Font designed from that used by Gutenberg in Mayence to print the 42-line bible in 1456.

More…

Matrix II is a complete reworking of the original Matrix type family which was designed by Zuzana Licko in 1985.

More…

Dolly, a book typeface with flourishes.

More…

Until recently the story of this type face ended with mediocre digital versions, which did not get at the root of its inspiration. Our pursuit of this paramount body type face of the 20th century began in Nové Hrady Castle, the place where a part of the depository of old prints of the National Museum Library is kept, in the summer of 1999.

More…

This new OpenType pro family has four members so far with 588 characters and glyphs each.

More…

Trinculo is a cursive font which combines traditional letter forms with ridiculously ornate embellishments and flourishes. It’s rather like what an 18th century clerk might have done with his lettering if he was bored to distraction with writing the same old letters again and again.

More…

Mokka is a robust and crisp typeface with strong serifs and individual forms.

More…

See also Triplex.

More…

This typeface is named after Sarah Eaves, the woman who became John Baskerville’s wife. As Baskerville was setting up his printing and type business, Mrs. Eaves moved in with him as a live-in housekeeper, eventually becoming his wife after the death of her first husband, Mr. Eaves. Like the widows of Caslon, Bodoni, and the daughters of Fournier, Sarah similarly completed the printing of the unfinished volumes that John Baskerville left upon his death.

More…

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.

More…

Fedra Sans was originally commissioned by Paris-based Ruedi Baur Integral Design and developed as a corporate font for Bayerische Rück, a German insurance company, as part of their new visual identity. According to the commissioner, the objective was to 'de-protestantize Univers', the typeface which Bayerische Rück had been using since Otl Aicher designed their first visual identity in the 1970s. The typeface reflects the original brief: it humanises the communicated message and adds simple, informal elegance. The most important criterion was to create a typeface which works equally well on paper and on the computer screen, and is consistent across all computer platforms.

More…

The Filosofia Regular family is designed for text applications. It is somewhat rugged with reduced contrast to withstand the reduction to text sizes.

More…

This typeface is named after Sarah Eaves, the woman who became John Baskerville’s wife. As Baskerville was setting up his printing and type business, Mrs. Eaves moved in with him as a live-in housekeeper, eventually becoming his wife after the death of her first husband, Mr. Eaves. Like the widows of Caslon, Bodoni, and the daughters of Fournier, Sarah similarly completed the printing of the unfinished volumes that John Baskerville left upon his death.

More…

“The concept for Vista began when I sketched a few characters in a notebook while staying in Sumatra on a one month holiday. I wanted to design a typeface for text and display that would retain some of the characteristics of the idiosyncratic shop signs that surrounded me in Sumatra.” - Xavier Dupré

More…

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.

More…

See also Triplex Italic.

More…

Greek version by Panos Haratzopoulos.

More…

Dederon Serif has been specifically designed for book setting. Preliminary sketches were drawn in 2004. Its inspiration — particularly its weight and width proportions — can be traced to the Liberta typeface from the TypoArt type foundry in former Eastern Germany. After a careful study of the model, the design of Dederon branched off into its own direction, finding its distinctive voice and becoming a wholly original type family. Dederon Serif kept most of the elements typical for the Old Style Roman lettering, such as the angle of the stress, the medium x-height, and lower contrast. In large sizes, the typical shapes of the letters stand out — the calligraphic feel characteristic for the Czech typefaces by Oldrich Menhart, the unusual serifs hinting at the angle of the pen, the shapes of the stems, or the terminals of dots and ears.

More…

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.

More…

Dederon Serif has been specifically designed for book setting. Preliminary sketches were drawn in 2004. Its inspiration – particularly its weight and width proportions – can be traced to the Liberta typeface from the TypoArt type foundry in former Eastern Germany. After a careful study of the model, the design of Dederon branched off into its own direction, finding its distinctive voice and becoming a wholly original type family. Dederon Serif kept most of the elements typical for the Old Style Roman lettering, such as the angle of the stress, the medium x-height, and lower contrast. In large sizes, the typical shapes of the letters stand out – the calligraphic feel characteristic for the Czech typefaces by Oldrich Menhart, the unusual serifs hinting at the angle of the pen, the shapes of the stems, or the terminals of dots and ears.

More…

The Filosofia Regular family is designed for text applications. It is somewhat rugged with reduced contrast to withstand the reduction to text sizes.

More…

Instead of seeking inspiration in the past, Fedra Serif is a synthetic typeface where aesthetic and technological decisions are linked. Fedra combines seemingly contradictory ways of constructing characters into one harmonious font. Its humanistic roots (the rhythm of the handwriting) is balanced with rational drawing (a coarse computer-screen grid).

More…

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

More…

In the mid-‘80s, Petr van Blokland designed Proforma for Purup, a leading supplier of forms systems. Oldstyle structure provides essential copyfit and legibility, leading ATypI to award Petr the Charles Peignot prize for distinguished typographic achievement.

More…

Montag is an extended, rounded sans-serif.

More…

In spite of the fact that Portfolio’s capitals are highly ornate, it is still very legible.

