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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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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Secca is a fine and simple typeface honoring the roots of early German grotesque type designs but mastered for the needs of today.

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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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News Gothic was the standard American sanserif of the first two thirds of the twentieth century with narrow proportions and a large x-height.

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Morris Fuller Benton’s 1931 design, reworking the model of Memphis for ATF.

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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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Madawaska is a rugged slab-serif font fortified with black-strap molasses and vigor!

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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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Bernhard Modern was designed in 1937 by Lucian Bernhard for ATF. It is his personal version of the small x-height engravers’ old styles popular at the time. A perennial best-seller, Bernhard Modern remains popular in a wide variety of design and typesetting uses more that 60 years after its initial release. Bitstream’s version offers a wide array of typographer sets, including alternates, extensions, small caps and italic swashes.

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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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Based on Hispalis from the Spanish foundry, Nacional.

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In 1908, Morris Fuller Benton designed News Gothic for American Type Founders. The original design, with two condensed faces, is essentially a light version of Franklin Gothic.

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Describe the 21st century politician. Left or right? Fat or thin? War or peace? Straight or gay? Hard or soft? Male or female? Pro or con? Young or old? East or west?

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

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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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Designed by Les Usherwood. Digitally engineered by Steve Jackaman. Originally in one weight, Steve designed and produced three additional weights.

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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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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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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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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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The classical nineteenth century engravers’ form, with corners sharpened with a flick of the burin. F.W. Goudy captured the design as a typographic series for ATF in 1901.

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Produced by ATF in 1904, Morris Fuller Benton’s personal version of the heavy sanserifs first made popular by Vincent Figgins in 1830. Franklin Gothic remains popular after nearly a hundred years of use.

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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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Driver Gothic is based on the typeface used for Ontario license plates. Although unique among Canadian provincial license plates, this face is very similar to, if not outright identical with, the face used on car plates in 22 American states: Arizona, California, Connecticut, Florida, Illinois, Iowa, Kentucky, Louisiana, Maine, Michigan, Mississippi, Missouri, Montana, Nebraska, Nevada, New Hampshire, New Mexico, Ohio, Oklahoma, Vermont, Washington, and West Virginia.

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Based on the Morris F. Benton for ATF in 1920, it was not completed for production until 1926. The serif version we released a few years ago was so popular, that we decided to design a complementary sans serif version in three weights, along with three corresponding Swash fonts.

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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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Originally designed by Morris F. Benton for ATF in 1920, it was not completed for production until 1926.

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Serifa was designed by Adrian Frutiger for the Bauer foundry in 1967. The letterforms are based on those of Frutiger’s earlier sans serif design, Univers. Square, unbracketed serifs have been added, making this a slab serif (or Egyptian) typeface.

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Developed by Adrian Frutiger for Bauer in 1966, Serifa is a slabserif based on the principles that led to the success of Frutiger’s 1956 sanserif, Univers. Glypha, designed by Frutiger for Stempel in 1979, is a version of Serifa with a moderately larger x-height; Stempel has paid royalties on Glypha to Neufville since 1984.

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

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Urbana is a contemporary sans-serif typeface inspired in the traditional lettering seen in one of the most popular, massive transportation mediums available in Bogotá (Colombia): “busetas” (small city buses).

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Based on the original design, circa 1951.

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Trump Gothic is a revival and expansion of two different takes on Signum, Georg Trump’s popular mid-twentieth-century condensed gothic.

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Friz Quadrata was originally designed in a single weight by Swiss designer Ernst Friz for Visual Graphics Corporation in 1978. International Typeface Corporation worked with VGC to produce a bold weight, and now both are available. Friz Quadrata is an unusual design with curved stroke endings and lowercase letters with bowls that do not close.

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Press Gothic is a revival of Aldo Novarese’s Metropol typeface, released by Nebiolo in 1967 as a competitor to Stephenson Blake’s Impact (designed by Goeffrey Lee). Though Metropol enjoyed a few short months of popularity and use in Italy, Germany and France, Impact won the technological outlasting battle by moving on to film type then to computer outlines bundled with mainstream software, while Metropol never made it past the metal state until now. Too bad really, since this is one of the few faces that could have played well with all the horrendous stretch'n'squeezing of the 1970s.

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This design is one of the true gems to come out of the 1930s typeface era. Even though the face was originally designed to counter the invasion of European sans-serifs, it remains faithful to the principles found in its creator’s poster work.

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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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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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I think it is one of our most useful fonts in that it doesn't draw much attention to itself while it is quite refreshingly different.

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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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Egyptian, or slab serif, typefaces surged to popularity in the early 1800s. Memphis was the first Egyptian revival, designed by Dr. Rudolf Wolf in 1929 for the Stempel foundry.

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FranklinGothicHandDemi is part of a series of hand-drawn fonts from way back in time – before computers changed the way we worked.

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Aviano slab is an extended slab serif and the newest member of the popular insigne series Aviano.

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

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Graphique was originally created by Swiss designer Hermann Eidenbenz in 1945, and issued as hot metal font by Haas’sche Schriftgießerei, Switzerland.

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Graphique-AR is a digital version of a type designed by Hermann Eidenbenz and issued by the Haas foundry in 1946.

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Divulge is a contemporary sans serif family with roots in 19th Century grotesques. Divulge comes in light, medium and bold, condensed and italic: a total of twelve styles. The OpenType format features fractions, ordinals, old-style numerals and class-based kerning.

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Doradani is sans-serif corporate identity font. It has some of the friendliness of Franklin Gothic without the historical baggage.

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Although Los Alamos was originally designed as a complementary sister typeface to Grand Canyon, it evolved into a comprehensive and unique type family in its own right.

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FranklinGothicHandBold is another part of a series of hand-drawn fonts from way back in time – before computers changed the way we worked in advertising.

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Franklin Gothic, one of the most popular sans serif types ever produced, was designed by Morris Fuller Benton in 1902 for American Type Founders. In 1979, under license with ATF, Vic Caruso began work on more weights of the design for ITC.

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Originally designed by Frederic W. Goudy in the early 1900s for American Type Founders, Copperplate Gothic appears at first to be a sans serif, but actually has very small, fine serifs. Copperplate Gothic was originally designed for stationery and society printing, and is now used in many varieties of commercial printing. Its classic uses are business cards and lettering on the frosted-glass office doors of lawyers and private investigators. The AB and BC designators refer to the size relationship of the capitals and small capitals.

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FranklinGothicHandLight is part of a series of hand-drawn fonts from way back in time – before computers changed the way we worked.

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Originally cut in metal in 1937, Bernhard Modern seems to presage the demise of letterpress printing and the eventual rise of digital typography. Witness this comment on the typeface by its designer, Lucian Bernhard: “My aim was to get all the spice and contrast into the contour ... without counting on the ink spread.” Lucian Bernhard was one of this century’s eminent graphic designers, and Bernhard Modern is his enduring masterpiece of type design.

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This is the tallest, skinniest, most condensed, non serif font I know of. I designed this because I felt a serious need for that one big, thin word to fit in a narrow space.

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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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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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Based on an early wood type design. An original creation, that kept growing...!

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Based on the ATF typeface by Morris F. Benton, circa 1934. Steve created two additional new weights.

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