo based on handwriting from a photocopy of a 1799 battle map, was released in 2002 and became an instant classic.

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Digitally engineered by Steve Jackaman. The x-heights are radically different; the x-height on the light version is small, and gets larger as the weights progress.

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Based on a font design called Eldorado, we had to change the name because Linotype has a disimilar typeface of the same name!

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Designed by Les Usherwood. Digitally engineered by Steve Jackaman. A few weights were originally released by another foundry; but this complete version of the family is a better match to Les’ original drawings!

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In searching for a Roman to use there were bits of Bembo,Times,Garamond etc., that I liked and bits that I did not. So I set out to take the best bits of all my favorite Romans and tried to create the ultimate Roman typeface.

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Based on the original Stephenson Blake drawings.

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An original new design with angled serifs.

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Designed by Les Usherwood. Digitally engineered by Steve Jackaman.

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Designed by M. Fahrenwaldt for the Schriftguss foundry in 1929, Minister is a contemporary design based on Garalde types.

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Designed by Francesco Simoncini and W. Bilz, this design follows Times New Roman in structure, but differs in some details. Unlike Times New Roman, the boldface is a weighted version of the roman.

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The French interest in the revival of suitably edited Oldstyle romans as an alternative to a world of Modern typefaces started in 1846 when Louis Perrin cut the Lyons capitals.

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Based on the Robert Wiebking design for either Western or BB&S, circa 1918.

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Dutch Mediaeval is a text family based on Hollandse Mediaeval, the 1912 Sjoerd Hendrik deRoos classic, arguably the most popular Dutch text face of the 20th century. Over the years, many typographers and pressmen have gushed loving words about this typeface in metal, and now it comes to digital life in wonderful and expert style.

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Life was designed by W. Bilz, and jointly developed by Ludwig & Mayer and Francesco Simoncini in 1965.

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Based on Nacional by Carlos Winkow from the Spanish foundry, Nacional, circa 1941.

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This typeface is named after Sarah Eaves, the woman who became John Baskerville’s wife. As Baskerville was setting up his printing and type business, Mrs. Eaves moved in with him as a live-in housekeeper, eventually becoming his wife after the death of her first husband, Mr. Eaves. Like the widows of Caslon, Bodoni, and the daughters of Fournier, Sarah similarly completed the printing of the unfinished volumes that John Baskerville left upon his death.

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Although originally conceived as a magazine face – with strong serifs and open character shapes for good legibility in small sizes, and compact letter forms optimized for narrow columns and tight headlines – Marat evolved into a comprehensive family for general use.

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Mokka is a robust and crisp typeface with strong serifs and individual forms.

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In 1931 Monotype made this facsimile of the typeface cut originally for John Bell by Richard Austin in 1788, using as a basis the matrices in the possession of Stephenson Blake & Co. Used in Bell’s newspaper, “The Oracle,” it was regarded by Stanley Morison as the first English Modern face. Although inspired by French punchcutters of the time, with a vertical stress and fine hairlines, the face is less severe than the French models and is now classified as Transitional. Essentially a text face, Bell can be used for books, magazines, long articles etc.

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Scentogram is a deco font inspired by some 1950-60 ads.

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Hermann Zapf designed Aldus for the Stempel foundry in 1954 as a companion to his Palatino typefaces. Originally designed as a display typeface, Palatino gained popularity as a text typeface as well. Believing Palatino to be too bold for settings at small point sizes, Zapf designed the lighter weight Aldus to better suit text settings.

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Rudolf Weiss designed this typeface in 1926 for the Bauer foundry of Frankfurt. Weiss is based on typefaces from the Italian Renaissance, and is one of the earliest contemporary serif types to have italics based on the chancery style of writing.

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This typeface is named after Sarah Eaves, the woman who became John Baskerville’s wife. As Baskerville was setting up his printing and type business, Mrs. Eaves moved in with him as a live-in housekeeper, eventually becoming his wife after the death of her first husband, Mr. Eaves. Like the widows of Caslon, Bodoni, and the daughters of Fournier, Sarah similarly completed the printing of the unfinished volumes that John Baskerville left upon his death.

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These 3 weights were developed as the corporate typefaces for a design company in 1997. The starting point was the word ‘accent’ in lower case. It is essentially a sans typeface with the thick/thin contrast of a serif and is the only family in the G-Type collection that was designed for a client.

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Houschka has the humanist qualities reminiscent of Gill and Johnston but is quite unique. It is more monolinear with rounded corners giving it a softer appearance, and has a few interesting character quirks like the capitals A, G, Q, W and lower case u and w.

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In Cooke’s ongoing quest for simplicity and elegance he developed this striking alternative sans family.

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Berling was created by Karl-Erik Forsberg for the Berling foundry in 1951, with other weights added in 1958. The design is an old style roman, particularly useful for books, journals, and other text applications. Although it has higher contrast than most old style typefaces, Berling has the classic features of old style romans with its diminutive x-height, and ascenders that exceed the height of the capital letters. Berling is good for text settings as well as display work.

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An attempt to go back towards the beauty of fine book printing, inspired in Britain’s literary classics.

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Scotch Modern is a revival of the typeface used in the book New York State Cabinet of Natural History.

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This family was inspired mainly (Normal and Italic style ) by a Didot pattern font used in Rennes (France, Britanny) by Cousin-Danelle, printers, for Antiquités historiques et monumentales ‡ visiter de Montfort ‡ Corseul, par Dinan... Saint Malo... etc. an historic guidebook for journey through a part of (French) Britanny 1820, and many other books.

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From M.F. Benton 1917 and DTP types Limited 1992.

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In 1924 Morris Fuller Benton designed for ATF a new variation on his father’s design, Century Oldstyle. Century Schoolbook has become a synonym for readability.

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The typeface was designed at the Polygraphmash type design bureau in 1949-61 (project manager Elena Tsaregorodtseva).

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Adobe Jenson Pro captures the essence of Nicolas Jenson’s roman and Ludovico degli Arrighi’s italic typeface designs. The combined strength and beauty of these two icons of Renaissance type result in an elegant typeface suited to a broad spectrum of applications.

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In 1955 the Czech State Department of Culture, which was then in charge of all the publishing houses, organised a competition amongst printing houses and generally all book businesses for the design a newspaper typeface. The motivation for this contest was obvious: the situation in the printing presses was appalling, with very little quality fonts existing and financial resources being too scarce to permit the purchase of type abroad. The conditions to be met by the typeface were strictly defined, and far more constrained than the ones applied to regular typefaces designed for typesetting books. A number of parameters needed to be considered, including the pressure of the printing presses and the quality of the thin newspaper ink that would have smothered any delicate strokes.

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Benicia is serif typeface. It reflects my ongoing fascination with the Golden Type/ATF Jenson design genre of the late 19th and early 20th centuries. Designed for display, it also works well at small sizes. It is named after a historic town in northern California.

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Alizé is a three-weight typeface inspired by the chancery italic of the 16th century. It is a high-contrast face, created with syncopations in axes and proportions and subtle irregularities that form a lively and delicate weave, suitable for setting a single word, a special expression, or a short block of prose.

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Calluna was born more or less by accident.

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Although originally conceived as a magazine face – with strong serifs and open character shapes for good legibility in small sizes, and compact letter forms optimized for narrow columns and tight headlines – Marat evolved into a comprehensive family for general use.

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Berthold Wolpe designed Albertus, his second typeface, for Monotype between 1932 and 1940. Albertus was first available only as a titling font, until 1940, when the lowercase was added. Modeled on letters that Wolpe chiseled out of bronze, the sharp serifs are formed by a simple widening of the stems.

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