Although inspired by the need for, and providing, clarity at low resolutions on the screen, Georgia is a typeface resonant with typographic personality.

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In 1931, The Times of London commissioned the Monotype Corporation, under the direction of Stanley Morison, to design a newspaper typeface.

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

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Until recently the story of this type face ended with mediocre digital versions, which did not get at the root of its inspiration. Our pursuit of this paramount body type face of the 20th century began in Nové Hrady Castle, the place where a part of the depository of old prints of the National Museum Library is kept, in the summer of 1999.

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In 1941, Chauncey H. Griffith supervised the redrawing of Corona to improve its utility as a newspaper typeface; one of the five typefaces in Griffith’s Legibility Group, Corona was designed to meet the rigorous requirements of high-speed printing. Corona is still the chosen type of many American daily newspapers. Its narrow widths and large x-height make it a typeface that meets the requirements of demanding jobs such as datasheets and newsletters.

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A redesign of Torino, a great feel with many possible uses. Also has a matching Italic version.

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Times Ten is the ten-point design of Times Roman (Times Roman is the Linotype version of Monotype’s Times New Roman).

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In 1931, The Times of London commissioned the Monotype Corporation, under the direction of Stanley Morison, to design a newspaper typeface. According to Morison: “The Times, as a newspaper in a class by itself, needed not a general trade type, however good, but a face whose strength of line, firmness of contour, and economy of space fulfilled the specific editorial needs of The Times.” Times New Roman, drawn by Victor Lardent and initially released in 1932, is the result.

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I started designing Cultura in 2003 for a book about the city of Oporto, Portugal. It was supposed to be a typeface only to use in that book and only in Regular and Italic, but after a large amount of requests I decided to expand the family, creating SmallCaps and Bold versions with some ligatures for better text possibilities.

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Typographer and graphic designer Pavel Teimer (1935-1970) designed a modern serif roman with italics in 1967. For the drawing of Teimer he found inspiration in the types of Walbaum and Didot, rather than Bodoni. He re-evaluated these archetypes in an individual way, adjusting both height and width proportions and modifying details in the strokes, thus effectively breaking away from the historical models he used as a starting point. Teimer’s antiqua has less contrast; the overall construction of the characters is softer and more lively. The proportions of the italics are rather wide, making them stand out by their calm and measured rhythm. This was defined by the purpose of the typeface, as it was to be utilised for two-character matrices. The long serifs are a typical feature noticeable throughout the complete family of fonts. In 1967, a full set of basic glyphs, numerals and diacritics of Teimer’s antiqua was submitted to the Czechoslovak Grafotechna type foundry. However, the face was never cast.
At the beginning of 2005 we decided to rehabilitate this hidden gem of Czech typography. We used the booklet "Teimer’s antiqua - a design of modern type roman and italics", written by Jan Solpera and Kl‡ra Kv’zov‡ in 1992, as a template for digitisation. The specimen contains an elementary set of roman and italics, including numerals and ampersands. After studying the specimen, we decided to make certain adjustments to the construction of the character shapes. We slightly corrected the proportions of the typeface, cut and broadened the serifs, and slightly strengthened the hair strokes. In the upper case we made some significant changes in the end serifs of round strokes in C, G and S, and the J was redrawn from the scratch. The top diagonal arm of the K was made to connect with the vertical stem, while the tail of Q has received a more expressive tail. The stronger hairlines are yet more apparent in the lower case, which is why we needed to further intervene in the construction of the actual character shapes. The drawing of the f is new, with more tension at the top of the character, and the overall shape of the g is better balanced. We also added an ear to the j, and curves in the r have become more fluent.
To emphasise the compact character of the family, the lining numerals were thoroughly redrawn, with the finials being replaced by vertical serifs. The original character of the numerals was preserved in the new set of old-style figures.

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LaBodoni is my newly designed Bodoni.

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Trebuchet, designed by Vincent Connare in 1996, is a humanist sans serif designed for easy screen readability. Trebuchet takes its inspiration from the sans serifs of the 1930s which had large x heights and round features intended to promote readability on signs.

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Phil Martin, creator of over 400 typefaces from the late '60s through the '80s, designed Grad as a redesign of the classic Century Schoolboook for his personal use in the early '90s.

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While playing with the styles of the 19th century, I decided to try a legible, serifed font. It never became the font I wanted it to become--it was too stiff and awkward, which should not have surprised me given my starting point. If you need that stiff and awkward look, here it is.

