Sutro is based on the square serif types of the mid-nineteenth century, considerably updated with many contemporary touches.

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Uni Sans is a custom sans font which is applicable for any type of graphic design - web, print, motion graphics etc and perfect for t-shirts and other items.

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Geogrotesque is a semi modular with a subtle rounded finish typeface. All the characters are based in the same formal principle with its corresponding optical adjustments in order to adapt the system to an alphabet for texts. Although the type family has a geometric or “technological” construction, the rounded finish provides it a warm appearance, making the typefaces nicer and nearby.

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Klavika is a flexible family of sans serifs for editorial and identity design.

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NewJune is a very strong unique character. It is already used in many magazines all over the world.

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Etelka was designed in summer 2005 for purposes of corporate style, product package design and electronic publishing.

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Calluna was born more or less by accident.

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Alright Sans is a contemporary sans-serif. Inspired by both grotesque and humanist models, it’s clean and prudent with an warm, friendly tone.

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

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Prelo was designed to be a neutral, highly readable typeface, for identity, editorial and information design. With nine weights and nine true italics, from Hairline to Black, Prelo is a workhorse typeface, full of OpenType features such as Small Caps, Tabular Figures, Central Europe characters and Historical Figures, among others.

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

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Pill Gothic walks the tightrope between a heads down, hard working, utilitarian sans and something that stands out, saying, “Look at me!” Designers looking for a type that will work in blocks of text for callouts, captions and headlines will find that unique balance with Pill. Pill Gothic asks the question: what is the effect of a few truly unique characters on the meaning of a type? In particular, the ‘a’ and the ‘g’, while relating strongly to the forms of the other characters, stand out from the traditional milieu of sans serif types. The name Pill Gothic came from early studies of the condensed weight where the lower case characters had the shape of a pill capsule.

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

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Designer Panos Vassiliou created Square Sans Pro in his quest for a true square-like text typeface which could balance simplicity with vitality and enhance with its subtle power the identity of any product or service, without compromising its characteristics as a text typeface.

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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.

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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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Sauna, a typeface for all sizes.

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Gloriola is a monolinear sans serif, whose extremely broad range of nine cuts offers endless creative possibilities.

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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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Dobra is a redesign of the previous released Dione.

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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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Breuer Text is a simple geometric sans with relaxed curves and slightly condensed proportions suitable for moderate lengths of body copy. The italics are optically adjusted obliques with a selection of augmented lowercase glyphs for a warmer read.

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Organic was designed to be highly legible and flexible. I wanted to create a very refined sanserif that could be used for display or body copy, for print or digital.

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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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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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Secca is a fine and simple typeface honoring the roots of early German grotesque type designs but mastered for the needs of today.

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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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Originally created as a custom project and now released as a full family in OpenType.

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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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Clarendon Text is a contemporary remake of the truly classic slab serif typeface with a distinctively clear and legible visibility. It is a widely usable text type suited equally well to advertising, books, publications, and a wide range of corporate literature where large amounts of reading matter call for distinction and style without sacrificing readability.

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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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Gesta is a friendly versatile sans serif typeface suitable for corporate and editorial purposes.

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Glosa is a type family designed for editorial purposes.

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The Roos family is a digitization and expansion of the last typeface designed by Sjoerd Hendrik De Roos, called De Roos Romein (and Cursief). It was designed and produced during the years of the second World War, and unveiled in the summer of 1947 to celebrate De Roos’s 70th birthday. In 1948, the first fonts produced were used for a special edition of the Dutch Constitution on which Juliana took the oath during her inauguration as the Queen of the Netherlands. To this day this typeface is widely regarded as De Roos’s best design, with one of the most beautiful italics ever drawn.

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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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Secca Art recovers some of the expressive forms of early art nouveau and art deco grotesques — not copying it, but carefully adapting it for today.

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Karmina Sans follows the steps of its successful award winner cousin, Karmina Serif. It shares the same technical excellence and it achieves similar stylistic features, but the new sans serif version proposes a much more versatile tool for editorial designers.

