A three dimensional design has rich textured layers along with a strong drop shadow. This design has four individually drawn outlines to create multiple solutions with layers, colors, gradients and filters. Revenue requires subjective display kerning and compensation.

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The model for this monocase typeface was issued in the early 1900s by Barnhart Brothers & Spindler with the rather prosaic name of Steelplate.

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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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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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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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In Cooke’s ongoing quest for simplicity and elegance he developed this striking alternative sans family.

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An original design.

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Designed by Les Usherwood. Digitally engineered by Steve Jackaman. Originally in one weight, Steve designed and produced three additional weights.

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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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Inspired by the ancient carvings chiselled into Trajan’s column in Rome, Byington pays homage to Trajan’s venerable lines but strips away the subtle nuances usually associated with the classic design. Fortified to withstand the requirements of video and other low resolution applications, Byington’s strength lies in its beefier serifs and speedier transitional curves. And what’s this? Recent excavations revealed a lowercase, ten meters below the column’s foundation. Just kidding! Byington’s lowercase is interfused with Sabon and Garamond, mirroring the pared down simplicity of the capitals.

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An elegant Large and Smallcap design great for magazine and all sophisticated designs.

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Inspired by Goudy’s original from 1905, Biondi maintains the classic wide and squarish shape that made Copperplate Gothic a design staple and moves it forward to the 21^st Century.

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Loosely based on Prumyslava, an old Monotype design.

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Although a sans serif, Colosseum owes its style to the original Trajan Roman form. Borrowing some characteristics from Friz Quadrata, in its san serif form it is more adaptable to text usage whilst still having a modern and original look which works well in headlines.

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Designed by Les Usherwood. Digitally engineered by Paul Hickson.

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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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Winthorpe is a transitional text font which includes Regular, Italic, SemiBold, SemiBold-italic and Bold in small-caps and regular. Included: lining numerals, old-style numerals, fractions, superiors, inferiors & ordinals.

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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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A creative variation of the Oldstyle form designed by E. Pechey for Stephenson Blake early in the twentieth century.

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A new gothic with the great new look for today.

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A new gothic with the look for today.

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Based on Nacional by Carlos Winkow from the Spanish foundry, Nacional, circa 1941.

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Havenbrook comes in 5 weights, from the slender and elegant Regular, to the quite chunky Black version. In full the five weights are 1 Regular, 2 Demibold, 3 Bold, 4 Heavy, 5 Black.

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Based on the original Stephenson Blake drawings.

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In searching for a Roman to use there were bits of Bembo,Times,Garamond etc., that I liked and bits that I did not. So I set out to take the best bits of all my favorite Romans and tried to create the ultimate Roman typeface.

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Designed by Les Usherwood. Digitally engineered by Steve Jackaman.

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Designed by Les Usherwood. Digitally engineered by Steve Jackaman.

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Crazy Loot is an alternate-caps, offbeat Latin display typeface with a retro feel.

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There has never been a publicly available digital version of Cooper Black’s original swash characters.

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Kelvingrove is an attractive new small-cap copperplate with alternate swash K, Q and R. A small ampersand is also included. The numerals are perfectly balanced to work with either caps or small caps.

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“What’s that striking font you’re using?” It’s Tandelle. The classic yet contemporary style gets noticed amid the sea of “same old fonts.” The masculine yet elegant lines impart a charm not often seen in compact fonts. Tandelle is most unusual; opting for balance over modularity without looking like a cheap suit. It’s not something just any font can pull off successfully. It doesn’t scream “I’m different,” but you can’t ignore how easily it adds a sense of style to everything. And the OpenType old style numerals? So dapper. When appearance is everything, Tandelle handles any situation from print work to video with pizzazz.

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Cooper Black, commissioned by Barnhart Brothers & Spindler, is the best known of Oswald Cooper’s typefaces. Bitstream has expanded the 1921 original into a complete series of round-edged text faces.

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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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The BATTISTA typeface stands in the long tradition of the designs developed by Giambattista Bodoni, who made his famous typefaces in the end of the eighteenth century. Similar designs can be found on various specimen books e.g. Alexander Wilson, John Bell, Edmund Fry and Alexander Thibaudeau. One of the best italics was available by Stephenson Blake & Co. foundry form Sheffield, England. In the end of the nineteenth century an unknown punch cutter at the German type foundry Schelter & Giesecke made an very bold cut of this Bodoni design. He brought both designs, the regular and the italic to an new level of harmony.

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Great Western is an engraved roman font that reminds you of the old railroad days when steam locomotives made their way across the countryside.

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Bitstream Cooper was designed at Bitstream in 1986 by means of adding light, medium, and bold styles, with the corresponding italics, to the existing black ones.

