Designed by Morris Fuller Benton 1913-15, this Oldstyle family was digitized by Jim Rimmer in the early 2000’s.

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An ultra light thins all caps Victorian design with a slight stroke contrast. Elongated Roman requires subjective display kerning and compensation.

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Our familiar Caslon Bold headletters were invented around the turn of the twentieth century in the United States and were only loosely based on William Caslon’s romans.

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Comenia was developed as typographic system for use on all levels of schools and universities.

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Typographer and graphic designer Pavel Teimer (1935-1970) designed a modern serif roman with italics in 1967. For the drawing of Teimer he found inspiration in the types of Walbaum and Didot, rather than Bodoni. He re-evaluated these archetypes in an individual way, adjusting both height and width proportions and modifying details in the strokes, thus effectively breaking away from the historical models he used as a starting point. Teimer’s antiqua has less contrast; the overall construction of the characters is softer and more lively. The proportions of the italics are rather wide, making them stand out by their calm and measured rhythm. This was defined by the purpose of the typeface, as it was to be utilised for two-character matrices. The long serifs are a typical feature noticeable throughout the complete family of fonts. In 1967, a full set of basic glyphs, numerals and diacritics of Teimer’s antiqua was submitted to the Czechoslovak Grafotechna type foundry. However, the face was never cast.
At the beginning of 2005 we decided to rehabilitate this hidden gem of Czech typography. We used the booklet "Teimer’s antiqua - a design of modern type roman and italics", written by Jan Solpera and Kl‡ra Kv’zov‡ in 1992, as a template for digitisation. The specimen contains an elementary set of roman and italics, including numerals and ampersands. After studying the specimen, we decided to make certain adjustments to the construction of the character shapes. We slightly corrected the proportions of the typeface, cut and broadened the serifs, and slightly strengthened the hair strokes. In the upper case we made some significant changes in the end serifs of round strokes in C, G and S, and the J was redrawn from the scratch. The top diagonal arm of the K was made to connect with the vertical stem, while the tail of Q has received a more expressive tail. The stronger hairlines are yet more apparent in the lower case, which is why we needed to further intervene in the construction of the actual character shapes. The drawing of the f is new, with more tension at the top of the character, and the overall shape of the g is better balanced. We also added an ear to the j, and curves in the r have become more fluent.
To emphasise the compact character of the family, the lining numerals were thoroughly redrawn, with the finials being replaced by vertical serifs. The original character of the numerals was preserved in the new set of old-style figures.

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Calluna was born more or less by accident.

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

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German-born punchcutter Johann Fleischman, contemporary of Baskerville and Fournier, worked at the Enschede Foundry in Haarlem. Expert in advanced tools and the qualities of fine steel, he pushed beyond the frontiers of his time, cutting active typefaces famous worldwide for their “sparkle.”

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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.

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Centro Pro is the winner of the prestigious European Design Awards 2008 for original typeface.

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This Linotype typeface was designed in 1990 by Peter Matthias Noordzij (PMN), and named for his wife, Caecilia. Because its shapes are humanist rather than geometric, PMN Caecilia is easier on the reader’s eye and so more useful as a text typeface than most slab serif designs.

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The Ingeborg family was designed with the intent of producing a readable modern face. Its roots might well be historic, but its approach is very contemporary.

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Arlt is a family of contemporary typefaces for a wide variety of applications. It includes text, display, and decorative fonts. Its style gives the text a sort of spicy atmosphere that makes it ideal for composing literature.
Arlt has been created for the demanding, inspired designers. Being the result of 3 years of intensive work, the types aim to balance a strong personality against comfortable readability. The fonts have been carefully crafted in every detail, to offer you the highest visual quality standards in typography.

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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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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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Leksa is an oldstyle, even a bit old-fashioned text family in 12 faces, including six upright an‚ six italic ones, from Light to Black, with both oldstyle and tabular digits and true small caps.

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The eight-part Belizio series updates the first Font Bureau typeface.

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Minuscule was inspired by Émile Javal’s research into the physiology of reading. He was a 19th-century opthalmologist, the first to analyze how we read.

