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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Jenson Oldstyle was designed by J. W. Phinney of the Dickinson Type Foundry in 1893. Jenson is based on the ‘Golden Type’ designed by William Morris in 1890 for his private press editions under the imprint of the Kelmscott Press.

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William Caslon released his first typefaces in 1722. Caslon’s types were based on seventeenth-century Dutch old style designs, which were then used extensively in England. Because of their remarkable practicality, Caslon’s designs met with instant success. Caslon’s types became popular throughout Europe and the American colonies; printer Benjamin Franklin hardly used any other typeface.

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An Adobe Originals design, and Adobe’s first historical revival, Adobe Garamond is a digital interpretation of the roman types of Claude Garamond and the italic types of Robert Granjon.

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This family was inspired by the pure Jenson set of fonts used in Venice to print De preparatio evangelica in the year 1470. The present font contains all of the specific latin abbreviations and ligatures used in the original. Added are the accented characters and a few others not in use in this early period of printing, also small caps, these, contained in a separate file in the Mac TT version.

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A collection of over 70 pictograms featuring people doing all sorts of everyday things Signs for allowing or not allowing these activities are also included.

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It was the original work of fifteenth century designer Nicolas Jenson that formed the basis for this roman serif style developed by Ernst Detterer in 1923.

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In 1543 was published in Bâle (Switzerland) the well-known “De humani corporis fabrica” treatise on anatomy by André Vesale, printed by Johann Oporinus. A various types of faces were used for this work, mostly in Latin but including Greek characters. Its Jenson-type font was the one who inspired this font software. It is a very elegant one, including “long s”, a few abreviated characters and ligatures. As it was a Latin text, there were any accented characters and a few capitals were to be lacking. I had to reconstruct them.

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Phinney Jenson is a font with deep historical roots firmly planted in the fertile soil of the Italian Renaissance. Twenty years after Lorenzo Ghiberti finished his famous East Doors, the Gates of Paradise, of Santa Maria del Fiore in Florence and about fifteen years before Sandro Botticelli painted his Birth of Venus, a French printer by the name of Nicolas Jenson set up a small print shop in the powerful city-state of Venice. The fifteenth century marked the end of the plague and the rise of Venetian power, as the merchants of Venice controlled the lucrative trade of the eastern Mediterranean and sent their ships as far as London and even the Baltic. In 1470, Jenson introduced his Roman type with the printing of De Praeparatio Evangelica by Eusebuis. He continued to use his type for over 150 editions until he died in 1480.

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Named after the Florentine river which runs through the heart of the Italian Renaissance, Arno draws on the warmth and readability of early humanist typefaces of the 15th and 16th centuries.

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This typeface is based on the handwriting of Max Caflisch, one of the foremost graphic designers of this century. Caflisch, a teacher of graphic arts for more than three decades in Zurich, is author of several books on typography and designer of the 1952 Columna typeface. Caflisch’s handwriting has a free-flowing yet disciplined character, the result of years of practice and devotion to the calligraphic arts.

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Brioso Pro is a new typeface family designed in the calligraphic tradition of the Latin alphabet. Brioso displays the look of a finely-penned roman and italic script, retaining the immediacy of hand lettering while having the scope and functionality of a contemporary composition family. Brioso blends the humanity of written forms with the clarity of digital design, allowing designers to set pages of refined elegance.

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Prospero Pro is a brand new OpenType remake of Prospero, originally released by Tim Rolands in 1997.

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Lindsey Pro is a new handwriting style font with advanced OpenType features including alternative characters and ligatures.

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Pericles Pro is an attractive typeface for headlines and short passages of text which recall inscriptional lettering and playful, art deco design.

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At the height of the Roman Empire’s reign of power, a bunch of guys wearing baxas, olive branch headgear and lined saffron togas told a bunch of guys wearing carbatinas, no headgear and cheapo coarse togas to go and hammer the proud history of the Empire onto every worthy slab of rock, obelisk and wall out there. This resulted in countless rocky manifestations of ancient clipart, interesting stories and weird messages becoming national tourist attractions and museum dressing all over the world to this very day, which is some 2000 years later.

