Friedrich Neugebauer is known for the cutting power of his calligraphic invention.

More…

Biscotti was commissioned in 2004 by Gretchen Smelter and Donna Agajanian for Brides magazine. “We want a typeface that makes the reader feel pretty; it should capture the voice of this happy occasion.”

More…

The English copperplate script came back into its own with the advent of photocomposition, then digital techniques. Gone are limitations on kerning and joining strokes imposed by the typefounders’ mold.

More…

Decorative font based on XIX century Cyrillic handwriting.

More…

Tobias Sergel was the greatest Swedish sculptor and draughtsman of the 18th century.

More…

Released by the Monotype Corporation in 1931, Script Bold is based on German script-lettering styles of the early twentieth century.

More…

A calligraphic script available in several variations (or as one OpenType font with over 800 characters). Cilati is a flexible script which adapts well to a variety of uses. Based on Italic handwriting, this type style can adapt well for casual as well as formal design projects.

More…

Bitstream Charter, was designed in the mid-1980s by Matthew Carter. The typeface was designed with the limitations of low- and middle-resolution output devices in mind; hence the squared off serifs and lack of excessive diagonals and curves. The design, however, became an instant success on its own merits. It is an excellent everyday typeface for a wide variety of uses including books and technical manuals. Charter offers small cap, extension and alternate typographer sets that help to make it more versatile and functional.

More…

Frederic Goudy designed this blackletter face based on Gutenberg’s 42-line Bible.

More…

Flornaments are decorative font ornaments, with a hint of floral styling. Each Doodlebat corresponds to a letter or number on the keyboard.

More…

This Bodoni-like font sets out to slightly square off rounded shapes, adding a very slight curve to the join from the square serif and stem, and minimizing and softening the pronounced bulbs found in Bodoni. There are hints of Walbaum and Melior but the overall effect is a more subtle, and interesting letterform that is friendly, fresh and contemporary.

More…

The tradition at the New York Times magazine has been to dedicate the year’s last issue to the people who passed away during the year, especially those whose lives have affected us. Art director Nancy Harris Rouemy, whose typographic design sense has earned her many prestigious awards over the years, decided on an all-type magazine cover for the 2008 issue, and commissioned Canada Type to do a new typeface especially for that project. Now Memoriam is finally here in retail form—not least because hundreds of people have asked for it.

More…

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

More…

ITC Galliard is an adaptation of Matthew Carter’s 1978 phototype design for Mergenthaler. Galliard was modeled on the work of Robert Granjon, a sixteenth-century letter cutter, whose typefaces are renowned for their beauty and legibility. Matthew Carter combined his design skills with computer-aided technology to produce this elegant revival.

More…

Based on Hispalis from the Spanish foundry, Nacional.

More…

Palace Script is an English copperplate script created for the Stephenson Blake foundry in 1923.

More…

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.

More…

Designed during the early 1900s for the Stephenson Blake Typefoundry, Carlton has recently become a popular roman alphabet again. It is used extensively in display sizes when a discreet, elegant appearance is needed. Carlton’s qualities are maximised by generous letter and word spacing.

More…

The Scrivano family was designed by Ricardo Esteves Gomes, inspired by some handwritings from the Middle Ages and Renaissance period.

More…

P22 Allyson is based on an old metal font by Barnhart Bros. & Spindler named Hazel Script.

More…

Document is an easy-to-read sans serif with large lower-case letters, but with one difference - it is slightly slanted to the right, but a lot less than a conventional italic angle. This is intended to give it a more informal and modern look than a perfectly upright font would be, and which also contributes extra dynamism while reading.

More…

LD Castle is an antique-themed storybook font with stylized letters and numbers.

More…

Giovanni Mardersteig started work on Dante after the Second World War, when printing at the Officina Bodoni returned to full production. He drew on his experience of using Monotype Bembo and Centaur to design a new book face with an italic which worked harmoniously with the roman. Originally hand-cut by Charles Malin, it was adapted for mechanical composition by Monotype in 1957.

More…

A beautiful face that really works well for any application a distinguished clean look. Headlines, subheads and text anything goes.

More…

Script design can be pretty complex, but at the same time it has some unique opportunities that are simply not an option in regular serif and sans serif fonts.

More…

Originally released in 1929 as “Gravure” by the London foundry of C. W. Shortt, this luminous face has a slightly naïve charm seldom found in incised typefaces.

More…

The idea for Pezzo was born when I saw an old copper monogram stencil. The script forms are inspired by titles and signature inscriptions of several Dutch seventeenth century paintings. These inscriptions are simpler variations of what was commonly used at that time - brushes were used rather than quills. There is little variation between horizontal and vertical strokes and that’s what caught my eye. By default, the brush strokes formed simple round endings.

More…

A next generation gothic with that clean legible corporate look, very simple yet very dignified. Great for text and head lines, just about any application.

More…

Euroika is a decorative, serifed alphabet. The lower-case letters have a small x-height and a large contrast between the thin and thick strokes.

More…

D. Stempel AG released Gudrun Zapf von Hesse’s Ariadne in 1952. Ariadne is purely calligraphic, a set of flourished italic capitals in the Renaissance style. It is best used for initials in chapter openings, book titles, and advertisements.