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Minion Pro is an Adobe Original typeface designed by Robert Slimbach. The first version of Minion was released in 1990. Cyrillic additions were released in 1992, and finally the OpenType Pro version was released in 2000.

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Originally released in 1987, Charter incorporates three important features: compact set width to give economical copyfit; generous x-height to give readability at small point sizes; and sturdy open letterforms to give reliable reproduction at both typesetter and laser printer resolutions. The design brings a clarity and freshness to everyday documents, such as newsletters, textbooks, directories and technical manuals, where the reader’s concentration must not be interrupted by unfamiliar letterforms but where typographic dullness can itself impair comprehension. The Italic has cursive letterforms - so is instantly distinguishable, while being readable enough in its own right for continuous text.

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Bembo was modeled on typefaces cut by Francesco Griffo for Aldus Manutius’ printing of De Aetna in 1495 in Venice, a book by classicist Pietro Bembo about his visit to Mount Etna. Griffo’s design is considered one of the first of the old style typefaces, which include Garamond, that were used as staple text types in Europe for two hundred years.

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Leitura News is part of Leitura Type System and was specially designed for editorial purposes.

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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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Named after the Florentine river which runs through the heart of the Italian Renaissance, Arno draws on the warmth and readability of early humanist typefaces of the 15th and 16th centuries.

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Austrian designer Yvonne Diedrich created Eplica as a comprehensive series comprising three roman weights and one italic, all of which have an abundance of ligatured characters. All weights includes Small Caps fonts with additional old style numerals and ornaments, and the complete family provides an excellent tool for the most demanding of typographic requirements.

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Skolar is a text serif which has been originally designed with scholarly and multilingual publications in mind. The typeface maintains its credibility while incorporating a subtle personal style, neither neutral nor conspicuous. Prominent serifs and low-contrast modulation add to its robustness, and together with relatively large x-height, they improve the typeface readability in small sizes. Skolar family of six weights and large character set is flexible enough for complex text settings and editorial work. It becomes distinctive in bigger sizes, thus fitting corporate design demands.

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Dolly, a book typeface with flourishes.

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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).

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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).

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Eksja is a modern slab serif available in four weights, each with a corresponding italic. All the fonts in the family have small caps, the extended latin character set, diacritical f-ligatures, enclosed numerals (numbers in circles) and case-sensitive punctuation.

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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.

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Dutch Mediaeval is a text family based on Hollandse Mediaeval, the 1912 Sjoerd Hendrik deRoos classic, arguably the most popular Dutch text face of the 20th century. Over the years, many typographers and pressmen have gushed loving words about this typeface in metal, and now it comes to digital life in wonderful and expert style.

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A display family originally designed during the mid-seventies by Jim Parkinson for Roger Black at a growing Rock & Roll magazine.

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Adobe Jenson Pro captures the essence of Nicolas Jenson’s roman and Ludovico degli Arrighi’s italic typeface designs. The combined strength and beauty of these two icons of Renaissance type result in an elegant typeface suited to a broad spectrum of applications.

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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.

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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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Stickley Text Pro is classic in its roots, pulling from Humanist and Oldstyle history, yet contemporary in its execution. It is quiet in its presentation and meant to allow clarity and legibility while adding its own character. It is intended to be used at text sizes in book settings, but is also suitable for a variety of design purposes.

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Of W. A. Dwiggins’ wartime experiments, the most successful was Eldorado, released by Mergenthaler in 1953. With unusual fidelity, he followed an early roman lowercase, cut in the 16th century by Jacques de Sanlecque the elder, aer Granjon.

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Glosa is a type family designed for editorial purposes.

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Glosa is a type family designed for editorial purposes.

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Designed in 1935 by William Addison Dwiggins, Electra has been a standard book typeface since its release because of its evenness of design and high legibility.

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In 1931 Monotype made this facsimile of the typeface cut originally for John Bell by Richard Austin in 1788, using as a basis the matrices in the possession of Stephenson Blake & Co. Used in Bell’s newspaper, “The Oracle,” it was regarded by Stanley Morison as the first English Modern face. Although inspired by French punchcutters of the time, with a vertical stress and fine hairlines, the face is less severe than the French models and is now classified as Transitional. Essentially a text face, Bell can be used for books, magazines, long articles etc.

