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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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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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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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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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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The Vizille family, inspired by French typography of the 18th Century, is the typeface used as corporate identity by the Musée de la Révolution française.

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In 1924, Monotype based this face on types cut by Pierre Simon Fournier circa 1742 and called “St Augustin Ordinaire” in Fournier’s Manuel Typographique. These types were some of the most influential designs of the eighteenth century, being among the earliest of the “transitional” style of typeface, and were a stepping stone to the more severe “modern” style made popular by Bodoni later in the century. They had more vertical stress than the old style types, greater contrast between thick and thin strokes and little or no bracketing on the serifs.

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I started designing Cultura in 2003 for a book about the city of Oporto, Portugal. It was supposed to be a typeface only to use in that book and only in Regular and Italic, but after a large amount of requests I decided to expand the family, creating SmallCaps and Bold versions with some ligatures for better text possibilities.

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The English scholar of typography, Stanley Morison, wrote of Monotype Corporation’s Goudy Modern: “It is strikingly handsome in mass (and) reads easily, in spite of the fact that it is, on the whole, a condensed font, the weight is so nicely judged and the thicks and thins so cleverly adjusted that the effect is rather generous and open.”

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Initially conceived by Matthew Butterick as a Bulmer revival, Wessex took on characteristics of Baskerville and Caledonia as design proceeded.

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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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Vladimir Andrich’s 1982 type design Cremona was created for the Alphatype Corporation which was later purchased by H. Berthold AG.

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Another version of the Century family was produced when Ginn & Company, a textbook publisher, commissioned American Type Founders to design a typeface with maximum legibility. Morris Benton researched the subjects of eyesight and legibility, then created Century Schoolbook, which was released between 1918 and 1921. Century Schoolbook is still seen in elementary school texts, and can be used for text work where legibility is a primary consideration.

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

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ITC Esprit was designed by calligrapher and type designer Jovica Veljovic for the International Typeface Corporation in 1985. ITC Esprit is an innovative blend of classical Roman proportions and calligraphic flair.

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The name Old Style No. 7 comes from a time when foundries released a variety of typefaces under one name. Linotype produced Old Style No. 7, which was based on an early 1870s typeface from the Bruce Typefoundry, which had based its design on a type from the Scottish foundry Miller and Richards.

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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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Bitstream developed Ang Thong for the Microsoft Windows operating system. The font is encoded with a Microsoft defined Thai character set, Thai Code Page 874. The font includes Thai glyphs and Latin glyphs from Dutch 801.

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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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Berthold first released Concorde in 1969. Günter Gerhard Lange designed this text face to meet the demands of today’s composing and printing technology.

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Nicolas Cochin (not to be confused with another font named simply “Cochin”) was originally designed by Georges Peignot in the early 20th Century and was based on engraved letters of the 17th Century artist Charles Nicholas Cochin.

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Jean Splice is a 5-font system designed for display type. Although it is an all caps font, the lower case looks different so you can mix it up. Besides Jean Splice Regular, there are 4 variations of the font with spikes sticking out in different directions (UpLeft, LoLeft, UpRite, LoRite). These variations can be used to create some very cool custom looking designs. It contains the Euro symbol too!

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Alinea is a typeface in 3 styles (Sans, Incise, and Serif) conceived for being mixed in the same document. The elegant one of the family, Alinea Serif, is a transitional, a style represented by Caslon and Times. It is a contrasted typeface, strong stems and thin hairlines.

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P22 Late November Pro is a new font family from Norwegian type designer Torliev Sverdrup.

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Created for Berthold in 1976 by prolific designer Hermann Zapf. He said of his design “The basic idea was to create a roman which was to combine good legibility with a more human feeling” in other words, not too cold and abstract.