More…

Geogrotesque is a semi modular with a subtle rounded finish typeface. All the characters are based in the same formal principle with its corresponding optical adjustments in order to adapt the system to an alphabet for texts. Although the type family has a geometric or “technological” construction, the rounded finish provides it a warm appearance, making the typefaces nicer and nearby.

More…

This revival of Harry is based on the original design by Marty Goldstein (and C.B. Smith).

More…

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.

More…

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.

More…

Sloop offers the adventurous typographer wide choices of variant forms in three weights of a classically elegant script.

More…

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.

More…

The typewriter was patented in 1868 by Christopher Latham Sholes, who sold his rights to the Remington Arms Company in 1873. The first typewriters were initially thought to be replacements for printing and so typewriter keybars utilized printing types; monospaced typefaces, that is, those designed so every letter takes up the same amount of space were a more practical alternative and soon replaced printing types.

More…

The calm and deliberation of Antenna offers further development to the excitement and mobility that we have come to expect from the hand of Cyrus Highsmith. Beyond the tension of his normal line, Highsmith places a new emphasis on the repeat and variation of counter shapes with the spaces between characters. Antenna’s rhythms project business-like subtleties through seven weights in four widths, with matching italics.

More…

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.

More…

Jeanne Moderno is a revisionary type family.

More…

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.

More…

Richard Lipton’s Bickham Script is a flowing, formal script typeface based on the lettering of 18th century writing masters, as rendered in the unparalleled engravings of George Bickham. This ornate script lends a signature flourish to invitations, menus, annual reports, restaurant logos, and packaging. With dozens of alternate letterforms in addition to its range of weights, Bickham Script’s personality can range from poised to extravagant.

More…

Le Havre is a geometric sans serif inspired by the golden era of the passenger ship, when getting to your destination was a delight in and of itself.

More…

To best extend the range of the ITC Officina family, Erik Spiekermann and his team at MetaDesign added a sans serif companion face in two weights.

More…

In 1952, Aldo Novarese and A. Butti designed Microgramma for the Nebiolo foundry. It was a popular face, but was available only in capitals. In 1962, Novarese produced a full character set, including lowercase letters, and the foundry renamed the family Eurostile.

More…

Designed in 1975 by Tony Stan, ITC Cheltenham is a revival based on a turn-of-the-century design by architect Bertram Grosvenor Goodhue. Typefaces from that period were often thin and anemic in appearance, and Cheltenham was created as an alternative; the original Cheltenham was designed with long ascenders and short descenders as a result of legibility studies indicating that the eye identifies letters by scanning their tops. ITC Cheltenham combines heavier stroke weights with condensed proportions and a large x-height to provide a legible, unusual text type.

More…

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.

More…

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.

More…

Luxus Brut breathes the spirit of hand lettered signage of the Fifties. It’s a formal script, inspired from a well concealed shop portal in Vienna/Austria. Large and distinctive capital letters (that won't share the baseline with lowercase letters), wide spacing as well as a low x-height make it an excellent choice for posters, magazine headlines, logotypes, branding and any design that requires a touch of luxury and sensuality.

More…

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

More…

Aviano is an extended titling face with influence from the power and timeless beauty of classical letterforms.

More…

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.”

More…

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.

More…

ITC Officina Serif is definitely a typeface for the 1990s, made for the contemporary office.

More…

Insigne’s popular Aviano series returns with Aviano Serif.

More…

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.

More…

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.

More…

Originally released in 1987, Charter incorporates three important features: compact set width to give economical copyfit; generous x-height to give readability at small point sizes; and sturdy open letterforms to give reliable reproduction at both typesetter and laser printer resolutions. The design brings a clarity and freshness to everyday documents, such as newsletters, textbooks, directories and technical manuals, where the reader’s concentration must not be interrupted by unfamiliar letterforms but where typographic dullness can itself impair comprehension. The Italic has cursive letterforms - so is instantly distinguishable, while being readable enough in its own right for continuous text.

More…

Mittwoch is an extended modern serif and a new companion to insigne’s Montag and Dienstag extended sans serifs.

More…

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.

More…

Snell Roundhand was created by Matthew Carter for Linotype in 1966. The design is based on the handwriting of Charles Snell, an English writing master who wrote The Pen-man’s Treasury Open’d in 1694.

More…

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.

More…

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.

More…

Created by Adobe type designer Robert Slimbach, Cronos is a new sans serif typeface family that embodies the warmth and readability of oldstyle roman typefaces.

More…

One can never be too tall or too thin, the old adage goes. Sympathique is quite fashionably both.

More…

Scotch Modern is a revival of the typeface used in the book New York State Cabinet of Natural History.

More…

Based on the Keystone Type Foundry design, circa 1919. The l/c ‘g’ appears as an alternate character in our font.

More…

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.

More…

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.

More…

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.

More…

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.

More…

The inscription on the base of the Trajan column in Rome is an example of classic Roman letterforms, which reached their peak of refinement in the first century A.D. It is believed that the letters were first written with a brush, then carved into the stone.

More…