The Stempel foundry in Germany produced this version of Garamond in 1925 as a replica of a typeface of a French punchcutter Claude Garamond (middle of the 16th century).

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Designed in 1976–81 by Michael Rovensky (1902–1996) as the body text companion of his Bazhanov Display typeface (1961), of Polygraphmash typefoundry.

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A near-sans with legibility proportions and discreet, sharp serifs that add definition at small size, finesse at display size.

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Alright Sans is a contemporary grotesk typeface. Simple and clean, with a warm, slightly humanist flavour, Alright Sans is fresh take on the traditional sans-serif. With a robust set of typographic features and 16 styles, Alright is ready to be used for just about anything.

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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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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 is the Bruce Foundry’s Old Style No.20, which was loosely based on the Miller & Richard Old Style. It was recut at Lanston under Sol Hess’ direction in 1909, and survives as the second text face in the Sears Roebuck Catalogue.

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Bouwsma Text is what Roman type would look like if it had been designed by calligraphers instead of metalworkers. The formal harmony of the Roman capitals, with tapered stems, graduated curves and serifs which are natural entrances and exits for the broad pen. These serifs seamlessly work in relativity with the stroke weight, decreasing in size when the stroke increases.

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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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On the border between formal and informal, Amescote is a fairly conventional sans-serif but it’s a font which has a bit of its own personality.

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Designed by Douglas C. McMurtrie. Digitally engineered by Steve Jackaman. Based on the original Ludlow drawings, circa 1928.

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Based on the original Stephenson Blake design, circa 1950.

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The Bitstream version of Caslon 540 of the American Type Founders, 1902.

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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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Designed by Les Usherwood. Digitally engineered by Steve Jackaman.

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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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In 2007, insigne released Aviano. It’s beautifully drawn extended letterforms were a hit with designers and Aviano quickly became insigne’s most popular offering of early 2007.

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Breuer Text is a simple geometric sans with relaxed curves and slightly condensed proportions suitable for moderate lengths of body copy. The italics are optically adjusted obliques with a selection of augmented lowercase glyphs for a warmer read.

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The standard American sanserif of the first two thirds of the twentieth century, prepared for ATF by Morris Fuller Benton in 1908 under the name News Gothic, with a matching lightface known as Lightline Gothic. Linotype’s Trade Gothic follows News Gothic except for its widely-spaced straight-sided boldface based on ATF Alternate Gothic No.3. Linotype matches News Gothic Bold, a boldface version that originated at Intertype, with Trade Gothic Bold No.2. Ludlow Record Gothic follows News Gothic more loosely.

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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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Breuer Condensed is a mechanical sans ideal for captions and headline settings, and may also be suitable for moderate lengths of body copy with its comprehensive offering of OpenType features. The italics are optically adjusted obliques with a selection of augmented lowercase glyphs to provide a warmer read. The overall design ensures a distinct aura of technical precision in a personable tone.

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A set of square capitals developing from the interest in geometric forms stimulated by the Bauhaus, Bank Gothic was designed by Morris Fuller Benton for ATF in 1930, the same year that Georg Trump designed City for Berthold.

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MVB Solano Gothic Bold was originally designed as a display face for the City of Albany, California, located on the San Francisco Bay facing the Golden Gate Bridge and bordering the the Berkeley hills. Named for the City’s main street, the typeface needed to work on signage in proximity to older buildings, in contemporary settings, and for general print and web use. Rather than creating a neutered design to cover all bases, Mark van Bronkhorst chose to develop a simple, strong, condensed face that would offer flexibility of style by providing both retro and neutral forms.

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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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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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Condé Nast commissioned the FB version of this popular oldstyle for Traveler magazine.

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Sweet Gothic is a 2009 addition to the Sweet Collection of engraved lettering styles from the 20th Century. 

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Helvetica’s 50-year anniversary celebrations in 2007 were overwhelming and contagious. We saw the movie. Twice. We bought the shirts and the buttons. We dug out the homage books and re-read the hate articles. We mourned the fading non-color of an old black shirt proudly exclaiming that “HELVETICA IS NOT AN ADOBE FONT”. We took part in long conversations discussing the merits of the Swiss classic, that most sacred of typographic dreamboats, outlasting its builder and tenants to go on alone and saturate the world with the fundamental truth of its perfect logarithm. We swooned again over its subtleties (“Ah, that mermaid of an R!”). We rehashed decades-old debates about “Hakzidenz,” “improvement in mind” and “less is more.” We dutifully cursed every single one of Helvetica’s knockoffs. We breathed deeply and closed our eyes on perfect Shakti Gawain-style visualizations of David Carson hack'n'slashing Arial — using a Swiss Army knife, no less — with all the infernal post-brutality of his creative disturbance and disturbed creativity. We then sailed without hesitation into the absurdities of analyzing Helvetica’s role in globalization and upcoming world blandness (China beware! Helvetica will invade you as silently and transparently as a sheet of rice paper!). And at the end of a perfect celebratory day, we positively affirmed √ la Shakti, and solemnly whispered the energy of our affirmation unto the universal mind: “We appreciate Helvetica for getting us this far. We are now ready for release and await the arrival of the next head snatcher.”

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Based on character shapes with origins rooted in the work of 19th Century American wood type makers, DST Mechanic Gothic draws influence from the poster types found in the impactful advertising during the Industrial revolution.

