Busted is the very strange and out-of-character outburst of Bill Troop, a guy who was classically trained in everything, from classical piano and literature to classical photography and type design. As far as we could tell, Bill Troop is the kind of guy whose appearance and voice instantly trigger thoughts of black and white photos, fedoras, and pre-industrial age Europe. A few years ago, he even moved from the United States to England, where it took him less than a week to feel at home and start sounding like a Norwich native. Then something happened and the poor dude just snapped. Busted is the controversial result of the blood rushing to his head. If you know what exactly happened to him, please let us know.

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Poplar is an Adobe Originals typeface designed by Barbara Lind in 1990 for the Adobe Wood Type series.

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Kinesis is a unique and lively typeface family designed by Mark Jamra.

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Gudrun Zapf von Hesse designed Smaragd for D. Stempel AG, who released it in 1952.

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Nyx is a stencil typeface designed by lettering artist Rick Cusick and named after the designer’s muse: the Greek goddess of night.

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It was our initial intention to develop a suitable lowercase for Les Usherwood's Elston typeface, based on a few characters from an old German typeface called Hermes Grotesque (Woellmer, Berlin).

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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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The Sommet series has been updated with a rounded variant.

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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.

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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.

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Project a powerful image with Sommet.

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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.

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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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The Heinemann fonts were initially developed by the in-house design team at Heinemann educational publishing out of the necessity to find the perfect font for use in early primary reading books and literacy products.

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Mercurius is indeed mercurial - animated and lively. Designer Adrian Williams’ typeface has the flowing appearance of a script face, but the readability of a roman.

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Ronald Arnholm began work on ITC Legacy in 1982. Released in 1993, ITC Legacy is a revival of Nicolas Jensen’s types as seen in the 1470 Eusebius.

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It was our initial intention to develop a suitable lowercase for Les Usherwood's Elston typeface, based on a few characters from an old German typeface called Hermes Grotesque (Woellmer, Berlin).

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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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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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Inoxida is Oxida's softer and more graceful sister.

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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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Utopia is an Adobe Originals text face designed by Robert Slimbach in 1989. It combines the vertical stress and pronounced stroke contrast of eighteenth-century Transitional types like Baskerville and Walbaum with contemporary innovations in character shapes and stroke details.

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In Cooke’s ongoing quest for simplicity and elegance he developed this striking alternative sans 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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Fertigo Pro Script. Fine connected type with a lyrical calligraphic touch.

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This typeface was created by writing with a brush pen, selecting the best characters, scanning and tracing exactly to maintain maximum character integrity. Extensive kerning ensures an even flow when set as text, so Gizmo appears as quickly-written handwriting.

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Penumbra, designed by Lance Hidy in 1994, is an all-capital design. Hidy derived Penumbra from his poster lettering-monoline forms with a blending of contemporary and traditional qualities, which has evolved since the 1970s.

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Ex Ponto, designed by acclaimed calligrapher, type designer and artist Jovica Veljovic, is a spirited script typeface. Based on the rhythm of Veljovic’s handwriting, Ex Ponto combines the vigor of handwritten letters with the grace of meticulously crafted script typography. Veljovic began by drawing calligraphic characters on rough paper and then carefully modified these ragged-edged letterforms to produce graceful, balanced characters.

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Nueva, designed by Carol Twombly in 1994, was originally conceived as a potential lowercase companion to her 1990 titling typeface Charlemagne.

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The introduction of Tekton Pro, an Adobe Originals design expanded for OpenType, makes one of Adobe’s most popular typefaces even more useful.

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Kathleen Sans is a geometric sans-serif display font and works best in text and display applications, such as posters, headline, magazine, logos, titles, product branding, corporate branding and publishing.

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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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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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Pikelet is a misprinted grunge font ideally suited to headlines, poster and display.

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

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Dienstag is an extended sans-serif and a new companion to insigne’s popular Montag family.

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The unmistakable brush of Angel Koziupa does its unique work again, this time with the elegant strokes made for branding or packaging projects that entail the use of many design elements, and so require clear and simple artistic alphabet to represent the brand elegantly, without clashing with the overall design.

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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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As marketing research shows, the first thing people read on a page is the handwritten notes; then the captions. Eventually they might read the body copy.

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Carbon 14 is a direct product of photosynthesis. It is produced when a carbon based life form (like you) absorbs sunshine. As a radioactive isotope of the element carbon, it is used as a tracer in biochemical research because of varying amounts detected in all living things past and present. It is the primary means of time dating archæological specimens such as skeletal remains, plant materials, and paintings found in caves. (When you leave this life your remains are still giving off a Carbon 14 “buzz”.)

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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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Modeled on hand-drawn letters by well-known San Francisco calligrapher and lettering instructor Alan Blackman, Galahad represents one of his signature styles. The rough edges and eccentric forms of Blackman’s original sans serif lettering have been retained, giving the large display sizes a distinctive, congenial charm.

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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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Here is an extremely efficient and uncluttered typeface that you can use in a variety of situations.

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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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David Siegel began thinking about Graphite in 1982, looking for an architect’s handwriting with a “chiselled pencil” look, much like Tekton exemplifies the architect’s “pen and ink” metaphor. The handwriting of San Francisco architect Anthony Celis LaRosa became Siegel’s choice.

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In 1997, renowned lettering artist Julian Waters embodied his classical calligraphic roman capitals in a graceful typeface, aptly named Waters Titling. In 2001, the original design was enhanced and unified in the new OpenType format.

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Vectora is a contemporary sans serif designed by Adrian Frutiger for Linotype-Hell in 1991.

