Frederic Goudy designed Hadriano in 1918 as an all-capital titling face; it has since undergone numerous transformations. Goudy, who didn’t begin designing type until he was past 45 years old, was one of America’s most prolific type designers as well as an outspoken commentator on modern design philosophy. Goudy’s inspiration for Hadriano came from classical carved lettering that he saw in the Louvre, where he took rubbings of the letters E, P and R. He left the three letters unaltered and developed the rest of the alphabet around them.

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Some of the most popular typefaces in history are those based on the types of the sixteenth-century printer, publisher, and type designer Claude Garamond, whose sixteenth-century types were modeled on those of Venetian printers from the end of the previous century.

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Based on the S. H. de Roos design, Amsterdam Foundry circa 1923.

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Bitstream Charter, was designed in the mid-1980s by Matthew Carter. The typeface was designed with the limitations of low- and middle-resolution output devices in mind; hence the squared off serifs and lack of excessive diagonals and curves. The design, however, became an instant success on its own merits. It is an excellent everyday typeface for a wide variety of uses including books and technical manuals. Charter offers small cap, extension and alternate typographer sets that help to make it more versatile and functional.

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Leitura News is part of Leitura Type System and was specially designed for editorial purposes.

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John Baskerville spared no effort to create the ultimate typographic book. He prepared deep black inks and smoothed paper to show to full effect the letters that he had John Handy cut from his own brilliant designs, based on a lifetime of calligraphy and stonecutting. Punches and matrices survive at the Cambridge University Press.

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

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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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Joanna was designed by Eric Gill in 1930, based on type originally cut by Granjon, and released by the Monotype Corporation in 1937.

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Calluna was born more or less by accident.

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A descendant of the types of Claude Garamond, Sabon was designed by Jan Tschichold in 1964 and jointly released by Stempel, Linotype, and Monotype foundries. The roman design is based on a Garamond specimen printed by Konrad F. Berner, who was married to the widow of another printer, Jacques Sabon. The italic design is based on types by Robert Granjon, a contemporary of Garamond’s.

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Dolly, a book typeface with flourishes.

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Jan van Krimpen designed Spectrum for the Dutch Enschedé foundry in 1952. Released by the Monotype Corporation in 1955, Spectrum is a direct descendant of the great Aldine types of Venice, which are characterized by their pen-based curves and oblique serifs.

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Kathleen Serif is a geometric serif display font and works best in text and display applications, such as posters, headline, magazine, logos, titles, product branding, corporate branding and publishing.

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Kathleen Sans is a geometric sans-serif display font and works best in text and display applications, such as posters, headline, magazine, logos, titles, product branding, corporate branding and publishing.

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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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When approached to give informal advice on the redesign of the leading German weekly Der Spiegel, Luc(as) de Groot offered to design a completely new headline font. A newly developed typeface, he argued, would lend an unmistakable personality to the magazine. He worked late nights for a week and sent in sketches; the designers immediately ordered six weights. Says Luc(as): "I get a weekly free copy of the magazine as long as the typefaces are being used - it’s been ten years now."

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In 1988, Martin Wilke designed this legible text typeface for Linotype, combining elements from a variety of models, including the Caslon typeface, classical inscriptions, late-eighteenth-century sources, and even the eighth-century Book of Kells.

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The typeface was designed at the Polygraphmash type design bureau in 1951-53 by Lev Malanov, Elena Tsaregorodtseva et al.

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Phoenica offers a high quality alternative to contemporary humanist sans serifs. It is a flexible family for editorials and corporate branding.

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The Roos family is a digitization and expansion of the last typeface designed by Sjoerd Hendrik De Roos, called De Roos Romein (and Cursief). It was designed and produced during the years of the second World War, and unveiled in the summer of 1947 to celebrate De Roos’s 70th birthday. In 1948, the first fonts produced were used for a special edition of the Dutch Constitution on which Juliana took the oath during her inauguration as the Queen of the Netherlands. To this day this typeface is widely regarded as De Roos’s best design, with one of the most beautiful italics ever drawn.

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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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Minion Pro is an Adobe Original typeface designed by Robert Slimbach. The first version of Minion was released in 1990. Cyrillic additions were released in 1992, and finally the OpenType Pro version was released in 2000.

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

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Bembo was modeled on typefaces cut by Francesco Griffo for Aldus Manutius’ printing of De Aetna in 1495 in Venice, a book by classicist Pietro Bembo about his visit to Mount Etna. Griffo’s design is considered one of the first of the old style typefaces, which include Garamond, that were used as staple text types in Europe for two hundred years.

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Glosa is a type family designed for editorial purposes.

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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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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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British printer John Baskerville of Birmingham created the types that bear his name in about 1752. George Jones designed this version of Baskerville for Linotype-Hell in 1930, the International Typeface Corporation licensed it in 1982. An excellent text typeface, this Baskerville design has a delicacy and grace that come from long, elegant serifs and the subtle transfer of stroke weight from thick to very thin.

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Created by Adobe type designer Robert Slimbach, Cronos is a new sans serif typeface family that embodies the warmth and readability of oldstyle roman typefaces.

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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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Clarendon Text is a contemporary remake of the truly classic slab serif typeface with a distinctively clear and legible visibility. It is a widely usable text type suited equally well to advertising, books, publications, and a wide range of corporate literature where large amounts of reading matter call for distinction and style without sacrificing readability.

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

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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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Capsa is a typeface designed for use in books.