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The definitive monoline Egyptian, Weiss’ Memphis of 1928, was devoutly industrial in its effect and set the tone for those that followed, right up to Lubalin Graph. More recently, TheSerif and Silica are humanist in form, with complex, asymmetric curved strokes in the lower case. Unique among monoline slab serif types, Bodoni Egyptian has a simple, neo-classical form and proportion, and strict detailing that is antique, not machine-age.

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Designed by Les Usherwood. Digitally engineered by Paul Hickson. Another typeface from Les Usherwood that was released after his 1983 death.

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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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This type is almost a sans serif. It has legibility proportions, and a very large, useful family with specially adapted condensed and extended sub-families.

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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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Insigne’s popular Aviano series returns with Aviano Serif.

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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 type family can be seen as a historical approach that considers our increasing needs for freedom in a post-historical world. Jana Thork is a synthesis of the stone engraved capital letterforms and the uncial and half-uncial calligraphic styles.

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In the United Kingdom, Virgin Trains uses various weights of Generation Gothic extensively.

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Although a sans serif, Colosseum owes its style to the original Trajan Roman form. Borrowing some characteristics from Friz Quadrata, in its san serif form it is more adaptable to text usage whilst still having a modern and original look which works well in headlines.

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Blanchard is a revival and elaborate extension of Muriel, a 1950 metal face made by Blanchard Trochut for the Fonderie Typographique Française, that was published simultaneously by the Spanish Gans foundry under the name Juventud.

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Future Bugler is a font based on the second logo created by Harry Warren in early 1975 for his sixth grade class newsletter, The Broadwater Bugler, at Broadwater Academy in Exmore, Virginia, on Virginia’s Eastern Shore.

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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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Giambattista Bodoni of Parma, Italy, designed and cut his typefaces at the end of the eighteenth century. The Bodoni types were the culmination of nearly 300 years of evolution in roman type design, in which fine hairlines contrast sharply with bolder stems, and serifs are often unbracketed. Bodoni is recognized by its high contrast between thick and thin strokes, pure vertical stress, and hairline serifs. This particular version of Bodoni was first created by Morris Fuller Benton for American Type Founders between 1908 and 1915. It brings elegance and sparkle to any graphic image, including headlines, text, and logos.

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Designed by Les Usherwood. Digitally engineered by Steve Jackaman. Many of the weights and the italics were created after Les’ death.

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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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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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Based heavily on Gill Sans especially in the mid weights, Astoria has a subtle top left serif which makes it not quite a Roman and not quite a Sans. Designed specificaly as a text face it still works very well as a headline font.

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Designed by the famous English (type designer) Eric Gill, it was created specially for the Silver Jubilee Wedding Anniversary announcement of George VI and Queen Mary.

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Newcomen is a highly versatile titling face that includes 87 OpenType alternates and 38 ligatures. Newcomen titling, in its default form, evokes the Victorian era and is named for the British inventor of a steam engine for pumping water.

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Designed by R.H. Middleton for Ludlow, circa 1929-30. Digitally engineered by Steve Jackaman.

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Morris Fuller Benton started the Bodoni revival with this version for ATF in the early years of the 20th century. We consider it the first accurate revival of a historical face for general use. Sturdy and a little mechanical in the 19th century tradition, this is the Bodoni series familiar to us all.

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Designed by Les Usherwood. Digitally engineered by Paul Hickson. Les never released this completed typeface before his untimely death in 1983.

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Eterna is a very beautiful font with diverse uses.

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

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Hemingway designed by Alessandro Segalini was inspired by the prize winning novel The Old Man and the Sea by Ernest Miller Hemingway.

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This series of faces was designed initially by Morris Fuller Benton, circa 1900.

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The distinguishing characteristics of the serif Clearface family—the slight serifs atop A, and at the stroke ends of V and W; the curves of k and y; the slanted bar of e; and the open 4—are apparent in its companion, Clearface Gothic. Both were designed by Morris Fuller Benton for American Type Founders and released between the years 1907 and 1910. Clearface Gothic is also a legibility typeface and, therefore, is most distinguished when used for text.

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In 1992, Red Rooster Typefounders created Block Gothic Extra Condensed based on the TP Collection Block Gothic.

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Based on an early wood type design. An original creation.

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Influenced by the 1960’s typeface, Design Fineline.

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

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A set of three condensed sanserifs prepared for ATF as text and titling by Morris Fuller Benton in 1903 and popular for the next half century.

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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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Worldwide is a typeface in the Century idiom, designed with present day newspaper usage in mind. That’s to say, it’s somewhat condensed, and combines strong, traditional form with subtle finish.

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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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Hiruko is a full family of 16 different styles. Inspired by the early Swiss movements, Hiruko offers creativity and clarity within many media. Influenced by Japanese culture, Hiruko is based on the idea that less is more, however this applies in other directions when referring to the amount of work gone into producing the type family.

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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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Granjon was designed in 1928 for Linotype by George Jones.

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Skolar is a text serif which has been originally designed with scholarly and multilingual publications in mind. The typeface maintains its credibility while incorporating a subtle personal style, neither neutral nor conspicuous. Prominent serifs and low-contrast modulation add to its robustness, and together with relatively large x-height, they improve the typeface readability in small sizes. Skolar family of six weights and large character set is flexible enough for complex text settings and editorial work. It becomes distinctive in bigger sizes, thus fitting corporate design demands.

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A longtime font favorite of his, Michael felt that a set of lowercase characters would make Bank Gothic a more universally useful font. He set out on this ambitious task always mindful of the huge presence of its original designer, Morris Fuller Benton, hoping that whatever he did would live up to the high standards of this former giant of the font world.

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