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Michael Harvey designed Ellington for Monotype in 1990. Ellington (named after jazz musician and composer, Duke Ellington) is a text typeface that has a definite calligraphic influence that creates a lively and interesting page.

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Margaret Calvert’s typeface is a contemporary interpretation of the slab serif style, less mechanistic than many, and owing more to humanist letterforms. Designed in 1980 for Monotype, Calvert is based on letters Margaret Calvert originally drew for the signage system of Britain’s Tyne and Wear Metro system.

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Joachim Müller-Lancé’s Flood is not just another handwritten face. At smaller point sizes it exhibits the natural, dynamic, and spontaneous flow of felt tip marker writing. At larger sizes Flood is immediate, urgent, and provocative in its stylized detailing, without being overly dramatic.

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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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Isabella was designed in 1892 for MacKellar, Smiths and Jordan, one of many type houses that were later amalgamated into American Type Founders.

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Cooper Black is a very heavy version of Cooper Oldstyle (also known simply as Cooper), an innovative typeface with rounded serifs and long ascenders designed in 1919. The Cooper family was the work of Oswald Bruce Cooper, co-owner of the Bertsch & Cooper design firm in Chicago. Cooper Black was first released by the Barnhart Brothers & Spindler foundry of Chicago in 1922. Oz Cooper was fond of saying that the Black fit the needs of “far-sighted printers with near-sighted customers.” Cooper Black set a trend in ad types which prompted such designers as Fred Goudy (one of Cooper’s early teachers) to follow suit with their own black faces (compare Goudy Heavyface).

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Typefaces without serifs were known in nineteenth-century England as Grotesque (or Grotesk in German) because they seemed so unusual to most readers. Monotype Grotesque is a straightforward 1926 design that is among the earliest sans serifs cut for hot-metal machine typesetting.

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Birch is an Adobe Originals typeface designed in 1990 by Kim Buker Chansler. Birch is based on a Latin Condensed wood type found in a 1879 William Page specimen book; Birch is a particularly legible condensed display typeface notable for its angled serifs.

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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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Although initially inspired by the neon sign in front of Canter’s Delicatessen in Los Angeles, the design of Deliscript Upright and Deliscript Slant soon took on a life of its own–and its own distinctive look. Like its sibling Metroscript, Deliscript has many features that expand its usability such as the the variable length tails which can be accessed in 6 different styles, and the never before seen crossbars which can be extended outward in either direction from the lower case “t”. Throw in the special “WordLogos”, tons of ligatures and foreign accented characters, and you have a recipe for typesetting that approaches the look of hand-lettering. For a better understanding of its unique features please download The Deliscript User Manual—available in the Gallery section.

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Apollo was designed in 1964 by Adrian Frutiger for the Monotype Corporation and was the first typeface created specifically for the new Monophoto technology. Originally designed for printing on smooth papers by photolithography, Apollo displays an overall lightness that is useful for shorter text settings.

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Jan van Krimpen designed Spectrum for the Dutch Enschedé foundry in 1952. Released by the Monotype Corporation in 1955, Spectrum is a direct descendant of the great Aldine types of Venice, which are characterized by their pen-based curves and oblique serifs.

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Smart, sharp Hybrea is seven stages of pure progress: from laser-thin to industrial-fat.

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Originally, Arabella Pro was designed by Arnold Drescher around 1936/1939. Drescher created this wonderful script for former Germany typefoundry Joh. Wagner. The typeface has been redesigned, digitized, completed and expanded as OpenType Pro in the profonts studio by Ralph M. Unger.

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A marvelous idea for a font inspired by the stenciled lettering on imported merchandise containers. Chinese Rocks looks like it was made by a hand cut rubber stamp, used about a million times. Uneven line thickness and odd stem widths combined with sharp corners give the effect of having been cut out with a box knife in a hurry. It ain't pretty but it sure gets the message across.

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Viva, designed by Carol Twombly, was released in 1993 as the first open-face design in the Adobe Originals Library.

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Berthold Wolpe designed Albertus, his second typeface, for Monotype between 1932 and 1940. Albertus was first available only as a titling font, until 1940, when the lowercase was added. Modeled on letters that Wolpe chiseled out of bronze, the sharp serifs are formed by a simple widening of the stems.

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A semiformal “ribbon” script designed by Robert Hunter Middleton, Coronet was first released by Ludlow in 1937. The small proportions of the lowercase letters are part of the elegance implied by the name and work best at medium or large point sizes, such as short blocks of display copy or headlines. The face has a soft, comfortable quality that lends itself to a wide range of applications, from invitations to bubble bath packaging.

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Although Los Alamos was originally designed as a complementary sister typeface to Grand Canyon, it evolved into a comprehensive and unique type family in its own right.

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Colin Brignall, type director of Letraset, designed the short-serifed Aachen Bold in 1969 to fill the need for a contemporary, heavy Egyptian letterform; Egyptians are nineteenth-century designs characterized by their slab serifs.

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At first glance, Else may seem to be similar to many of the Century typefaces, with its prominent figures and sturdy alphabet.

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Tim Donaldson, creator of Banshee and Coriander, brings us Postino - a quirky display type modeled roughly on the typewriter face, Courier.

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This is the first type design by Yugoslavian calligrapher Jovica Veljovic, who created this crisp, lively text typeface for the International Typeface Corporation in 1984.

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Based on a turn of the century design.

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Based on the Ludlow/ATF versions of this great typeface.

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Perio is a small family, offering a distressed rendering of a conventional serif typeface in 4 varieties. There’s Ordinary, All Caps, Small Caps, Clean and Jumbled.

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