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Telidon Ink is an font reminiscent of dot matrix printer fonts of the 1970s and 1980s and are still in use today on retail receipts. A subtle horizontal smearing effect, simulates the ink ribbon moving against the paper. If you want a clean version of this font, Telidon Ink has a sister family simply called Telidon. The extended styles have doubled pixels, just like the dot matrix fonts of yesteryear.

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A new gothic; great for books and magazines.

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An original design.

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At the height of the Roman Empire’s reign of power, a bunch of guys wearing baxas, olive branch headgear and lined saffron togas told a bunch of guys wearing carbatinas, no headgear and cheapo coarse togas to go and hammer the proud history of the Empire onto every worthy slab of rock, obelisk and wall out there. This resulted in countless rocky manifestations of ancient clipart, interesting stories and weird messages becoming national tourist attractions and museum dressing all over the world to this very day, which is some 2000 years later.

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Originally designed by Sol Hess as just a roman and italic for Lanston Monotype, circa 1920-23.

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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 is a display version of the Bergsland Pro serif font family called Bergsland Engravers Pro.

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Designed by M. Fahrenwaldt for the Schriftguss foundry in 1929, Minister is a contemporary design based on Garalde types.

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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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A great look for formal announcements, business, high-end ads and many other applications.

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Designed by Les Usherwood. Digitally engineered by Steve Jackaman. Originally designed by Frederick Goudy for the original Life magazine, circa 1908.

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At the height of the Roman Empire’s reign of power, a bunch of guys wearing baxas, olive branch headgear and lined saffron togas told a bunch of guys wearing carbatinas, no headgear and cheapo coarse togas to go and hammer the proud history of the Empire onto every worthy slab of rock, obelisk and wall out there. This resulted in countless rocky manifestations of ancient clipart, interesting stories and weird messages becoming national tourist attractions and museum dressing all over the world to this very day, which is some 2000 years later.

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Loosely based on Pontecorvo, a design by Aldo Novarese.

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An original design based on Progreso from the Gans foundry circa 1923.

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See also BF Fiona Serif and BF Fiona Script.

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Based on an Adrian Williams design, circa 1976 and Brook Type in 1903 designed by Lucien Pissaro.

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Designed by Les Usherwood. Digitally engineered by Steve Jackaman. This beautiful recreation by Les of the Frederick Goudy typeface, Kennerley Old Style, circa 1911-24, may be superior to any other.

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Designed by Les Usherwood. Digitally engineered by Steve Jackaman. Unofficially named ‘No Frills’ in the early stages of development, his widow Elsie decided that it would be called Kingsrow.

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Forum Title was originally designed by Frederic Goudy in 1911. It was intended to be the heading font used for a book set in Kennerley. Based on inscriptional Roman stone cut capitals, this face is true to the early Roman forms which did not have a lower case. Forum exemplifies the classic Roman letterform at its finest. If a lower case were desired, Forum Title can be paired with Goudy Oldstyle for a harmonious hybrid font.

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Based on the Albert Kapr design, circa 1959.

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Designed by Les Usherwood. Digitally engineered by Steve Jackaman. A few weights were originally released by another foundry; but this complete version of the family is a better match to Les’ original drawings!

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An original design based on the Frederick Goudy design first shown in 1912. Originally a caps only design in one weight. Produced as a foundry face by Lanston Monotype 1924.

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A bold engraver type style with a Wall Street look.

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The two fonts Andron Corpus Publix-General and Andron Corpus Publix-Transport offer a selection
of most useful public orientation signs as occurring in public spaces as well as in digital and printed media. The unusual feature of these fonts is a thorough and fancyful typographical detailing, which makes the characters appear more sophisticated and less schematic.

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Designed by Les Usherwood. Digitally engineered by Paul Hickson. Les based the design on a turn-of-the-century typeface of the same name. The foundry is believed to be Soldans & Payvers, circa 1904.

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These bold, eye-catching images by Minneapolis illustrator, Tom R. Garrett give retail work the creative edge! His crisp, Memphis-Milan illustration style mixes the innocence of 1950’s advertising with a savvy 1990’s approach. Commercials is filled with illustrations of cameras, watches, home appliances, clothing, shoes and furniture plus a number of settings from a café table with an umbrella to a picnic scene.

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A typeface made from vintage typewriter samples and meticulously compiled into a complete character set.

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Engravers is a typeface based on styles of engraved lettering that were popular at the end of the nineteenth century in America and abroad. American Type Founders, Inc. (ATF) released a successful ancestor of this design in 1903.

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Designed by the swiss Haas'sche Schriftgiesserei, (Haas Type Foundry) Chevalier is a set of shaded capitals and figures, modern face or fat face in design.

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