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

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Garamond Premier Pro had its genesis in 1988 when Adobe senior type designer Robert Slimbach visited the Plantin-Moretus Museum in Antwerp, Belgium, to study their collection of Claude Garamond’s metal punches and type designs.

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Designed at Polygraphmash in 1984 by Vladimir Yefimov, with adding of Demi and Demi Italic. Based on a hot-metal typeface (1962) by Moscow book designer Vadim Lazurski (1909-1994), inspired by the early 16th century typefaces of Italian Renaissance. The typeface is useful for text and display composition, in fiction and art books. An ‘expert set’ was added by ParaGraph in 1997. Additional ‘Antique’ styles were developed by ParaGraph in 1997 by Alexander and Dmitry Tarbeev.

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Classica: a self-explanatory name. Its capital letters find their roots in the Latin inscriptions of the first century, its lower cases in the chancery writings and books of Renaissance. Classica belongs to the Garalde family from which the everlasting Garamond, this “Vivaldi’s four seasons” of typography, is the archetype.

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Linotype’s Serlio looks like a text face, but it is a display type with small capitals in place of lowercase letters. It has a narrow width and fine, delicate serifs and hairlines.

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Minion Pro is an Adobe Original typeface designed by Robert Slimbach. The first version of Minion was released in 1990. Cyrillic additions were released in 1992, and finally the OpenType Pro version was released in 2000.

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Dolly, a book typeface with flourishes.

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

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Arrus was designed at Bitstream by Richard Lipton and first released in 1991. Arrus is based on Lipton’s own hand-lettered calligraphic alphabets that draw their influence from classic inscriptional forms. Arrus has small cap and extension typographer sets available as well.

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An original design by by Richard Isbell for ATF; in exaggerating the tapered stroke introduced eleven years earlier in Hermann Zapf’s Optima, Isbell created the first flareserif to achieve popularity in the United States.

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Frederic Goudy joined Lanston as art advisor in 1920. One of his first initiatives was to design a new version of Garamond based on original Garamond designs of 1540. Goudy intended his free-hand drawings to be cut exactly as he had drawn them and fought with the workmen at Lanston to keep them from “correcting” his work. This new type was called Garamont (an acceptable alternate spelling) to distinguish it from other Garamonds on the market. (The other Garamonds on the market at that time were later confirmed to be the work of Jean Jannon.)

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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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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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Hermann Zapf’s Palatino, designed for the Stempel foundry in 1950, is one of the most widely used typefaces in the world today.

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This family is distinguished by its historical forms and by the numerous stylistic effects. Compared to Le Monde Livre, this typeface is not anymore invisible. The italic includes two levels of ornamentation: standard & swash. The bold is a bit lighter than the Bold from the reference, Le Monde Livre.

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An Adobe Originals design, and Adobe’s first historical revival, Adobe Garamond is a digital interpretation of the roman types of Claude Garamond and the italic types of Robert Granjon.

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Insigne’s popular Aviano series returns with Aviano Serif.

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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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Appropriately named, Americana was designed by Richard Isbell for American Type Founders in 1966 in honor of the then upcoming U.S. Bicentennial.

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Tribute is a new typeface by German type designer Frank Heine. This is Heine’s fourth release with Emigre Fonts. Remedy, released in 1991, was a major commercial success. It’s curlicue, free-style, comic appearance, provided a perfect counter to Emigre’s then primarily modular type designs. Dalliance, a classic roman and script combo based on handwriting from a photocopy of a 1799 battle map, was released in 2002 and became an instant classic.

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Designed for the Monotype Corporation in the early 1900s by F.H. Pierpont, Plantin is named for the sixteenth-century Antwerp printer Christophe Plantin. Although not based directly on his work, the model for Plantin was taken from the huge collection of type Plantin had procured.

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Designed by Jean François Porchez, Le Monde Sans is a lineale type family—one which has been derived from serifed types—a practice that has now become commonplace. As applied before to italics, this type of variation expands typographic possibilities, diferentiating of the status of each text. This is fundamental to contemporary documents and the press, where comments & analyses must be distinguished subtly from news. The design of Le Monde Sans continues the basic common structure found in the members of the Le Monde family: its proportions, a relatively narrow width, a fairly oblique axis, etc. The typographer can, at all times, switch between Sans & Journal or Courrier without any disruption in the composition. Le Monde Sans is offered in three weights, in roman, italic to meet all kinds of situations. Given the common usage of lineale sans serif typefaces today, this is indispensable.

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Angie Sans is a low contrast incised sans serif family which was issued one year before FF Angie (won a Morisawa awards in 1990) published by FontFont in 1995. Legibility is improved by keeping letter shapes open and distinct from one another. The Italics are lighter, narrower and more flowing than the romans.

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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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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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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.

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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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Fleurons are embellishments and here is my fifth set.

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Inspired by the Froben capitals believed to have been cut by Peter Schoeffer the Younger, son of Gutenberg’s apprentice, this design is neither strictly a Venetian nor an Aldine. The archaic approach and lack of the Aldine model lead us to place the face in the Venetian group. The design owes more to Goudy than to Schoeffer.

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Ornata B is the second of a series of old ornaments that I am trying to save from oblivion.

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Enzia is a friendly and flowing sans serif.

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Eterna is a very beautiful font with diverse uses.

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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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This family was inspired by the pure Jenson set of fonts used in Venice to print De preparatio evangelica in the year 1470. The present font contains all of the specific latin abbreviations and ligatures used in the original. Added are the accented characters and a few others not in use in this early period of printing, also small caps, these, contained in a separate file in the Mac TT version.

