Copperplate Gothic
The classical nineteenth century engravers’ form, with corners sharpened with a flick of the burin. F.W. Goudy captured the design as a typographic series for ATF in 1901.
font_foundry: Bitstream
Clarendon
The new Clarendon BT Pro typeface family features 450 glyphs in each font with expanded support for Central and Eastern European languages, and enhanced OpenType features including ligatures, diagonal fractions, superscript/subscripts and…
Caslon 540
William Caslon’s design as made regular by ATF at the beginning of this century.
Candida
German designer Erbar drew the Candida typeface for the Ludwig & Mayer foundry shortly before his death in 1935. The typeface was released posthumously in 1936. An italic designed by Walter Höhnisch was published...
Bodoni
Morris Fuller Benton started the Bodoni revival with this version for ATF in the early years of the 20th century. We consider it the first accurate revival of a historical face for general use....
Bauer Bodoni
Firmin Didot cut the first modern face about 1784 in Paris; Giambattista Bodoni followed prolifically on his heels; his punches and matrices survive in Parma. Bauer has produced the most faithful and delicate contemporary...
Bernhard Modern
Bernhard Modern was designed in 1937 by Lucian Bernhard for ATF. It is his personal version of the small x-height engravers’ old styles popular at the time. A perennial best-seller, Bernhard Modern remains popular...
Belwe
Designed by George Belwe for Schelter & Giesecke in Dresden, Belwe is one of the first typefaces to show the elements of the style we have classified as Kuenstler. Deliberately unusual proportions and detailing...
Bell Gothic
Designed specifically for AT&T to set telephone directories by Chauncey Griffith at Mergenthaler in 1938, Bell Gothic was the standard American directory typeface for forty years. Limited in performance by linecaster matrix requirements, Bell...
Americana
An original design by Richard Isbell for ATF; in exaggerating the tapered stroke introduced eleven years earlier in Hermann Zapf’s Optima, Isbell created the first flareserif to achieve popularity in the United States.