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P22 Music Pro is a unique font system that allows the user to compose music with text editing and page layout programs capable of OpenType features and contextual substitutions. The OpenType features speed up the composing process by adding chords, contextual accidentals (sharps and flats), contextual key signatures and time signatures. P22 Music Pro covers a wide range of symbols and notation used in traditional western music composition.

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The Treasury script waited over 130 years to be digitized, and the Canada Type crew is very proud to have done the honors. And then some. After seven months of meticulous work on some of the most fascinating letter forms ever made, we can easily say that Treasury is the most ambitious, educational and enjoyable type journey we've embarked upon, and we're certain you will be quite happy with the results.

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Barbara Lind and Joy Redick designed Adobe Wood Type Ornaments 1 and 2 in 1990 and 1991 for use with the Adobe Originals wood types.

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Apolline received a Morisawa Award in 1993 (Japan).

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Originally designed by Bruce Rogers for the Metropolitan Museum in 1914, Centaur was released by Monotype in 1929. Modeled on letters cut by the fifteenth-century printer Nicolas Jenson, Centaur has a beauty of line and proportion that has been widely acclaimed since its release. The italic type, originally named Arrighi, was designed by Frederic Warde in 1925. He modeled his letters on those of Ludovico degli Arrighi, a Renaissance scribe whose lettering work is among the finest of the chancery cursives. Arrighi was produced by Monotype as the companion for Centaur in 1929. Centaur is a beautiful typeface for books, and can be used effectively for shorter text as well. The Centaur Italic (Arrighi) Alternate offers a different design for the lowercase z and zcaron.

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Jimmy Crack Corn Pro is a lively yet sophisticated handwriting font designed by Ascender’s Jim Ford.

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Augustin is an elegant and legible typeface inspired by the classic letter forms of the renaissance, namely the type of Nicolas Jenson made in Venice in 1470.

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Aphrodite Pro is an amazing handmade font full of alternate and ligature forms designed by Sabrina Lopez and Maximiliano Sproviero.

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PF Champion Script Pro is the most advanced and powerful script ever made.

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The design of Beau Sans was inspired by Bernhard Gothic which is considered one of the first contemporary American sans serifs and was designed by Lucian Bernhard in the late 1920s.

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Back in 1936 the German Standards committee Deutsches Institut Normung (DIN) proposed DIN 1451 as the standard type of lettering for road signage. As the original manual states ‘the purpose of this standard is to lay down a style of lettering which is timeless and easily legible’.

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This revival of Harry is based on the original design by Marty Goldstein (and C.B. Smith).

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Royal, majestic, elegant. These letters are based on Roman and Greek characters carved on stone. They come in 3 different styles. Normal and Shaded are designed to have serifs with a finer thinning. On the other hand, Metallic is bolder and simulates in the most realistic way three-dimensional metallic lettering. There are some alternate characters placed at lowercase positions as well as a few stylistic alternates which are accessed through the OpenType features. Pay attention to letters like Greek Omega (lowercase position) and Greek Xi (lowercase position) as well as B, R, K (lowercase position). Monumenta Pro was recently upgraded to support Latin, Greek and Cyrillic.

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Long since replaced by computers, the mechanical lettering kits used by draftsmen and amateur sign makers served as the inspiration for the Bryant family of typefaces.

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This typeface incorporates round smooth corners and distinct design elements in several characters like ‘a, g, k, m’, without compromising legibility. In order to retain its sharpness, inner corners as well as junction points were left steep. This is a balanced typeface which works very well in long texts at small point sizes. Since its first release it has been used in numerous magazines, advertising campaigns and corporate applications. Handbook Pro comes loaded with a number of special features. The family consists of 14 fonts -from black to extra thin- including true italics. It supports 21 special OpenType features like small caps, fractions, ordinals, etc. and offers multilingual support for all European languages including Greek and Cyrillic. There is also a set of very interesting stylistic alternates which can be used to add a refreshing flair to your designs. Finally, every font in this family has been completed with 270 copyright-free symbols, some of which have been proposed by several international organizations for packaging, public areas, environment, transportation, computers, fabric care and urban life.