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Upon completion of the transcription of Jean Jannon’s type face in 1996 we focused on the proportions and morphology of early Baroque type faces. The constructional principle of Serapion is, of course, still Renaissance, but its expression and details are drawn from the typography of the 17th and 18th centuries. The modern conception of the design of the letters comes to the fore in the use of the principle taken from the lower-case “c”: one ending of its curve is rounded, the other sharp. This element, which looks as if it were inspired by the Chinese brush, is then repeated in all lower-case letters with rounded strokes. In the italics, there is, in addition, the heritage of humanistic calligraphy. In the larger sizes, Serapion produces the impression of a kind of thorny elegance with an unmistakable face; in the smaller sizes, however, the type face begins to behave inconspicuously, as a text one, and the reader perceives its spicy character as if unawares. Five years have already elapsed from the publishing of the first version. In the meantime the demands put on the quality of type faces have increased, which made it necessary to revise and enrich this popular type face family. We started by cleaning some of the characters from certain superfluous decorative ballast, in order that the decorative features, left more or less in italics only, might stand out the more. These decorative features were in particular: the bent horizontal in the upper-case letters “A” and “H”, the loop in “W” and the exaggerated lower serif in the lower-case “b”. A fairly invisible change is the equalizing of the x-height in the letters “b”, “d”, “p”, “q”, which was previously smaller than in other letters – this, at that time, was in the interests of expressiveness, yet it rendered wider use of the type face impossible. The missing ligatures, but above all the genuine small capitals with the corresponding figures, mathematical and other non-alphabetical signs were added. The newly arising family of twelve designs thus meets all demands for shorter fiction, poetry and ceremonial prints.

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With condensed type gaining popularity in the 1970s, Berthold released Günter Gerhard Lange’s original design, Concorde Nova, in 1975.

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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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Linotype’s Engravers Bold Face—with its wide set, extreme contrast, and sharp serifs—is instantly recognizable as a turn-of-the-century American business typeface. It is based on a typeface designed for the American Type Founders in 1902 by Morris Fuller Benton. It was frequently seen on broadsides, business cards, and letterheads and suits those purposes equally well today.

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Fairfield is a fifty-year-old typeface that has had a recent facelift. Rudolph Ruzicka, artist and book illustrator, designed light and medium weights of Fairfield for Linotype in 1940 and 1949, respectively. For Fairfield’s 1991 release as an electronic typeface, designer Alex Kaczun added bold and heavy weights.

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Octavian was designed by Will Carter and David Kindersley for the Monotype Corporation in 1961. Mr. Carter writes: “While the ultimate authority is the ancient inscriptional pattern, the physical characteristics of the present rendering are manifest in the economic proportions of the shapes and the modified relations of the strokes. Thus, the letters are narrower than the classical forms and their weight heavier.”

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Times Europa was designed in 1972 by Walter Tracy for The Times of London.

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Goudy Modern/Open was designed by Frederic Goudy, who was inspired by the caption of a French engraving. It is Goudy’s first attempt at a “modern” face, but with less contrast and rigidity normally found in Bodoni style Modern faces.

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This design is based on custom design work by DTP Types Limited in 1990 with associated Small Capitals and Old Style Figures.

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Arthur Ritzel designed Rotation for Linotype in 1971. Similar in style to Times Roman, Rotation is sturdier and more legible in text set in small sizes.

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The concept of the Baroque Roman type face is something which is remote from us. Ungrateful theorists gave Baroque type faces the ill-sounding attribute “Transitional”, as if the Baroque Roman type face wilfully diverted from the tradition and at the same time did not manage to mature. This “transition” was originally meant as an intermediate stage between the Aldine/Garamond Roman face of the Renaissance, and its modern counterpart, as represented by Bodoni or Didot. Otherwise there was also a “transition” from a slanted axis of the shadow to a perpendicular one. What a petty detail led to the pejorative designation of Baroque type faces! If a bookseller were to tell his customers that they are about to choose a book which is set in some sort of transitional type face, he would probably go bust. After all, a reader, for his money, would not put up with some typographical experimentation. He wants to read a book without losing his eyesight while doing so.

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P22 Late November is a new font family from Norwegian type designer Torliev Sverdrup.

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Aphrodite Slim Pro is not just a lighter version of its sister Aphrodite Pro. Aphrodite Slim Pro has duplicated the quantity of characters of its partner, and that means more than 500 new glyphs, reaching a total of more than 1000.

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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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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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Miller, designed by Matthew Carter, is a “Scotch Roman”, a class of sturdy, general purpose types of Scottish origin, widely used in the US in the 19th century, but neglected since and overdue for revival.

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In 1952, Aldo Novarese and A. Butti designed Microgramma for the Nebiolo foundry. It was a popular face, but was available only in capitals. In 1962, Novarese produced a full character set, including lowercase letters, and the foundry renamed the family Eurostile.