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Calligraphers of the Italian Renaissance adapted ancient models to create “italic” and “roman”, a consciously dramatic departure from standard Church Gothic.

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Originally designed by Bruce Rogers for the Metropolitan Museum in 1914, Centaur was released by Monotype in 1929. Modeled on letters cut by the fifteenth-century printer Nicolas Jenson, Centaur has a beauty of line and proportion that has been widely acclaimed since its release. The italic type, originally named Arrighi, was designed by Frederic Warde in 1925. He modeled his letters on those of Ludovico degli Arrighi, a Renaissance scribe whose lettering work is among the finest of the chancery cursives. Arrighi was produced by Monotype as the companion for Centaur in 1929. Centaur is a beautiful typeface for books, and can be used effectively for shorter text as well. The Centaur Italic (Arrighi) Alternate offers a different design for the lowercase z and zcaron.

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In 1994, Tobias Frere-Jones completed Hightower for the Journal of the American Institute of Graphic Arts.

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Finura was inspired by American lettering from the 60s, specially the Stunt Roman for ruling pen and compass presented in the Speedball Textbook for Pen & Brush Lettering by Ross F. George, but also by looking carefully to University Roman characteristics.

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Leitura is part of Leitura Type System and was specially designed for editorial purposes.

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The multi award winning ESTA is back, renewed and improved in OpenType format.

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This font gets its inspiration from the typography of the Manuale ad Usum (1721), printed by Jesuit missionaries who worked at the beginning of the XVIII century with communities of "Guaraná" native indians from the Northeast region of Argentina.

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Sky Serif is a clean-cut slab-serif design.

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The Old Times American Family is derived from several letterpress books from the 1880s in the midwest. The fonts were painstakingly compiled from over 100 pages of text and optically balanced for optimum results.

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Leitura Display is part of Leitura Type System and was specially designed for editorial purposes.

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Augustin is an elegant and legible typeface inspired by the classic letter forms of the renaissance, namely the type of Nicolas Jenson made in Venice in 1470.

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Constantia is a modulated wedge-serif typeface designed primarily for continuous text in both electronic and paper publishing. The design responds to the recent narrowing of the gap between screen readability and traditional print media, exploiting specific aspects of the most recent advances in ClearType rendering, such as sub-pixel positioning. The classic proportions of relatively small x-height and long extenders make Constantia ideal for book and journal publishing, while the slight squareness and open counters ensure that it remains legible even at small sizes.

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This family is distinguished by its historical forms and by the numerous stylistic effects. Compared to Le Monde Livre, this typeface is not anymore invisible. The italic includes two levels of ornamentation: standard & swash. The bold is a bit lighter than the Bold from the reference, Le Monde Livre.

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Before the arrival of photo-composition, each font size had a specific design. Le Monde Livre, designed by Jean François Porchez, along with Le Monde Journal, re-establishes this practice. In effect, the latter was developed specifically for use at small point sizes (below 10 points.)

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Iowan Old Style was designed for Bitstream in 1990 by noted sign painter John Downer. Iowan Old Style is a hardy contemporary text design modeled after earlier revivals of Jenson and Griffo typefaces but with a larger x-height, tighter letterfit, and reproportioned capitals.

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In 1938, Goudy designed California Oldstyle, his most distinguished type, for University of Calif. Press.

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Originally designed in 1996, Mrs Eaves was Zuzana Licko’s first attempt at the design of a traditional typeface. It was styled after Baskerville, the famous transitional serif typeface designed in 1757 by John Baskerville in Birmingham, England. Mrs Eaves was named after Baskerville’s live in housekeeper, Sarah Eaves, whom he later married.

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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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Adriane Text was designed between 2006 and 2007 with additional production completed by Silas Dilworth for this 2008 release [v1.002]. Focusing on text composition and unique typographic characteristics, details within the characters provide both personality and excellent legibility at small sizes. With a medium contrast, a predominately vertical axis, and a generous x-height, it can be classified as a transitional typeface.