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"Always intrigued by Bodoni’s original work, I was set out—back in 2000—to examine his work and study Manuale Tipografico, one of the greatest specimen books ever printed. Issued in 1818 at Parma, Italy by Bodoni’s widow, the two-volume work shows an impressive array of 142 roman alphabets and some foreign ones such as Greek and Cyrillic.

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Centro Pro is the winner of the prestigious European Design Awards 2008 for original typeface.

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Designer Panos Vassiliou created Square Sans Pro in his quest for a true square-like text typeface which could balance simplicity with vitality and enhance with its subtle power the identity of any product or service, without compromising its characteristics as a text typeface.

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The design of Graublau Sans Pro took Georg Seifert over 5 years. With 7 weights and over 1000 glyphs per style, Graublau Sans is a type family that suits all typographic tasks. The regular styles have a rather clean and neutral appearance. The italics on the other hand, have a vivid design based on handwriting. For the use in headlines or logotypes Graublau Sans Pro offer 6 additional display styles with rounded corners and tighter spacing.

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This typeface is based on ISO 3098, a technical documentation issued in 1974 by ISO (International Organization for Standardization), which proposed a set of characters for use on technical drawings and associated documents. Isotext is based on the original standards but is completely redesigned to fit typographic requirements. This new ‘Pro’ version is further improved and now comes with a complete set of redesigned true-italics. Furthermore, the width of the glyphs has increased in order to establish a more balanced and readable text. The result is a contemporary font which works well in small sentences as well as long texts. Isotext Pro is loaded with all the good stuff a designer needs to create documents with attitude. It supports 19 special OpenType features like small caps, fractions, ordinals, etc. and offers multilingual support for all European languages including Greek and Cyrillic. Finally, every font in this family has been completed with 270 copyright-free symbols, some of which have been proposed by several international organizations for packaging, public areas, environment, transportation, computers, fabric care and urban life.

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Colo Pro is a custom font which is applicable for any type of graphic design - web, print, motion graphics etc and perfect for t-shirts and other items.

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While Din Display seems to retain DIN’s basic characteristics, it shines with its sharper corners and contemporary look. Completed in 2002, it was first released and published in Parachute’s award-winning 2003 catalog and immediately was a hit.

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Montauk Pro is named after a small village in Suffolk County, New York on the South Shore of Long Island. It is the easternmost area in Long Island, and thus the easternmost area in New York State. It is home to Montauk Point State Park, site of the Montauk Point Lighthouse. It is named after the Montauk Indians.

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Constellation started with a simple geometric concept in the manner of Art Deco which gradually developed to a complete typeface, both upright and italic, total of seven weights. The concept allowed the font to be designed from Ultra Light in both very light and quite black styles.

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Satisfaction Pro is the vastly expanded and improved version of the popular font Satisfaction, inspired by cigarette ads from the 1930s.

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These fonts just ooze Christmas and holiday spirit from every curve of every letter! If Kingthings Willowless Pro is a Christmas font, well... then Kingthings Willow Pro is a Christmas tree complete with decorations and lights!

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Originally released in 1987, Charter incorporates three important features: compact set width to give economical copyfit; generous x-height to give readability at small point sizes; and sturdy open letterforms to give reliable reproduction at both typesetter and laser printer resolutions. The design brings a clarity and freshness to everyday documents, such as newsletters, textbooks, directories and technical manuals, where the reader’s concentration must not be interrupted by unfamiliar letterforms but where typographic dullness can itself impair comprehension. The Italic has cursive letterforms - so is instantly distinguishable, while being readable enough in its own right for continuous text.

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CamingoDos Pro Condensed was designed to achieve a more powerful impact for the use in headlines. The compact appearance and the tight letter spacing makes it an ideal solution for display settings on a limited space.

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Centro Pro is the winner of the prestigious European Design Awards 2008 for original typeface.

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Stickley Text Pro is classic in its roots, pulling from Humanist and Oldstyle history, yet contemporary in its execution. It is quiet in its presentation and meant to allow clarity and legibility while adding its own character. It is intended to be used at text sizes in book settings, but is also suitable for a variety of design purposes.

