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

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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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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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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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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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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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Alizé is a three-weight typeface inspired by the chancery italic of the 16th century. It is a high-contrast face, created with syncopations in axes and proportions and subtle irregularities that form a lively and delicate weave, suitable for setting a single word, a special expression, or a short block of prose.

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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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Benicia is serif typeface. It reflects my ongoing fascination with the Golden Type/ATF Jenson design genre of the late 19th and early 20th centuries. Designed for display, it also works well at small sizes. It is named after a historic town in northern California.

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Günter Gerhard Lange designed Arena New for Berthold from 1951-1954.

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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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This family was inspired by the pure Garamond pattern set of fonts used by Egenolff and Berner, German printers in Frankfurt, at the end of sixteen century. All the experts said it was the best and more complete set of the time. The italic style used with was Granjon’s, like in 1543 Humane Jenson. Added are a few fleurons from the same printers.

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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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Oxford was designed by Arthur Baker for Agfa Compugraphic in 1989. A calligraphic typeface with a slight incline, fine lines, and delicate serifs, Oxford is easily identified by its quirky lowercase b.

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Created for Berthold in 1982 by German designer Gustav Jaeger, Catull has a calligraphic feel with contrasting stroke weights and distinctive serifs.

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Hiroshige was designed in 1986 by Cynthia Hollandsworth of AlphaOmega Typography, Inc. The typeface was originally commissioned for a book of woodblock prints by the great nineteenth-century Japanese artist Ando Hiroshige, whose work influenced many Impressionist artists.

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Amitié is another typeface design by Ralph M. Unger. With its French origin already hinted at in the name, Amitié comes across as friendly and lively. This design reflects Unger’s interest and love in classical, expressive type with the right sense of style.

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The typeface was designed at the Polygraphmash type design bureau in 1989 by Lyubov Kuznetsova. Based on the typeface Literanutnaya (Latinskaya) of the Berthold typefoundry (St.-Petersburg, 1901), a version of Lateinisch typeface of H. Berthold (Berlin, 1899). For use in text matter.

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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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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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Berkeley was originally designed under the name of Californian by Frederic W. Goudy in 1938 for the University of California Press in Berkeley. The UC Press still owns the original typeface, and the 1983 ITC version is a careful redrawing by Tony Stan. It has the flavor of several other Goudy designs, including Kennerley, Goudy Oldstyle, and Deepdene. This is a typeface designed for text applications, therefore, close attention was paid to the relationships of the weights. Book and Medium are close to each other in weight, with larger jumps to the Bold and the Black, used for emphasis and contrast.

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Insigne’s popular Aviano series returns with Aviano Serif.

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Ronald Arnholm began work on ITC Legacy in 1982. Released in 1993, ITC Legacy is a revival of Nicolas Jensen’s types as seen in the 1470 Eusebius.

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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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Inspired by the Froben capitals believed to have been cut by Peter Schoeffer the Younger, son of Gutenberg’s apprentice, this design is neither strictly a Venetian nor an Aldine. The archaic approach and lack of the Aldine model lead us to place the face in the Venetian group. The design owes more to Goudy than to Schoeffer.

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Based on Hispalis from the Spanish foundry, Nacional.

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

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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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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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Now that’s tight.

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Some of the most popular typefaces in history are those based on the types of the sixteenth-century printer, publisher, and type designer Claude Garamond, whose sixteenth-century types were modeled on those of Venetian printers from the end of the previous century.

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Mark van Bronkhorst designed Celestia as an alternative to Caslon Antique at a time when few rough-edged fonts were available. He borrowed the basic forms from an early attempt he’d made at designing an oldstyle roman typeface, this time redrawing the letterforms with stronger serifs and adding the rough-edges. Designed to be more open and readable in text settings than Caslon Antique, Celestia’s gentle roughness becomes more apparent when used in display settings. An italic design, based on van Bronkhorst’s calligraphy, complements the roman character set.

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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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Eleganza is my most elegant typeface.

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Frederic Goudy designed Californian as a private commission for the University of California at Berkeley in 1939.

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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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Kidela is an exuberant and eccentric serif typeface reminiscent of hand painted signage.

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Eterna is a very beautiful font with diverse uses.

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Hermann Zapf’s Palatino, designed for the Stempel foundry in 1950, is one of the most widely used typefaces in the world today.

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Rudolf Weiss designed this typeface in 1926 for the Bauer foundry of Frankfurt. Weiss is based on typefaces from the Italian Renaissance, and is one of the earliest contemporary serif types to have italics based on the chancery style of writing.

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Based on the S. H. de Roos design, Amsterdam Foundry circa 1923.

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This font was inspired by the very well-known humanistic script called “Cancellaresca”.

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Venetian 301 is the Bitstream version of the Centaur type family.

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A creative variation of the Oldstyle form designed by E. Pechey for Stephenson Blake early in the twentieth century.

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A playful slab-serif font. This typeface is versatile enough to be used in any type of design work, be it serious or fun.

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

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This family was inspired by the eroded and tired fonts used by printers from the sixteenth century to the early years of twentieth for cheap or fleeting works, like almanacs, adverts, gazettes or popular novels.

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The German Bible Society commissioned Professor Kurt Weidemann to design a typeface for the printing of a bible that was mutually sponsored by the Catholic and Protestant church authorities; the typeface was called Biblica.

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Principe is the Bodonian idea driven to the limit by abolishing most of the hairlines! The shape is completed only by the eye of the reader.

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In 1543 was published in Bâle (Switzerland) the well-known “De humani corporis fabrica” treatise on anatomy by André Vesale, printed by Johann Oporinus. A various types of faces were used for this work, mostly in Latin but including Greek characters. Its Jenson-type font was the one who inspired this font software. It is a very elegant one, including “long s”, a few abreviated characters and ligatures. As it was a Latin text, there were any accented characters and a few capitals were to be lacking. I had to reconstruct them.

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This font was inspired by the “Cancellaresca moderna ” type, which was calligraphed by Francesco Periccioli (published in 1610 in Sienna, Italy). It was entirely hand written by the designer for each circumstance, using quill pen and medieval ink on a rough paper, with added characters as accented ones and a lot of ligatures with respect for the original design.

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In the late medieval period appeared a "semi-cursive" writing, the French "écriture de civilité". Quickly, it is carved and melted down in lead for printing.

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Based on the original Stephenson Blake drawings.

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In searching for a Roman to use there were bits of Bembo,Times,Garamond etc., that I liked and bits that I did not. So I set out to take the best bits of all my favorite Romans and tried to create the ultimate Roman typeface.

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Designed by Les Usherwood. Digitally engineered by Steve Jackaman.

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Abbot Nicolaus Telegdi purchased the Vienna Jesuit press in 1577 and started to work immediately with its own worn typefaces. His first works were publications of his own speeches.

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Condé Nast commissioned the FB version of this popular oldstyle for Traveler magazine.

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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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Goodchild is a robust Jenson revival with large x-height and short capitals that make it a workhorse for text setting. At display size, its crisp, no-nonsense details provide a contemporary freshness.

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This family was inspired by a font carved circa 1590 for a Polish editor. We don't know who was the punchcutter, nor the printer’s name. We have added the special East European diacritics (Czech, Hungarian, Romanian, Croatian, Slovak, Slovenian, Sorbian )as the original font has only the Polish accents.

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Something magical happens when type is drawn by hand. Sepia is an attempt to capture that special controlled looseness when type is drawn with a pen. Emphasis is slightly exaggerated in key places resulting in an unusually pleasant visual that you simply don't find in a slickly crafted font.

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