More…

ALS Mirta is a clean text type well-suited for use in typesetting of smart volumes and kids’ books.

More…

Pradell is a Latin text family based on original Spanish 18th century type specimens. More exactly on those type specimens showing the types cut by Catalan punchcutter Eudald Pradell (1721-1788).

More…

Punchcutters (when types had to be cut, and not just drawn), were working with steel, a strong metal they had to sculpt. They were subject to physical contingencies: each type cast was engraved separatly and, as we move down into the smaller type sizes, the drawing was adapted to new specific data encountered — fine hairlines—hence fragile—need to be reinforced, the curves simplified and the width spacing slightly increased to prevent the ink from clogging up the composition. So, each body size had its own drawing, mostly given by merely physical limits relating to the dexterity and eyesight of the punchcutter… and of the reader, too.

More…

Lorelei is an exuberant and bouncy script.

More…

Although designed by the Hungarian Nicholas Kis in about 1690, the model for Janson Text was mistakenly attributed to the Dutch printer Anton Janson. Kis’ original matrices were found in Germany and acquired by the Stempel foundry in 1919.

More…

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.

More…

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.

More…

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.

More…

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.

More…

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.

More…

Greek version by Panos Haratzopoulos.

More…

Questal is an intriguing unicase serif.

More…

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

More…

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

More…

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.

More…

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.

More…

Updated in 2009, Chennai has new weights and OpenType features. Chennai is a simplified sans-serif with a full complement of OpenType alternates. The typeface is rounded, slightly extended and geometric. Over fifty OpenType alternate characters are available, including swashed lower forms, traditional caps and a traditionally formed lowercase. Chennai also includes seven style sets, oldstyle figures, and small caps. Please see the sample .PDF to see these in action.

More…

Fable is an elegant, hand-crafted typeface that evokes the magic of fantasy weddings, of castles and wizards, of dragons and dungeons. Among others it combines elements that are suggestive of Greek mythology, of runic scripts, of Scandinavian tales and of the stories of King Arthur. Difficult to categorise, Fable effectively combines features of uncial, calligraphic and script fonts.

More…

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

More…

Ninfa is a modern semi-serif, characterized by the search for a personal dash with calligraphic influences.

More…

See also BF Fiona Script and BF Fiona Slab.

More…

The first idea was to simulate a sewing technique called overlock. The special thing about it, is the warm feeling that gives to your text because of its particular rounded glyphs shape.

More…

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.

More…

Designed by Georg Trump between 1951 and 1955 and released by the Weber type foundry in Germany, Delphin I is a beautiful roman typeface with strong calligraphic leanings.

More…

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).

More…

This font is not overly distressed, nor is it overly clean. It is a typewriter font. It is perfect when you want a document to look like it was made on a typewriter.

More…

Cenizas is another masterpiece of rough-and-tumble script from the prolific Argentine duo of Koziupa and Paul.

More…

In 1995, FontHaus came upon a rare opportunity to create a revival of Aries, a little known and previously unavailable typeface by the legendary Eric Gill. Discovering a lost typeface by one of the major designers of the 20th Century, was the discovery of a buried treasure, and being the first type company to release it was an honor.

More…

Odyssey is a display face with a variety of ligatures and alternate characters. The family includes regular, alternates and ligatures.

More…

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.

More…

This modernized rustic Baroque Roman face paraphrases freely its model from the first half of the 18th century. As far as the historical origin of this type face is concerned, the same applies here as in the case of the Baroque type faces described above. The shape of the letters has been cleared from all unevenness and softness, but has retained its lively expression. It is deliberately rather cooler than the reverently digitalized Baroque Roman type faces, since it was necessary to adjust it with regard to the visual experience of the contemporary reader. In addition, it has bold designs and aligning figures, which also considerably extends the range of its application. It is an entirely reliable text type face for the most demanding extensive works. Thanks to its calm expression and excellent legibility it is widely used when printing series of professional literature.

More…

Italic type was invented by Aldus Manutius in 1499 or 1501, first, before to be a style name, it was a plain font familly name. This Italique style font was inspired from these who was used by Jean de Tournes in Lyon (France) to print La mÈtamorphose d'Ovide figurÈe, a splendid book with numerous gothic style wood carved pictures.

More…

Instead of seeking inspiration in the past, Fedra Serif is a synthetic typeface where aesthetic and technological decisions are linked. Fedra combines seemingly contradictory ways of constructing characters into one harmonious font. Its humanistic roots (the rhythm of the handwriting) is balanced with rational drawing (a coarse computer-screen grid).

More…

Aquila is a highly legible serif typeface, designed with cursive letterforms in the italic version and without top serifs on the lower case characters giving it a more casual look.

More…

Karmina is a text typeface developed mainly for pocket books and budget editions. It was built to withstand the worst printing conditions: low quality papers, high printing speed with web presses and variations in the ink level of the printing press.

More…

The long awaited and much requested revival of Robert Hunter Middleton's very popular classic is finally here. Mayfair Cursive was an instant hit for Middleton in 1932, and it went on being used widely until late into the 1970s, in spite of it never having crossed over to film type technology.

More…

The Bitstream version of Linotype Janson.

More…