The typeface was designed at the Design Studio of Igor Nastenko by Igor Nastenko.

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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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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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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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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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William Caslon released his first typefaces in 1722. Caslon’s types were based on seventeenth-century Dutch old style designs, which were then used extensively in England. Because of their remarkable practicality, Caslon’s designs met with instant success. Caslon’s types became popular throughout Europe and the American colonies; printer Benjamin Franklin hardly used any other typeface.

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William Caslon’s design as made regular by ATF at the beginning of this century.

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The vast popularity of William Caslon’s eighteenth-century types led to a practically endless range of Caslon copies, among them Caslon 540, from American Type Founders in 1902, and Caslon 3, a slightly bolder face also from ATF in 1905, which was later modified for use with Intertype and Linotype technologies. Both designs have the warm, solid, straightforward style that has made Caslon popular for over 200 years; these Caslons, however, have shorter descenders, and higher contrast, features that enable them to hold up better with the faster presses and the new varieties of paper introduced at the turn-of-the-century.

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Gia is based on forms from the retired NASA “worm” logo, the recently re-issued Atari logo, and elements from crude typefaces of the early eighties which appeared in upright video games.

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Isaac Moore’s recutting of Baskerville’s design for the Fry Typefoundry, long admired as a display design.

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

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In 1924 Morris Fuller Benton designed for ATF a new variation on his father’s design, Century Oldstyle. Century Schoolbook has become a synonym for readability.

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Panamericana is a family of calligraphic origin consisting of 10 styles: Blanca, Gris, Negra, Uno, Dos, Tres, Cuatro, Cinco, Seis and Dingbats (Dingbats includes 26 illustrations characters).

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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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The Baskerville types were created by John Baskerville, a typefounder and printer in late eighteenth-century England, and introduced in Birmingham, England, in 1752. Baskerville’s types are classified as transitionals, that is, those that are stylistically between old style and modern designs. Because of their high readability, Baskerville’s designs were produced by all of the major typefoundries and have become a standard typeface for long texts, especially book work, and for display purposes as well. This particular version of Baskerville Cyrillic was originally produced in the 70s at Mergenthaler Linotype in New York, then critiqued and redesigned in 1992 under the advice of Jovica Veljovic, a gifted and knowledgeable type designer and lettering artist. Baskerville Cyrillic is a good choice for setting text of any length.

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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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The name’s Heironymous Flask. Some of my acquaintances call me ‘Hip.’ Those that know me really well don't call me at all. In my game, you don't make friends. You make excuses. Like it says on the door, I'm a private hippopotamus. This is my story. This is my font.

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PT Prospect™. An original serif family designed in 1997-2001 by Natalia Vasilyeva and licensed by ParaType. A face of wide proportions and free lettershapes. The serifs have slanted edges. Based partially on the hand lettering of the author. For use in titling and display composition.

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The typeface was designed at the Polygraphmash type design bureau in 1949-61 (project manager Elena Tsaregorodtseva).

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Movie Script is the script that was used in German movie-brochures. Those were small four page leaflets with a lot of sepia-colored pictures about the movie one was about to see.

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Neva Regular with Italic was created by Moscow book and type designer Pavel Kuzanyan (1901-1992) at Polygrafmash in 1970 for slugcasting and display composition.

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Cake Script is the script that is used on birthday cakes, or at least it is what I think should be used on those cakes.

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Designed at Polygraphmash type design bureau in 1946-51 by Galina Bannikova, inspired by Russian Grazhdansky early- and mid-18th century typefaces as well as Roman Humanist typefaces of the Renaissance. With the archaic features of some characters the face is well recognized because of unique shapes.

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Designed at Polygraphmash circa 1940 (project manager Anatoly Shchukin). Based on the text typefaces of the late 19th and early 20th centuries of Obyknovennaya (Common) group.

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FirstVision delivers unexpected forms that tease the eye and inspire horrific, futuristic meanderings. FirstVision is just one font in a package of five known as Wild Bunch Pak #1.

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Itoxina is designed especially for the burgeoning market of starships and other space cruisers.

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From M.F. Benton 1917 and DTP types Limited 1992.

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Pinback was inspired by the science fiction movies of the 60s and 70s.

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Nobody has a digital cragginess most peculiar to it like this face. The screen isn't breaking up. The chunks you see are real, stair-stepping their way down and around those blocky letterforms at whatever angle they please. Don't adjust your flat-screen. This font has no mercy or care for smooth pixels. Nobody is just one font in a package of five known as Wild Bunch Pak #1.

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Commodity the last of Patric’s purely geometric designs, originally released in 2003.

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Etoxina is designed especially for the burgeoning market of starships and other space cruisers.

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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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The Englishman William Caslon (1672-1766) first cut his typeface Caslon in 1725. His major influences were the Dutch designers Christoffel van Dijcks and Dirck Voskens. The Caslon font was long known as the script of kings, although on the other side of the political spectrum, the Americans used it as well for their Declaration of Independence. The characteristics of the earlier Renaissance typefaces are only barely detectable. The serifs are finer and the axis of the curvature is almost or completely vertical. The overall impression which Caslon makes is serious, elegant and linear. Next to Baskerville, Caslon is known as the embodiment of the English Baroque-Antiqua and has gone through numerous new interpretations, meaning that every Caslon is slightly different. Caslon Classico appeared in 1993 and was designed by Franco Luin, the designer of various interpretations of classic typefaces. Luin kept his design true to the original and Caslon Classico consists of two cuts with corresponding italic and small caps characters.

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The Englishman William Caslon punchcut many roman, italic, and non-Latin typefaces from 1720 until his death in 1766. At that time most types were being imported to England from Dutch sources, so Caslon was influenced by the characteristics of Dutch types. He did, however, achieve a level of craft that enabled his recognition as the first great English punchcutter.

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The Englishman William Caslon (1672-1766) first cut his typeface Caslon in 1725. His major influences were the Dutch designers Christoffel van Dijcks and Dirck Voskens. The Caslon font was long known as the script of kings, although on the other side of the political spectrum, the Americans used it as well for their Declaration of Independence. The characteristics of the earlier Renaissance typefaces are only barely detectable. The serifs are finer and the axis of the curvature is almost or completely vertical. The overall impression which Caslon makes is serious, elegant and linear. Next to Baskerville, Caslon is known as the embodiment of the English Baroque-Antiqua and has gone through numerous new interpretations, meaning that every Caslon is slightly different. The Caslon of Carol Twombly appeared with Adobe in 1990. It is an extensive font, including, next to the basic alphabet, alternates for some lower case letters, small caps, swash letter, expert fonts and ornaments. It is relatively true to the original Caslon, although this interpretation is better suited to longer texts. Adobe Caslon, with its ligatures, old style figures and swash letters, makes an elegant and classic impression.

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In 1982 ITC released Linotype’s enlarged Baskerville series under the name ITC New Baskerville.

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