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This typeface was inspired by the rough surroundings of a modern city and reflects the contradicting nature of an emerging global youth culture.

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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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I have completely redone the spacing in this font, making the sidebearings more conventional. And after replacing the kerning with fresh pairs working together with the new spacing the font looks like a real gem. I love it!

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The new typeface family Vida was specifically designed for Czech Television in the framework of a competition for a new logo in summer 2006.

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Sun-tanned, smooth, and fluid. Suave Script is based on disconnected calligraphy originating from a how-to lettering book from the 1950s.

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Back in 1936 the German Standards committee Deutsches Institut Normung (DIN) proposed DIN 1451 as the standard type of lettering for road signage. As the original manual states ‘the purpose of this standard is to lay down a style of lettering which is timeless and easily legible’.

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Informa is a comprehensive sans serif text family based on traditional lettering in contrast, proportion, rhythm and stroke. In particular its proportions were based on a 1978 award-winning flare-serif film type called Signa, by Swiss design trio Team 77.

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PrivaPro is available in four styles with italics.

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This is a contemporary typeface which may function as the perfect alternative to several overused classic sans. Encore Sans Pro does not pretend being different but it does claim its own personality. It is simple and stylish. Encore Sans Pro is a humanistic sans serif which projects an image of reliability, authority and competence making it ideal for corporate applications. A functional typeface which combines utility with style. It’s subtle round characteristics such as the slightly curved-in edges, create a distinctly contemporary look, blending effectively traditional with modern details.

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Fertigo Pro Script. Fine connected type with a lyrical calligraphic touch.

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First designed in 2005, the award winning Andrade goes OpenType.

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Enjoy Fertigo Pro. The font nobody was waiting for.

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The only typeface in the world that looks like nice, ordinary, fully cursive handwriting. Or neon.

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PF Libera was designed at a time of leisure with no particular intention for commercial use. In fact it was offered in the beginning as a freeware.

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Camingo Pro is a highly legible, modern sans serif typeface. Although provided with tight shapes an elliptic roundings it has a humanistic character. The subtle contrast gives the typeface a robust appearance. Designed for the needs of editorial and corporate design Camingo is not only suited for large texts in small sizes, also it has the presence for powerful headlines.

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This is not just a typeface inspired by a kid’s first attempts to write. This is in fact how exactly a kid writes. Alexandros Papalexis was born again kid when he became a father. This series came about while designing his daughter’s birthday invitations. Since its first release, it has been constantly on our most wanted list. You step into a supermarket, a bookstore or a clothing store and you see tens of products using this typeface. Anything from baby products, food, clothing, children’s books and magazines, print and TV campaigns, you name it. But don't just stick to the name. Every single weight serves the right purpose. This is why this typeface has also been used extensively for grown-up market. Recently, it was upgraded to include Latin, Greek and Cyrillic. Furthermore, the accompanied series of pictograms was completed and loaded with 125 western and eastern European pieces.

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profonts Sonata and profonts Concerto are closely related to each other. In fact, the only difference between the two related fonts is in the upper case characters. profonts Concerto’s upper cases are more complex, swashier than those in profonts Sonata. One is a perfect complement to the other, and that is why they are offered together at special rate.

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You gotta love this extreme take on the “gothic” blackletter traditions!

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The Geometry Pro family has been designed to be the final word in purely geometric fonts, and this rounded “Soft” sub-family is the ultimate web 2.0 style font collection.

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Adagio Pro… sounds like music, elegance and classic quality. That’s exactly how Adagio Pro carries the message to the reader. Adagio Pro is a rather formal script with very beautiful, generous and swashy upper case that were redesigned, digitized, completed and expanded as OpenType in the profonts type studio.

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The talented Ronna Penner has created many beautiful script fonts, and Black Jack’s quality was very good so only a few spacing issues had to be adressed. I've added some kerning pairs, and then added all the glyphs needed for the CheapProFonts language coverage. This font was an absolute joy to rework, and with its extended character set I hope it now finds many more users!

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A classical proportioned text font - with a Celtic twist! Perfect for that oldstyle look, but still very readable.