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Designed by Konrad F. Bauer and Walter Baum, Impressum was released by the Bauer foundry in 1962.

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Where Modern is too fragile and Century too boring, Hercules comes with its elegant forms and, at the same time, with sufficient firmness to be usable for longer texts. In its heavy, bold designs it approaches Falstaff, while in the light ones it has some features which are taken over from Didot or from Modern. The text designs have been corrected for small sizes. The range of its use is, therefore, quite extensive - from dictionaries and technical literature through magazines to art posters and advertising materials.

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

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The Verdana fonts were created specifically to address the challenges of on-screen display.

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William A. Dwiggins designed Caledonia for Linotype in 1939. Initially, he had intended to blend the elements of Scotch Roman and Bulmer typefaces, but ended up with a design that bettered both his models. Dwiggins describes it as having “something of that simple, hard-working, feet-on-the-ground quality that has kept Scotch Roman in service for so many years.”

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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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Seen through the eyes of type designer Xavier Dupré, Zingha “balances French rhythm with American style.”

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Malena is a typographic family created by Lentino and Muhafara like a shared working project which integrates both views on typography as a whole.

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Lineare Serif is an attempt at the hard job of text type, seeking new ways that will provide readers with some pleasure and some rest while they walk along each line, creating a space where there is harmony between the printed form and man.

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Released in 2000 by Berthold, Whittingham is a new Berthold Exklusiv typeface designed by Günter Gerhard Lange, renowned master craftsman and exclusive artistic consultant to Berthold, and his colleague Dieter Hofrichter, also a Berthold Exklusiv designer (Vergil).

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This new OpenType pro family has four members so far with 588 characters and glyphs each.

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Adriane Text was designed between 2006 and 2007 with additional production completed by Silas Dilworth for this 2008 release [v1.002]. Focusing on text composition and unique typographic characteristics, details within the characters provide both personality and excellent legibility at small sizes. With a medium contrast, a predominately vertical axis, and a generous x-height, it can be classified as a transitional typeface.

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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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This design is based on custom design work by DTP Types Limited in 1990 with associated Small Capitals and Old Style Figures.

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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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Diaconia Old Style is a new rendition of my workhorse body copy font that I originally designed to use for the body copy of “Printing in a Digital World.” I became increasingly upset with the lack of lowercase numbers and true small caps. Diaconia started life as a modification of one of the Dutch Bible fonts I traced. It has changed a lot since then (although I have a hard time telling how much because I have lost the original). The plain and italic work especially well when used in very large sizes as display faces. The other four variants (small caps, heavy, heavy italic, and black) are designed for use in book production. Because I format all my own books, I was able to design fonts that met my needs exactly: lowercase numbers, SMALL CAPS font, Mac Command, Option, and Control symbols, ballot box in the section slot, and several other special characters.

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Although designed by the Hungarian Nicholas Kis in about 1690, the model for Janson Text was mistakenly attributed to the Dutch printer Anton Janson. Kis’ original matrices were found in Germany and acquired by the Stempel foundry in 1919.

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See also BF Fiona Script and BF Fiona Slab.

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The Bitstream version of Linotype Janson.

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Apollo was designed in 1964 by Adrian Frutiger for the Monotype Corporation and was the first typeface created specifically for the new Monophoto technology. Originally designed for printing on smooth papers by photolithography, Apollo displays an overall lightness that is useful for shorter text settings.

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Another version of the Century family was produced when Ginn & Company, a textbook publisher, commissioned American Type Founders to design a typeface with maximum legibility. Morris Benton researched the subjects of eyesight and legibility, then created Century Schoolbook, which was released between 1918 and 1921. Century Schoolbook is still seen in elementary school texts, and can be used for text work where legibility is a primary consideration.

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Dolly, a book typeface with flourishes.

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Designed by Vincent Connare, this is a face based on the lettering from comic magazines.

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SCR fonts are screen optimized (also called ‘pixel fonts’). Unlike standard fonts (and like the few well-hinted fonts like Verdana or Arial), they give a crisp look on screen at very small sizes, thus increasing legibility. The perfect applications for those fonts are web pages and software user interfaces (computer, cellular phones, console games and any other system that uses a screen interface).

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Karmina is a text typeface developed mainly for pocket books and budget editions. It was built to withstand the worst printing conditions: low quality papers, high printing speed with web presses and variations in the ink level of the printing press.