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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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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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Dolly, a book typeface with flourishes.

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

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The first version of Libris I designed in London in 1997 when I worked for Frank Magazine. Later Libris was used in the magazine for text and display.

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

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Besides all the display and script typefaces I design, my real passion is to design typefaces for copy.

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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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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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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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Designed in 1992 by Ronald Arnholm as a companion to ITC Legacy, this type has easy-to-read character shapes and comfortable proportions that make it very legible for a sans serif typeface.

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

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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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Facit is a contemporary sans serif text face. It is designed to be a highly legible and flexible font that does not draw the attention to itself. Instead of being original by itself it is the result of a careful examination of ancient as well as modern formal concepts. “It is by definition impossible to design an un-conventional typeface. Type is pure convention, this is why we can read each other’s written words”, says its designer Tim Ahrens.

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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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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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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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The British Vogue commissioned this typeface for their magazine re-design in 2001. After studying the originals of Morris Fuller Benton and the existing versions, this font was designed with all new thin weights. Just when the family was finished, Vogue informed that they had decided to use American Typewriter instead. Bastards. But here is a true classic typeface with a facelift. The pun intended.

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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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Mr Jones was originally conceived as a family for print design consisting of a sans and a headline. The lowercase are wide for legibility at small sizes while the caps are narrower to save space and keep an even balance of negative space when used in body copy. The overall widths of certain characters have been adjusted to almost extremes to keep an even balance of white space around each letter. He works well in body copy, but will need decreased tracking for larger settings. He comes with proportional, oldstyle, and tabular figures and discretionary ligatures.

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Leksa Sans is a humanist sans-serif face with some contrast.

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Informa is a comprehensive sans serif text family based on traditional lettering in contrast, proportion, rhythm and stroke. In particular its proportions were based on a 1978 award-winning flare-serif film type called Signa, by Swiss design trio Team 77.

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Here is a sans-serif built up on an old-style design framework especially perceptible in the italic. It is the conjunction of contradictories feelings: pointed / soft, classical / modern. The smaller the typesetting, the better it works.

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Garamond Premier Pro had its genesis in 1988 when Adobe senior type designer Robert Slimbach visited the Plantin-Moretus Museum in Antwerp, Belgium, to study their collection of Claude Garamond’s metal punches and type designs.

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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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PrivaPro is available in four styles with italics.

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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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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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When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph’s skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is ‘connected at the hip’ with each style—each character carries the no frills, simple architecture that endeared so many users to it.

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Freight’s comprehensive range of weights and styles excels in a variety of uses, from train schedules and university catalogues to technical manuals and cookbooks.

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

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

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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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Oksana Sans Narrow is a space-saving addition for Oksana Sans Roman faces.

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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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The definitive monoline Egyptian, Weiss’ Memphis of 1928, was devoutly industrial in its effect and set the tone for those that followed, right up to Lubalin Graph. More recently, TheSerif and Silica are humanist in form, with complex, asymmetric curved strokes in the lower case. Unique among monoline slab serif types, Bodoni Egyptian has a simple, neo-classical form and proportion, and strict detailing that is antique, not machine-age.

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

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Orcin Sans is a functional well crafted sans serif typeface available in 6 styles.

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Globale, pronounced Globaal, is designed in two roman weights with matching italics. Small capitals and old style numerals have also been designed for the roman versions. In terms of style, Australian designer Scott Carslake has managed to capture an elusive appearance which is a blend of humanistic and contemporary sans serif forms, resulting in a unique new series that is very much in step with the latest in typographic trends.

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What started out as my thesis project is now a complete sans serif typeface family in 14 styles.

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This type is almost a sans serif. It has legibility proportions, and a very large, useful family with specially adapted condensed and extended sub-families.

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

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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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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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Because we all need a “werk” horse font that is simple, useful and with just enough character not to be too dominant.

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Kigara was Elena’s first attempt at designing a text typeface. The result is not exactly a conventional book face.

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