Based in the handwriting of Helga Mora, Manuel Corradine’s mother.

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Karmina Sans follows the steps of its successful award winner cousin, Karmina Serif. It shares the same technical excellence and it achieves similar stylistic features, but the new sans serif version proposes a much more versatile tool for editorial designers.

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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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Susa is an elegant and flowing brush script typeface.

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Silk Script is a revival and elaborate expansion of a 1956 Helmut Matheis script called Primadonna, which strangely remained a metal face and never made the leap into the film age.

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Maryam is an Outras Fontes type family designed by Ricardo Esteves Gomes.

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Ballerina Pro… sounds like music, ballet, elegance and classic quality. That’s exactly how Ballerina Pro carries the message to the reader. Ballerina Pro is more of a formal script, light-weighted and quite beautiful, redesigned, digitized, completed and expanded as OpenType in the profonts type studio.

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This script font was inspired by a lot of autographs, notes and drafts, written by President Abraham Lincoln, mainly the Gettysburg address, first draft and copies, but also the emancipation proclamation. It is an attempt to offer a typical manual script from this American period, not to propose the exact writing from A. Lincoln himself.

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The Treasury script waited over 130 years to be digitized, and the Canada Type crew is very proud to have done the honors. And then some. After seven months of meticulous work on some of the most fascinating letter forms ever made, we can easily say that Treasury is the most ambitious, educational and enjoyable type journey we've embarked upon, and we're certain you will be quite happy with the results.

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Aphrodite Slim Pro is not just a lighter version of its sister Aphrodite Pro. Aphrodite Slim Pro has duplicated the quantity of characters of its partner, and that means more than 500 new glyphs, reaching a total of more than 1000.

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Aphrodite Pro is an amazing handmade font full of alternate and ligature forms designed by Sabrina Lopez and Maximiliano Sproviero.

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Since Mommie I gradually got more into swirly ornaments. The massive contrast in the neoclassic style is perfect for thin swirly extensions to the characters. Even in an upright typeface. Narziss is very elegant in big headline sizes.

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Bree, based on TypeTogether’s logotype, is a sleek sans serif that delivers a polished and modern look and feel for branding or headline usage.

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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.

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In the early 1980s, at the start of my career, I had the opportunity to work in a print shop with classic lead setting. In those days I would study issues of U&lc magazine from ITC. What really caught my attention were scripts in the Spencerian style. I’ve been fascinated by this American penmanship tradition ever since.

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Flavour is an elegant brush script headline typeface.

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Narziss is a very popular display typeface. People really love the thin hairlines and the swirls.

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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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I wrote Freedom Writer out of a desire for a handwritten script that’s all-connecting. It’s partly based on my own handwriting style, and somewhat influenced by hand-lettered scripts of the 1940s and 1950s.

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Out of a lifelong inner struggle, Philip Bouwsma unleashes a masterpiece that reconciles classic calligraphy with type in a way never before attempted.

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While Adelle is a slab serif typeface conceived specifically for intensive editorial use, mainly in newspapers and magazines, its personality and flexibility make it a real multiple-purpose typeface.

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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.

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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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Oksana Text is the demure version of Oksana, with shorted serifs, higher contrast, more slender proportions.

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Sensual is ideal for invitations, greeting cards, logotypes, or anywhere a touch of elegance is desired.

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Hiruko is a full family of 16 different styles. Inspired by the early Swiss movements, Hiruko offers creativity and clarity within many media. Influenced by Japanese culture, Hiruko is based on the idea that less is more, however this applies in other directions when referring to the amount of work gone into producing the type family.

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Beautiful and elegant, Black Swan BF lives equally in bliss as entrance signage for an exclusive housing subdivision, as it does on the cover of a hot new music CD.

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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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Based on the free-spirited handwriting style of a friend, this font features automatic ligatures, alternate character substitutions and swashes in applications that are OpenType-savvy.

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Since I designed Mommie you can see a lot of script typefaces with big contrast for big sizes.

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

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

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

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An elegant face with dashing swash caps, based on an old American Type Founders typeface called Canterbury.

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Espectro is a fabulous font full of swashes and alternates.