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

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Designed for the Monotype Corporation in the early 1900s by F.H. Pierpont, Plantin is named for the sixteenth-century Antwerp printer Christophe Plantin. Although not based directly on his work, the model for Plantin was taken from the huge collection of type Plantin had procured.

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Named after the German Renaissance astronomer, Kepler is a contemporary type family created by Adobe type designer Robert Slimbach in the tradition of classic modern 18th-century typefaces.

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A new design inspired by the various mastheads used in children’s comic books in England, published by D.C. Thompson of Dundee, Scotland.

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ITC Galliard is an adaptation of Matthew Carter’s 1978 phototype design for Mergenthaler. Galliard was modeled on the work of Robert Granjon, a sixteenth-century letter cutter, whose typefaces are renowned for their beauty and legibility. Matthew Carter combined his design skills with computer-aided technology to produce this elegant revival.

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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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Kandal is a wedge-serif face with old style or antique qualities. It has low contrast in weight between thicks and thins, even as it gets bolder. Its proportions are slightly condensed, and the color and texture of Kandal Book is not unlike Century Old Style. (The name “Kandal” rhymes with “bundle.”)

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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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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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The name Corpid derives from “Corporate Identity” - which is what this family of low-contrast sans-serifs was made for. Corpid was originally commissioned by Studio Dumbar in the Netherlands as a corporate typeface for the Dutch Ministry of Agriculture, Nature Management and Fishing. The font was designed to replace the existing standard typeface (a well-known business-like sans-serif) to provide the organization with a unique and strong identity.

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Based on the Ludlow/ATF versions of this great typeface.

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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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Leitura Sans is part of Leitura Type System and was specially designed for editorial purposes.

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Arrus was designed at Bitstream by Richard Lipton and first released in 1991. Arrus is based on Lipton’s own hand-lettered calligraphic alphabets that draw their influence from classic inscriptional forms. Arrus has small cap and extension typographer sets available as well.

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Günter Gerhard Lange extensively researched and analyzed numerous original Bodoni prints when creating Berthold Bodoni Old Face. As with all of Lange’s typefaces, he adapted this new Bodoni to meet the demands of today’s composing and printing technology.

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Designed in 1792, the Bulmer types are named not after their designer, William Martin, but after the printer who used them so well in his Shakspeare [sic] Press editions. In fact, it was Morris Fuller Benton who gave them the name back in 1928 when he was creating revivals for American Type Founders. Originally, Martin’s type was the English answer to the sharp, fine letterforms of Italy’s Bodoni and France’s Didot type foundries. But the Bulmer types did more than imitate the starkness of the modern-style Didot-Bodoni types. By condensing the letterforms, giving the strokes higher contrast, and bracketing the serifs slightly, Martin made his typefaces both beautiful and practical. You’ll often see Bulmer in use as a display face because of its high contrast and distinctive letter shapes. As a text face, it adds elegance to any page, and in combination with its expert set, you can use Bulmer for text settings of virtually any subject, from novels to mathematical treatises.

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Here is an extremely efficient and uncluttered typeface that you can use in a variety of situations.

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Created by Adobe type designer Carol Twombly, Chaparral combines the legibility of slab serif designs popularized in the 19th century with the grace of 16th-century roman book lettering.

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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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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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Pevensey comes in 7 weights with gradual weight-changes between them for ease of selection, and each weight has Regular, Italic and Oblique versions. The weights that are intended for large bodies of text are Regular and DemiBold. In keeping with the house style, the fonts are numbered (unconventionally but helpfully we think) in ascending order from 1 Regular to 7 Black, which makes font selection so much easier in your software’s font menu. In full the weights are: 1 Regular 2 DemiBold 3 Bold 4 ExtraBold 5 Heavy 6 ExtraHeavy 7 Black . We hope you agree that the font is very readable on the page, and there’s an example on the web-page which gives a brief overview.

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Sanzettica is a very easy-to-read sans-serif typeface with a design principle of open, rounded characters with at least 3 weights being suitable for large bodies of text. Legibility is augmented by the quite large x-height, giving lower case letters increased prominence in mixed text.

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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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William Caslon established the first major English typefoundry, re-creating earlier Dutch designs with excellent craftsmanship, color and rhythm.

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Granjon was designed in 1928 for Linotype by George Jones.

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Firmin Didot cut the first modern face about 1784 in Paris; Giambattista Bodoni followed prolifically on his heels; his punches and matrices survive in Parma. Bauer has produced the most faithful and delicate contemporary version of his types.

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The Ehrhardt name indicates that this typeface is derived from the roman and italic typefaces of stout Dutch character that the Ehrhardt foundry in Leipzig showed in a late-seventeenth-century specimen book. The designer is unknown, although some historians believe it was the Hungarian Nicholas Kis.

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This redesign is made from proofs, rather than the metal, and so is heavier, with particular attention to the Harris and the Monotype revision, which was made from proofs of Baskerville’s Great Primer (16pt).

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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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Typefaces without serifs were known in nineteenth-century England as Grotesque (or Grotesk in German) because they seemed so unusual to most readers. Monotype Grotesque is a straightforward 1926 design that is among the earliest sans serifs cut for hot-metal machine typesetting.

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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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Fairfield is a fifty-year-old typeface that has had a recent facelift. Rudolph Ruzicka, artist and book illustrator, designed light and medium weights of Fairfield for Linotype in 1940 and 1949, respectively. For Fairfield’s 1991 release as an electronic typeface, designer Alex Kaczun added bold and heavy weights.

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Venetian 301 is the Bitstream version of the Centaur type family.

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