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Kandal is a wedge-serif face with old style or antique qualities. It has low contrast in weight between thicks and thins, even as it gets bolder. Its proportions are slightly condensed, and the color and texture of Kandal Book is not unlike Century Old Style. (The name “Kandal” rhymes with “bundle.”)

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Created by Adobe type designer Carol Twombly, Chaparral combines the legibility of slab serif designs popularized in the 19th century with the grace of 16th-century roman book lettering.

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In 1924 Morris Fuller Benton designed for ATF a new variation on his father’s design, Century Oldstyle. Century Schoolbook has become a synonym for readability.

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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.

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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.

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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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Lavigne Display is the first release of a type-family aimed at publications such as interior design and women magazines—anywhere a touch of distinction is to be desired. In the opinion of its designer, glossy magazines have been boring us with the same type families for years, with only a small group of fonts being used to denote refinement and sophistication.

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Miserichordia evolved from photographs taken on a trip to Venice and instigated a sharp turn left into more idiosyncratic and decorative serif fonts.

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Gerard Unger developed this newspaper font between 1984 and 1987 for Dr.-Ing. Rudolf Hell GmbH, Kiel. He was mainly influenced by William A. Dwiggins (1880-1956), the typographic consultant of Mergenthaler Linotype, who started to develop more legible, alternative fonts for newspaper printing as early as 1930.

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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.

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British designer Jeremy Tankard began Blue Island in 1996 with the idea of creating a completely ligature-based roman typeface—an original but complex task that took until 1999 to realize.

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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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Originally designed in 1996, Mrs Eaves was Zuzana Licko’s first attempt at the design of a traditional typeface. It was styled after Baskerville, the famous transitional serif typeface designed in 1757 by John Baskerville in Birmingham, England. Mrs Eaves was named after Baskerville’s live in housekeeper, Sarah Eaves, whom he later married.

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Slavoboj Tusar was the brother of Czech prime minister in the 1920s and 30s. His typeface was introuced at the Exposition of Decorative Arts in Paris in 1925, revised and manufactured by Lanston-Monotype in 1926 and redesigned and digitized in 2004.

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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.

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Ceres is has its roots in Cyan, our other font family. Like Cyan, Ceres has a complementary lowercase that provides more versatility than a classic Roman. It is arguably more elegant than Cyan with its accentuated serifs. The lowercase “e” and “g” give Ceres a distinct calligraphic personality.

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Designed by Robert Slimbach, Warnock Pro is a new Adobe Originals type composition family named after John Warnock, the co-founder of Adobe Systems, whose visionary spirit has led to major advances in desktop publishing and graphic arts software.

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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).

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Since the arrival of desktop computers, the majority of professional letters have been composed in quality typefaces. Typewriters & the typestyles they used have become antiques. A letter composed in Times or Helvetica & printed with a laser printer at 300 or 600 dpi are of such quality that one can no longer distinguish it with a document produced by offset printing.

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The Vekta Type System is part of a larger, interconnected grouping of 3 families: Neo, Sans and Serif. The goal was to develop a family designed along a common skeleton and matrix that would allow for interchangeable usage along a cohesive visual system.

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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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Superclarendon is an homage to the original 19^th Century Clarendon. Superclarendon includes 4 weights, italics & old-style numerals.

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There are no straight lines in Everafter. The vectors were all drawn and tweaked by hand (and mouse) for a softened, wobbly appearance.

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Giambattista Bodoni created this modern typeface in 1790 which served as the structural model for Sol Hess’s faithful rendition. Hess made necessary adjustments for mechanical typesetting on Lanston’s Monotype composition system.

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Jenson Oldstyle was designed by J. W. Phinney of the Dickinson Type Foundry in 1893. Jenson is based on the ‘Golden Type’ designed by William Morris in 1890 for his private press editions under the imprint of the Kelmscott Press.

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Phil Martin, creator of over 400 typefaces from the late '60s through the '80s, designed Grad as a redesign of the classic Century Schoolboook for his personal use in the early '90s.

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In 1931, The Times of London commissioned the Monotype Corporation, under the direction of Stanley Morison, to design a newspaper typeface.

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Joanna was designed by Eric Gill in 1930, based on type originally cut by Granjon, and released by the Monotype Corporation in 1937.

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