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Named for Antoine Augereau, teacher of Claude Garamond, this much admired rendition of the classic Garamond typeface was created by George Abrams and released in 1997.

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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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Trump Mediäval was designed by Georg Trump for the Weber foundry and released between 1954 and 1960. A student of F.H. Ernst Schneidler, Trump was a prolific type designer who considered himself first and foremost a teacher of the graphic and lettering arts.

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Tribute is a new typeface by German type designer Frank Heine. This is Heine’s fourth release with Emigre Fonts. Remedy, released in 1991, was a major commercial success. It’s curlicue, free-style, comic appearance, provided a perfect counter to Emigre’s then primarily modular type designs. Dalliance, a classic roman and script combo based on handwriting from a photocopy of a 1799 battle map, was released in 2002 and became an instant classic.

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German graphic designer and professor Friedrich Poppl’s first text design, Poppl-Pontifex, was released by Berthold in 1974 and gained him international recognition as a type designer.

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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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In 1931 Monotype made this facsimile of the typeface cut originally for John Bell by Richard Austin in 1788, using as a basis the matrices in the possession of Stephenson Blake & Co. Used in Bell’s newspaper, “The Oracle,” it was regarded by Stanley Morison as the first English Modern face. Although inspired by French punchcutters of the time, with a vertical stress and fine hairlines, the face is less severe than the French models and is now classified as Transitional. Essentially a text face, Bell can be used for books, magazines, long articles etc.

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Granjon was designed in 1928 for Linotype by George Jones.

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This font is based on an alphabet published by Luca Pacioli in his 1509 mathematical treatise De divina proportione. In this book, Pacioli describes how to build the Roman alphabet geometrically using lines, squares and circles.

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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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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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Based on a font design called Eldorado, we had to change the name because Linotype has a disimilar typeface of the same name!

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Principe is the Bodonian idea driven to the limit by abolishing most of the hairlines! The shape is completed only by the eye of the reader.

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Berling was created by Karl-Erik Forsberg for the Berling foundry in 1951, with other weights added in 1958. The design is an old style roman, particularly useful for books, journals, and other text applications. Although it has higher contrast than most old style typefaces, Berling has the classic features of old style romans with its diminutive x-height, and ascenders that exceed the height of the capital letters. Berling is good for text settings as well as display work.

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Seen through the eyes of type designer Xavier Dupré, Zingha “balances French rhythm with American style.”

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Created at D. Stempel AG in 1977, Linotype’s Gazette is a text typeface that was designed to withstand the rigors of high-speed newspaper presses and coarse newsprint, and to guarantee legibility throughout long press runs.

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Liquoia are three scripts with lots of contrast and different embellishments.

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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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Eleganza is my most elegant typeface.

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Ornata D is the fourth of a series of old ornaments that I am trying to save from oblivion. I am completely redesigning the ornaments from scratch, trying in this one to keep the rough “letterpress” character.

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Envoy is a serif type inspired primarily by Garalde oldstyle types. It’s particularly well suited for the needs of longer text such as in books and magazines. The family includes regular, italic, bold, bold italic and small capitals.

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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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This family was created inspired from the Garamond patern set of fonts used by S. Millanges “imprimeur ordinaire du Roy”, in Bordeaux, circa 1580-1590. Especially for reprint L'instruction des curés (Instructions to parish priests), from Jean Gerson.

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ITC Giovanni was designed by Robert Slimbach and released by the International Typeface Corporation in 1989. Beginning at the drawing board and then moving to a computer, Slimbach based his design on classic oldstyle typefaces such as Garamond and Bembo. He then gave the typeface more contemporary proportions and weights, which resulted in a lively and legible text typeface.

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1776 Independence was designed inspired mainly from the font used by John Dunlap in the night of 1776 July 4th in Philadelphia to print the first 200 sheets of the Congress' Declaration of Independence establishing the United States of America. I just added accented letters and a few others, with respect for the original design.

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In 1543 was published in Bâle (Switzerland) the well-known “De humani corporis fabrica” treatise on anatomy by André Vesale, printed by Johann Oporinus. A various types of faces were used for this work, mostly in Latin but including Greek characters. Its Jenson-type font was the one who inspired this font software. It is a very elegant one, including “long s”, a few abreviated characters and ligatures. As it was a Latin text, there were any accented characters and a few capitals were to be lacking. I had to reconstruct them.

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Hachura is an impressionist typeface designed by Ricardo Esteves Gomes. Its general proportions are based on the garalde models, with traditional roman serifs.

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Copacabana is heavily based on one of my favourite typefaces Goudy Old Style Italic. It is sharper and more clearly defined than Goudy yet still retains it old style characteristics. The face is slightly angled so is basically upright whilst still retaining Italic characteristics.

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This family was inspired by the edition De Civitate Dei (by Sanctus Augustinus) printed in 1467 in Sobiano (Italy, Roma) by Konrad Sweynheym and Arnold Pannartz who was the Punchcutter. It is one of the first few “Roman style” fonts, just before the birth of Jenson’s pattern (look at 1470 Jenson Latin).

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Digitally engineered by Steve Jackaman. The x-heights are radically different; the x-height on the light version is small, and gets larger as the weights progress.

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Insigne Fleurons offers a wide range of diverse text ornaments to enhance your designs. These 52 ornaments can be used as components of a logo, background patterns or elements, border patterns or to add flourishes and refinement to your designs.

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This font is a collection made with the largest part of the ornaments contained in the GLC foundry medieval and renaissance period fonts. It was made for the use of customers who wish to embellish their works without buying our complete catalog!

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Font designed from that used in France in 1492 to print the peace treaty between French and Enqlish Kings in Etaples, French town in Normandy.

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