Stern is a typographic first: it marks the first time a font is simultaneously released both digitally and in metal.

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

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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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In 1939 the Stephenson Blake Company bought a very popular script called Undine Ronde and began marketing under the name Amanda Ronde. Although Undine/Amanda was quite popular and can be seen in many advertisements from the 1930s and 1940s, there seems to be no surviving record stating the original foundry or designer.

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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.

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Poetica was designed in 1992, and is the first Adobe Originals script typeface; modeled on chancery handwriting scripts developed during the Italian Renaissance. This elegant style of writing formed the basis for italic typefaces and for modern calligraphy.

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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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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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Nick Cooke’s G-Type foundry continues to trailblaze and top of the sales charts is the fabulous Olicana 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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Flavour is an elegant brush script headline typeface.

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Susa is an elegant and flowing brush script typeface.

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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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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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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.

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John Baskerville spared no effort to create the ultimate typographic book. He prepared deep black inks and smoothed paper to show to full effect the letters that he had John Handy cut from his own brilliant designs, based on a lifetime of calligraphy and stonecutting. Punches and matrices survive at the Cambridge University Press.

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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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Tasty is an strong self-confident brush script headline typeface.

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

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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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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.

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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.

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Scotch Modern is a revival of the typeface used in the book New York State Cabinet of Natural History.

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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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British printer John Baskerville of Birmingham created the types that bear his name in about 1752. George Jones designed this version of Baskerville for Linotype-Hell in 1930, the International Typeface Corporation licensed it in 1982. An excellent text typeface, this Baskerville design has a delicacy and grace that come from long, elegant serifs and the subtle transfer of stroke weight from thick to very thin.

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Based on Hispalis from the Spanish foundry, Nacional.

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Espectro is a fabulous font full of swashes and alternates.

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

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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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Arrrrrr! A brand new handwritten brush font for all your pirate treasure maps, mateys.

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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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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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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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Lorelei is an exuberant and bouncy script.

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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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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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A. R. Bosco made Romany for ATF in 1934, when there was much demand for script types in advertising and publishing. It was the high times of Speedball lettering, and a casual script in that fashion was naturally very welcome. It became an instant hit and was used widely for a good part of the 1930s and 1940s.

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

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

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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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Inspired by an example of French handwriting ca. 1935.

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Based on the Robert Wiebking design for either Western or BB&S, circa 1918.

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The famous Italian type designer and Nebiolo director Alessandro Butti designed Rondine in 1948. Not so surprisingly - given its beauty - it quickly became quite a commonly copied metal type. But for some reason Rondine was spared during the massive “phototyping” that happened with the introduction of film type. Perhaps this is why no digital version of it ever existed until now.

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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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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.

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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 on a turn of the century design.

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Balladeer is an elegant, classical script available in several weights.

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An original design.

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Whether with pen on paper, or in digital, realistically connecting vertical handwriting is never an easy task to accomplish.

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Schwung is a brush script headline typeface. It has round elegant swirls that get stronger in the alternate version.

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Based on the original design, circa 1951.

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

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The name “Parchemin” is derived from the word in old English for “parchment”. Our modern word “parchment” changed its spelling to conform with French spelling practices during the French occupation of England. The font was created to suggest an informal but antique form of handwriting written on parchment with a quill pen. The scratchiness of the old quill pen is conveyed in the roughness of the characters. The font was loosely based on the font Queen>/a>.

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William Caslon released his first typefaces in 1722. Caslon’s types were based on seventeenth-century Dutch old style designs, which were then used extensively in England. Because of their remarkable practicality, Caslon’s designs met with instant success. Caslon’s types became popular throughout Europe and the American colonies; printer Benjamin Franklin hardly used any other typeface.

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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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William Caslon’s design as made regular by ATF at the beginning of this century.

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

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Sweet Upright Script is the first release for Sweet Fonts Collection, published by MVB Fonts. It is an interpreted revival of a vintage, social engraving lettering style that was popular during the 20th Century. It is probably the first digital version of the 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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MommieBrush is a brush script headline typeface. It is based on the Spencerian Mommie that won the 2008 TDC award.

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

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Bouwsma Text is what Roman type would look like if it had been designed by calligraphers instead of metalworkers. The formal harmony of the Roman capitals, with tapered stems, graduated curves and serifs which are natural entrances and exits for the broad pen. These serifs seamlessly work in relativity with the stroke weight, decreasing in size when the stroke increases.

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The Torquemada family marks the return of eminent American calligrapher Philip Bouwsma to the type scene after almost 7 years of hiatus, and he is certainly coming back with a lot of bells and whistles!

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Lourdes is an informal script font drawn with quick, thick brush strokes. The script appears to be quickly dashed down, and the characters were carefully designed to create a subtle rhythm. The strokes are slightly muted to avoid an overly aggressive appearance.

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Everything is a simple, yet beautiful handwritten font.

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WriteHand is a light-hearted, fluid, freeform script font. It is one of Anton Scholtz’s contemporary designs. Based on actual handwriting, the font contrasts a strong, artistic nature with a feminine sensitivity.

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Pendulum is the much-anticipated digitization and swashy expansion of Americana, an amazing yet long overlooked treasure from the Nebiolo foundry, circa 1945.

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A beautiful and unique new Blackletter font with many alternate characters and Ligatures.

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The vast popularity of William Caslon’s eighteenth-century types led to a practically endless range of Caslon copies, among them Caslon 540, from American Type Founders in 1902, and Caslon 3, a slightly bolder face also from ATF in 1905, which was later modified for use with Intertype and Linotype technologies. Both designs have the warm, solid, straightforward style that has made Caslon popular for over 200 years; these Caslons, however, have shorter descenders, and higher contrast, features that enable them to hold up better with the faster presses and the new varieties of paper introduced at the turn-of-the-century.

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Valentine is new profonts script typeface family with versions in light, light italic, medium and medium italic, supplied in the new OpenType Pro font format. Valentine contains about 1,100 glyphs for every weight, covering the complete Latin character set (West, East, Baltic,Turkish, Romanian), and a huge number of handmade ligatures, character combinations and alternates to make it a perfect OpenType Pro connecting script.

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Based on the William T. Sniffin design for ATF, circa 1928.

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