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Sovba is an amiable rounded sans-serif inspired by handwriting. Sovba is useful for a look that is uniquely casual, fresh and smooth. Sovba simplifies character forms down to their basic characteristics, and has a strong, silky smooth forward motion.

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

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

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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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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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Oksana is a Ukrainian female name.

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

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Based on the hit album by Glen Campbell, Southern Nights is the font with a style that’s “free as a breeze,” as the song says.

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Enzia is a friendly and flowing sans serif.

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Inspired by a piece of cigarette pack lettering by the great A. M. Cassandre, Nick designed the rest of the characters as an experiment. Geetype evokes the 1920s & 30s and is an unusual, eye-catching display face.

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Inspired by an example of French handwriting ca. 1935.

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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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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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Designed by the famous English (type designer) Eric Gill, it was created specially for the Silver Jubilee Wedding Anniversary announcement of George VI and Queen Mary.

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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.”

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This beautiful new sansserif is named after the well-known New York resorts synonymous with style and elegance.

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Dearest John is the first font in the Love Letters series from Outside the Line. It is a bouncy hand lettered font.

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This type family can be seen as a historical approach that considers our increasing needs for freedom in a post-historical world. Jana Thork is a synthesis of the stone engraved capital letterforms and the uncial and half-uncial calligraphic styles.

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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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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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While Adelle is a slab serif typeface conceived specifically for intensive editorial use, mainly in newspapers and magazines, its personality and flexibility make it a real multiple-purpose typeface.

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Pauline is a sans serif with a strong influence from retro scripts. Pauline is a geometric face formed with slow and deliberate rounded brush strokes. The tall ascenders give it a useful touch of naïveté. It’s a face suitable for some interesting titling and short bits of copy.

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Although originally conceived as a magazine face – with strong serifs and open character shapes for good legibility in small sizes, and compact letter forms optimized for narrow columns and tight headlines – Marat evolved into a comprehensive family for general use.

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The Aviano series returns with a Didone or Modern face.

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Philip Bouwsma returns with his yet another great manifestation of historical calligraphy.

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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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The Morris Benton 1918 American classic, Announcement Roman, comes to digital life with more pizzazz than it ever had.

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See also BF Fiona Serif and BF Fiona Slab.

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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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Felt tip-written and full of expressive lines, Brandy BF exudes much verve and energy; and unlike many scripts, sets rather well in all caps situations.

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profonts Sonata and profonts Concerto are closely related to each other. In fact, the only difference between the two related fonts is in the upper case characters. profonts Concerto’s upper cases are more complex, swashier than those in profonts Sonata. One is a perfect complement to the other, and that is why they are offered together at special rate.

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An original design.

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Lorelei is an exuberant and bouncy script.

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Based on a turn of the century design.

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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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An elegant, free-flowing copperplate script style designed by renowned British designer Martin Wait. Generous initial capitals compliment the more restrained lower case letters that join for balanced letter spacing in word settings. Excellent for certificates, citations, diplomas and greeting card applications.

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MommieBrush is a brush script headline typeface. It is based on the Spencerian Mommie that won the 2008 TDC award.

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Loosely based on Prumyslava, an old Monotype design.

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In spite of its name, this font family embodies the ultimate classic modern advertising typeface, rather than concern itself with revivalism or Didone authenticity. Naturally the spirit of the original Didot faces still exists in this family, but over twelve years of work on it have made it more fitting to the luxurious expression of our day and age, rather than nineteenth century Europe.

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Digitalis was created from a desire to make an original æsthetically pleasing rounded typeface using the minimum of strokes. Each character has been reduced to only the most essential elements, yet retains its own beauty and elegance. Due to the contrast between thick and thin it is surprisingly legible when set as text.

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The story of Serena is a unique one among revivals. Serena was neither a metal face nor a film one. In fact it never went anywhere beyond Stefan Schlesinger’s 1940-41 initial sketches (which he called Saranna). A year later, while working with Dick Dooijes on the Rondo typeface, Schlesinger was sent to a concentration camp where he died, along with any material prospects for the gorgeous letters he'd drawn.

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