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Designed in 1975 by Tony Stan, ITC Cheltenham is a revival based on a turn-of-the-century design by architect Bertram Grosvenor Goodhue. Typefaces from that period were often thin and anemic in appearance, and Cheltenham was created as an alternative; the original Cheltenham was designed with long ascenders and short descenders as a result of legibility studies indicating that the eye identifies letters by scanning their tops. ITC Cheltenham combines heavier stroke weights with condensed proportions and a large x-height to provide a legible, unusual text type.

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Dalliance Script is based on the elegant handwriting found on a map of a horrific battle between the Habsburg Coalition and France which took place at Ostrach, in southwest Germany, in 1799.

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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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In 1975, under license from American Type Founders, International Typeface Corporation commissioned Tony Stan to redraw and extend the Century family. In updating Morris Fuller Benton’s design, Stan tightened the letterspacing and increased the x-height. The full ITC Century family consists of four weights and matching italics, plus the eight corresponding condensed faces.

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Released in 1987 by the International Typeface Corporation, this design by Robert Slimbach is a highly legible, slightly condensed text face with a strong calligraphic flavor.

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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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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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Bookman is a sturdy workhorse design for legible blocks of text. Ed Benguiat based his 1975 revival on an 1860 design by Alexander Phemister for the Miller & Richard foundry in Scotland. The original Bookman, also known as Old Style, was designed to be an alternative text face to Caslon, improving what were considered to be Caslon’s undesirable traits; Phemister’s Bookman had slighter serifs, shorter ascenders and descenders, and a more prominent vertical stress. Benguiat added new weights and expanded the x-height to create a straightforward look that is well-suited to both book design and display applications.

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Type designer Eric Gill’s most popular Roman typeface is Perpetua, which was released by the Monotype Corporation between 1925 and 1932. It first appeared in a limited edition of the book The Passion of Perpetua and Felicity, for which the typeface was named. The italic form was originally called Felicity.

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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.

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Designed by Les Usherwood. Digitally engineered by Paul Hickson. Les never released this completed typeface before his untimely death in 1983.

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Based on the Keystone Type Foundry design, circa 1919. The l/c ‘g’ appears as an alternate character in our font.

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NewYorkerType was one of the first typefaces I tried my hand at in 1985.

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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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A new design inspired by the various mastheads used in children’s comic books in England, published by D.C. Thompson of Dundee, Scotland.

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William A. Dwiggins designed Caledonia for Linotype in 1939. Initially, he had intended to blend the elements of Scotch Roman and Bulmer typefaces, but ended up with a design that bettered both his models. Dwiggins describes it as having “something of that simple, hard-working, feet-on-the-ground quality that has kept Scotch Roman in service for so many years.”

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Utopia is an Adobe Originals text face designed by Robert Slimbach in 1989. It combines the vertical stress and pronounced stroke contrast of eighteenth-century Transitional types like Baskerville and Walbaum with contemporary innovations in character shapes and stroke details.

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

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Dalliance Script is based on the elegant handwriting found on a map of a horrific battle between the Habsburg Coalition and France which took place at Ostrach, in southwest Germany, in 1799.

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Bitstream Charter, was designed in the mid-1980s by Matthew Carter. The typeface was designed with the limitations of low- and middle-resolution output devices in mind; hence the squared off serifs and lack of excessive diagonals and curves. The design, however, became an instant success on its own merits. It is an excellent everyday typeface for a wide variety of uses including books and technical manuals. Charter offers small cap, extension and alternate typographer sets that help to make it more versatile and functional.

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Based on custom design work by DTP Types Limited in 1990.

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Designed in 1792, the Bulmer types are named not after their designer, William Martin, but after the printer who used them so well in his Shakspeare [sic] Press editions. In fact, it was Morris Fuller Benton who gave them the name back in 1928 when he was creating revivals for American Type Founders. Originally, Martin’s type was the English answer to the sharp, fine letterforms of Italy’s Bodoni and France’s Didot type foundries. But the Bulmer types did more than imitate the starkness of the modern-style Didot-Bodoni types. By condensing the letterforms, giving the strokes higher contrast, and bracketing the serifs slightly, Martin made his typefaces both beautiful and practical. You’ll often see Bulmer in use as a display face because of its high contrast and distinctive letter shapes. As a text face, it adds elegance to any page, and in combination with its expert set, you can use Bulmer for text settings of virtually any subject, from novels to mathematical treatises.

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Although inspired by the need for, and providing, clarity at low resolutions on the screen, Georgia is a typeface resonant with typographic personality.

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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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