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Chamber, the font, was specifically designed to project an air of authority but is always friendly and never overbearing.

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The Ingeborg family was designed with the intent of producing a readable modern face. Its roots might well be historic, but its approach is very contemporary.

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ITC Esprit was designed by calligrapher and type designer Jovica Veljovic for the International Typeface Corporation in 1985. ITC Esprit is an innovative blend of classical Roman proportions and calligraphic flair.

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This revival of the Bruce Foundry’s No. 11 is typical of the nineteenth century types derived from the work of Didot and Bodoni; the face remains popular with lawyers and government printers. In fact, Theodore Low De Vinne opposed this kind of design as hard to print and read; he had Century designed to replace it.

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The engraver Jean Jannon ranks among the significant representatives of French typography of the first half of the 17th century. He was born in 1580, apparently in Switzerland. He trained as punch-cutter in Paris. From 1610 he worked in the printing office of the Calvinist Academy in Sedan, where he was awarded the title "Imprimeur de son Excellence et de l'Academie Sédanoise". He began working on his own alphabet in 1615, so that he would not have to order type for his printing office from Paris, Holland and Germany, which at that time was rather difficult.

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Pradell is a Latin text family based on original Spanish 18th century type specimens. More exactly on those type specimens showing the types cut by Catalan punchcutter Eudald Pradell (1721-1788).

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Trump Mediäval was designed by Georg Trump for the Weber foundry and released between 1954 and 1960. A student of F.H. Ernst Schneidler, Trump was a prolific type designer who considered himself first and foremost a teacher of the graphic and lettering arts.

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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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In 1975, under license from American Type Founders, International Typeface Corporation commissioned Tony Stan to redraw and extend the Century family. In updating Morris Fuller Benton’s design, Stan tightened the letterspacing and increased the x-height. The full ITC Century family consists of four weights and matching italics, plus the eight corresponding condensed faces.

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Miller, designed by Matthew Carter, is a “Scotch Roman”, a class of sturdy, general purpose types of Scottish origin, widely used in the US in the 19th century, but neglected since and overdue for revival.

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Apolline received a Morisawa Award in 1993 (Japan).

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ALS Mirta is a clean text type well-suited for use in typesetting of smart volumes and kids’ books.

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

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Instead of seeking inspiration in the past, Fedra Serif is a synthetic typeface where aesthetic and technological decisions are linked. Fedra combines seemingly contradictory ways of constructing characters into one harmonious font. Its humanistic roots (the rhythm of the handwriting) is balanced with rational drawing (a coarse computer-screen grid).

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Instead of seeking inspiration in the past, Fedra Serif is a synthetic typeface where aesthetic and technological decisions are linked. Fedra combines seemingly contradictory ways of constructing characters into one harmonious font. Its humanistic roots (the rhythm of the handwriting) is balanced with rational drawing (a coarse computer-screen grid).

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While Adelle is a slab serif typeface conceived specifically for intensive editorial use, mainly in newspapers and magazines, its personality and flexibility make it a real multiple-purpose typeface.

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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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Andrade is a new typeface designed by Dino dos Santos in 2005.

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I wanted to capture a sense of California with this font - generous, warm, open, bold and sunny - all this imagery is captured in Santa Cruz. It is the quintessential California beach town like the world-famous Boardwalk with everything from the Giant Dipper roller coaster to cotton candy, corn dogs on a stick and chocolate-coated bananas. In fact, the Santa Cruz Boardwalk is the West Coast’s last remaining seaside amusement park. It has miles of sandy beaches, giant redwood forests and great wineries.

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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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Punchcutters (when types had to be cut, and not just drawn), were working with steel, a strong metal they had to sculpt. They were subject to physical contingencies: each type cast was engraved separatly and, as we move down into the smaller type sizes, the drawing was adapted to new specific data encountered — fine hairlines—hence fragile—need to be reinforced, the curves simplified and the width spacing slightly increased to prevent the ink from clogging up the composition. So, each body size had its own drawing, mostly given by merely physical limits relating to the dexterity and eyesight of the punchcutter… and of the reader, too.

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Matrix II is a complete reworking of the original Matrix type family which was designed by Zuzana Licko in 1985.

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Edita is a gentle typeface, humanistic in concept yet with a contemporary feel, where softness and fluidity play a very important role.

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