Gloriola is a monolinear sans serif, whose extremely broad range of nine cuts offers endless creative possibilities.

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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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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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The Heinemann fonts were initially developed by the in-house design team at Heinemann educational publishing out of the necessity to find the perfect font for use in early primary reading books and literacy products.

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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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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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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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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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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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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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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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The motivation behind the Botanika family was the desire to create a text version of the Magion font. Although the glyphs were originally drawn using the same proportions, they were subsequently adjusted in order to improve legibility. The font retains certain characteristics of the original, such as the top serif on the “i” and the similar bottom serif on the “l”. Lowering the x-height lent the family a new and original character. The italics are slightly more condensed than the regular weight, without losing the austere grace of the regular weight. They are distinct enough to stand out in the text.

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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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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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In NewLibrary the letters are on books, not in them.

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In 1894, Linn Boyd Benton finished a commission for a new text typeface with the American periodical, Century magazine. Century is typical of the neorenaissance movement in typography at the end of the 19th century.

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Life was designed in 1964 by W. Bilz and marks the beginning of a new generation of newsprint fonts. The Ionic style had replaced Modern Face and was now replaced by this new innovative style, which mixed elements of Old Face, Transitional and Modern Face forms. Life’s characters are based on the forms of Times and are the result of a time of change and experimentation.

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