This elegant copperplate typeface is somewhat different from others in the script category due its slightly condensed lowercase letterforms. With its beautiful, free flowing initial capitals and stunning array of lowercase alternatives, Young Baroque looks magnificent in word settings and is ideally suited for diplomas and citations. Created by the well-known American west coast designer Doyald Young.

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Every type face which was originally designed for use in architecture (in this particular case for a UNESCO memorial plaque for a church built by Jan Santini-Aichel on Zelená Hora) is surprisingly well usable also in minor graphic works. The proportions and colour (tonal value) of the upper-case letters derive freely from Mediaeval and apart from this they paraphrase, as was required in the order, the morphology of the Baroque Gothic. The lower-case letters seem to ring with gambolling melodies in their details and behave like immature counterparts of the upper-case letters. To combine monumentality with playfulness and gravity with ease means to arrive at a magnanimously balanced whole.

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The 1907 Barnhart Brothers & Spindler type specimen catalog called this unique typeface simply “Umbra”. Since that name is already taken, it now has another.

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Based on custom design work by DTP Types Limited in 1990.

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Copperplate Classic Light Floral is the latest addition to my Copperplate Classic Group of fonts. The floral decorations go perfectly well together with the classic forms of the Copperplate. Your decorative designer Gert Wiescher.

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This all capital style is reminiscent of a 19th century Victorian woodcut typeface. It was designed with many alternative letters and is ideally suited for work where a period or antique look is desired. Created by Letraset Studio’s talented type designer Phillip Kelly.

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Blackletter engraved display typeface.

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See also other font families inspired by Gans' original typefaces: Gans Tipo Adorno, Gans Lath Modern, Gans Titular Adornada, Gans Ibarra, Gans Antigua, Gans Antigua Manuscrito, Gans Fulgor, Gans Radio Lumina, Gans Carmem Adornada, and Gans Italiana.

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Arthur Baker’s display script Sassafras, designed for URW in 1995, is based on the natural inline effect created when writing with a split-metal nibbed pen.

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Gracia is a classic connected script design.

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An old extended Grotesque.

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Goudy Handtooled was done in 1922 and is a shaded version of Goudy Bold. Some authorities credit the design to Charles A. Becker and others to Morris Fuller Benton and Wadsworth Packer.

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After researching the type styles contemporary graphic designers have been using over the past few years, I noticed a consistent use of Copperplate Gothic, and its derivative designs, for various corporate advertising campaigns.

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British designer Alan Meeks has brilliantly captured the sophisticated elegance of the 1920’s and 1930’s jazz era with this Art Deco typeface. The bold roman style is enhanced with an interior design reminiscent of a piano keyboard. An excellent choice where an Art Deco look or a refined, polished effect is desired.

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Narcissus Open is a heavy typeface designed by Walter Tiemann in 1921 for the Klingspor Foundry in Germany.

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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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Adriane Lux is the decorative, “inline” or “openface” titling companion to Marconi Lima’s acclaimed Adriane Text family.

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JoAnne Display is an elegant, open face, display font in 1 weight.

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Johann Michael Fleischmann was born June 15th, 1707 in Wöhrd near Nuremberg. After attending Latinschool he started an apprenticeship as punchcutter in the crafts enterprise of Konstantin Hartwig in Nuremberg, which ought to last six years. For his extraordinary talent Fleischmann completed his apprenticeship after four and a half years, which was very unusual. 1727 his years of travel (very common in these days) began, during which he perfected his handcraft by working in different enterprises as journeyman. First location was Frankfurt/Main where he worked for nearly a year at the renowned type foundery of Luther and Egenolff. Passing Mainz he continued to Holland, where he arrived in November 1728 and stayed till he died in 1768.

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FatFritz is a rounded blackletter typeface for those of you who do not like the martial side of blackletter typefaces.

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This quirky charmer is based on a typeface called Les Catalanes, designed in 1952 by Enric Crous-Vidal for Fonderie Typographique Française.

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LeKing comes with an EPS Set with 24 vector ornaments.

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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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Gothic capitals of the same form as Copperplate Gothic, lacking only the oversharpened corners.

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Sonora is a new profonts script typeface family supplied in the new OpenType Pro font format. Sonora contains six styles as light, medium, bold and the corresponding italics. The character set covers about 1.500 glyphs for the complete Latin character set (West, East, Baltic,Turkish, Romanian), and a huge number of handmade ligatures and alternates to make it a perfect OpenType Pro connecting script.

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Youngblood is a non-connected formal script with tall, sweeping ascenders and two alternates. These alternate forms can be mixed and matched for a custom look, and Youngblood is stronger in weight and is better suited for display work than most script fonts.

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This family was inspired by the Fournier’s font named "Financière". It is a looking like manual font, carved in 1741 by Pierre Simon Fournier (le jeune) and published in his Manuel Typographique... in Paris (1764-1766).

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P22 Zaner is based on ornamental penmanship as taught by Charles Paxton Zaner at his art college at the turn of the 20th century.

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In 1987, Sumner Stone completed his designs for the Stone type family. ITC Stone solves the problem of mixing different styles of type on the same page. Most combined type styles, because they aren’t designed to work together, often have radically different characteristics such as cap heights, stem weights, and proportions. The ITC Stone family consists of three subfamilies, Serif, Sans, and Informal, each consisting of three weights plus matching italics.

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Mahalia draws inspiration from vintage hand-lettering, but adds a modern, European twist.

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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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This frilly script has been acid dipped, scratched and destroyed for use in grungy design jobs or any other use that calls for a ragged script.