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Symphony Pro… sounds like music, elegance and classic quality. That’s exactly how Symphony Pro carries the message to the reader. Symphony Pro is a rather formal script with very beautiful, generous and swashy upper case that was redesigned, digitized, completed and expanded as OpenType in the profonts type studio.

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The multi award winning ESTA is back, renewed and improved in OpenType format.

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Alice in Wonderland. Innocent, emotional, almost childish, looks like it just came out of a fairy tale. The long stems, quirky serifs and loose characters, as well its youthful energy, establish an emotional attachment to this typeface. So perfect for children’s books. Designer Dimitris Foussekis completed this font with a matching series of 62 pictograms the so-called ‘Wonderbats’. Now, the brand new ‘Pro’ version has been expanded to include all European languages by supporting simultaneously Latin, Greek and Cyrillic scripts.

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Typonine Stencil is a high contrast serif typeface. It is made for display use. Available in Regular, Medium and Bold weights; with matching Condensed versions.

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This cool techno font is easily recognizable with its quite unique stroke endings. I have increased the ascenders and descenders slightly (so they would work better with the new diacritic letters) and introduced a few alternate letterforms in addition to generally expanding the character set.
A totally enjoyable reworking of an original design.

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For these fonts I have reworked the spacing a bit, and completely redesigned the “N” as they were calligraphically very wrong.

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I loved the look of this font so much that I couldn't resist reworking it - although it probably had the most basic character set I've ever used as a starting point. But here it is in its complete, professional, multilingual state. I hope this wonderful swashbuckling font now finds many new users and uses. Celebrate!

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A squarish uppercase font perfect for logos and short eye-catching headings. The lowercase contains some alternate letterforms - more specifically: uppercase have closed forms (I made a new A D and R), and lowercase have some open alternatives (new B E F P and T in addition to the A D and R). I noticed the two width version of the H and made similar normal and wide versions of J and L. And then I added lots of missing glyphs and all the diacritic letters, of course. Enjoy!

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A bold and beautiful handwriting - perfect for setting personal and meaningful messages. Some glyph shapes and stroke thicknesses has been normalized (to make the text more even), and I have added some kerning - not too much though, I wanted to keep the liveliness of it.

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A range of retro initials mimicking the keys of an old style typewriter. Expanded from just a basic ASCII character set to our usual large CheapProFonts selection of glyphs. (I'm not sure all of them appears in the beginning of words, though.

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What started out as my thesis project is now a complete sans serif typeface family in 14 styles.

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A stylish retro script where I have completely redone the spacing to make the text look more even. All of the diacritics have been redone, too - and the character set expanded in our usual fashion. So now this little gem from Nick Curtis is ready for the big time!

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A classic “wild west” or circus type font - perfect for oldstyle posters and anything needing an antiquated look. I have switched a few letters around, and made the uppercase M narrower - and then kerned it and expanded the character set. “Howdy pardiner!”

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Another very squarish and futuristic font from Brian Kent. This time I've kept the very thin style of the diacritics, but I have redesigned the A and H (and a couple of other letters and glyphs ;) - mostly to give them a little more “meat”. And then added the usual plethora of accented letters for our unique language support, of course. Result!

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A completely square typeface. And wide. It is all futuristic and fast.

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Charles Gibbons' Fleischman BT Pro revives J.M. Fleischman's quirky and elegant text faces of the 1730s. Born in Germany, Fleischman worked in Holland, primarily at Enschedé en Zonen where he cut dozens of faces. His types represent some of the earliest examples of the Transitional style, predating and influencing the work of Fournier, Baskerville, and Bodoni. They were wildly popular in their day, used for everything from newspapers to currency, and Fleischman himself has enjoyed a renaissance of late.

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I noticed this font for its versatile techno look - it makes wonderful logotype word images.

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I have improved and added diacritics to this elegant alphabet, and generally cleaned it up to a professional standard. It is well suited to logos, menus, invitations and other things wanting a touch of elegance.

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A new font in the style of a dot matrix/needle-printer.

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A funny and quirky handwritten script - with an original “monoheight” letter design.

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I have made this font properly monospaced (all characters are the same width) as that is how an old typewriter worked. In addition to correcting and expanding the character set, of course.

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