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Inspired by Goudy’s original from 1905, Biondi maintains the classic wide and squarish shape that made Copperplate Gothic a design staple and moves it forward to the 21^st Century.

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Mark van Bronkhorst designed Celestia as an alternative to Caslon Antique at a time when few rough-edged fonts were available. He borrowed the basic forms from an early attempt he’d made at designing an oldstyle roman typeface, this time redrawing the letterforms with stronger serifs and adding the rough-edges. Designed to be more open and readable in text settings than Caslon Antique, Celestia’s gentle roughness becomes more apparent when used in display settings. An italic design, based on van Bronkhorst’s calligraphy, complements the roman character set.

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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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Enzia is a friendly and flowing sans serif.

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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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When Aldo Novarese designed his “tipo inglese” Juliet typeface, he had a simple objective in mind: Reduce the inclination angle of the traditional 18th and 19th centuries English script in order to make the punchcutter’s job easier and the resulting metal type more durable.

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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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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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This family was inspired by numerous documents and books printed in Paris during the end of the 1700s. Mainly, documents printed by P.G. Simon & N.H. Nyon, “Printers of the parliament” were used for the Normal and italic styles and “Caps”. “Titling” characters were coming from a collection of hymns printed by Nicolas Chapart. In France these Fournier characters, as Baskerville in Great Britain, were the most often in use in the late 1700s, just before the Didot designs.

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The idea for Duet started when I decided to create a complex, elegant, and easy-to-read script with particular emphasis using a double line feature in the capitals.

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This family was inspired by the pure Garamond pattern set of fonts used by Egenolff and Berner, German printers in Frankfurt, at the end of sixteen century. All the experts said it was the best and more complete set of the time. The italic style used with was Granjon’s, like in 1543 Humane Jenson. Added are a few fleurons from the same printers.

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Natalya is a flashy and rhythmic script. The script has more space between characters than most for better legibility, and the basis point for the ornate swirls is the golden ratio. This makes for an especially harmonious typeface with timeless appeal.

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Based on the Robert Wiebking design for either Western or BB&S, circa 1918.

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Originally conceived as part of a unique display design created for Hershey’s Times Square flagship store, the PowerStation family is the perfect choice when looking for a font that speaks of strength, solidity and character. It comes in two “faceted” 3-D versions: “Block” where the dark side is dominant, and “Wedge” where you see more light than shadow. The family also includes both “Solid” and “Outline” versions of the font. They are all available in both normal and wide versions.

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This family was inspired by the eroded and tired fonts used by printers from the sixteenth century to the early years of twentieth for cheap or fleeting works, like almanacs, adverts, gazettes or popular novels.

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The inspiration for Jeeves came from Leslie Carbarga’s wonderful book LETTERHEADS, One Hundred Years of Great Design, 1850-1950. It was based on a secondary type usage for the letterhead for Sutherland in New York. The rest of the letterhead had features that were more typical of the Art Deco period, but this script added a touch of timeless elegance. And since at the time I was reading every scrap of P.G. Wodehouse I could get my hands on, the name Jeeves seemed like a perfect fit.

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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 traditional division of a type-face family into four designs pertains to every body type. However, jobbing typography calls for a richer tonal scale. Its purpose is to decorate, to represent and to please. Splendid Quartet is an example of a combination of heterogeneous sources of inspiration into a single harmonious formation. An American-style script is accompanied by a subtle English-type Roman type face with a bold design. The whole is reinforced with a Germanic Grotesk. The designs as such do not surpass the significance of their models, but the real charm of this family consists in the sensitive interplay of perfect, even though antagonistic shapes.

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ITC Mona Lisa, designed in 1991, is an interpretation of Albert Auspurg’s 1930 design for the German Ludwig & Mayer foundry.

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This script font was inspired from a lot of manuscripts, notes and drafts, written by the famous American poet Walt Whitman. It is a very elegant type, in spite of a few curious ligatures, often concerning the r or z small letters. Notice the very characteristic “th”.

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Based on a turn of the century design.

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A set of capitals popular with American engravers and typefounders through the last third of the nineteenth century, shown under this name by ATF in 1903.

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Crown Jewels is a massive Super Pro font like no other.

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Letraset’s talented type designer, Vince Whitlock, was inspired by the elegant Caslon series when he created Academy Engraved. The exquisite letterforms of this traditional Roman typestyle make it ideal wherever a refined, classical appearance is desired.

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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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A revival of the Ludwig & Mayer type design from 1930.

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

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Santa Fe is a profonts script typeface family supplied in the new OpenType Pro font format. Santa Fe contains six styles as light, medium, bold and the corresponding italics. The character set covers about 500 glyphs for the complete Latin character set (West, East, Baltic, Turkish, Romanian), and a large number of handmade ligatures and alternates to make it a perfect OpenType Pro connecting script.

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

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The design of Castellar is patterned after carved letters on a Roman column dedicated to Augustus. It is an elegant all-capitals titling face with an incised or shaded look. Castellar was designed by John Peters for Monotype in 1957, and named after a town in the Alps. Castellar is at its best when used for sophisticated, refined display work.

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Types known as “Old Style” originated in Edinburgh in the middle of the nineteenth century. They began as an advance in the letter style known as “Old Face,” typified by Caslon. While they retain basic Caslon shapes, but with shorter ascenders and descenders, there is less contrast between thin and thick strokes.

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Based on the design ‘Phosphor’ by J. Erbar, for Ludwig & Mayer, circa 1922-30.

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