FF Disturbance Alternatives

FF Tisa designed by Mitja Miklav quickly became a new-millennium favorite of graphic designers, in print as well as on the web. Its large... Read More

FF Cocon’s designer, Evert Bloemsma (1958–2005) described it as a “serious typeface.” Despite first impressions, the description holds up... Read More

The American calligrapher Arthur Baker designed Baker Signet in 1965. Like many of Arthur Baker's influential script faces (e.g., Marigold, Kigali, and Amigo), Baker Signet shows off its historical influences. Baker Signet's calligraphic style comes from the delicately broad strokes of its letterforms and the fine hints of triangular serifs. The lively descenders of the lowercase y and capital... Read More

Frutiger® Serif is a re-envisioning of Meridien,a typeface first released by Deberny & Peignot during the 1950s. Working closely with Adrian Frutiger, Linotype's Type Director Akira Kobayashi expanded the original metal type version of Meridien into a new digital family of 20 variants. Renamed Frutiger Serif, this up-to-date Meridien has new weights, widths, and styles that correspond better... Read More

Named after the Florentine river which runs through the heart of the Italian Renaissance, Arno draws on the warmth and readability of... Read More

The Swedish designer/typographer Anders Bodebeck designed the Bodebeck type family in 2002. The family, which includes five different styles, is primarily intended for use as a titling, or display face, and belongs to the neo-transitional style of typefaces. Transitional style type first appeared in England during the late 1750s, when John Baskerville released his first sets of type. Bodeck... Read More

Octavian font 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... Read More

Stockholm is a contemporary roman typeface designed by Paul Shaw in collaboration with Garrett Boge in 1998. Its strong yet refined roman character shapes were inspired by twentieth century Swedish lettering. The face is appropriate for both text and display settings.

Galahad font was designed by the American artist Alan A. Blackman in 1994. It is a sans serif font with a calligraphic flair particularly suited for displays, although its open geometric forms make it a good choice for shorter texts as well. Galahad also includes old style figures and alternate characters, making it a very flexible font.

Czech designer Oldrich Menhart (1897-1962) devoted his life to making letters. He was a calligrapher, lettering artist, and typeface designer with over twenty faces to his credit. The Monotype typeface, Menhart, was the second of his designs.Menhart began work on the design in the early 1930s and turned over his final artwork to the Monotype Drawing Office in 1934. The first size cut was 14... Read More

Spectrum font is based on a design by Jan van Krimpen, who worked on his font from 1941 to 1943 for use in a Bible of the Spectrum publishing house in Utrecht. The bible project was later cancelled but the font was so beautifully formed and universal that the Monotype Corporation in London completed it. Distinctive are the reserved elegance and unmistakeable beauty of form. The italic was... Read More

The first drawings of FF Eureka date from 1995 when it was designed for the bilingual text “Transparency”. The typeface works particularly well with languages that commonly use accented characters. Because most contemporary Latin typefaces have large x-heights, little room is left to accommodate the accents which end up being small and tightly wedged in place. In many languages however, the... Read More

The FF Tarquinius family is based on a calligraphic hand, an antique variation, written with a quill, reworked to function as type. The design features a low cap height and significantly long ascenders. The descenders are also emphatic; In its updated Pro version (2011) Gaelic, Cyrillic and Greek characters were added. OpenType features and different stylistic sets offer a broad typographic range.

Designed for Adobe in 1993, Sanvito is an informal script face based on the designer's handwriting. An almost upright, non-joining script, the Sanvito font family is useful where an informal feel is required in advertising, packaging and on labels.

Bertham Pro Regular is a revival of Frederic W. Goudy’s Bertham typeface. Steve Matteson produced this unique typeface and added bold, italic and openface styles. The Bertham Pro fonts include a variety of OpenType features including swash capitals, small capitals and old style figures. Bertham Pro is unmistakably American in appearance recalling a day of quality craftsmanship and hard work.... Read More

These days, it’s easy to find typefaces with multiple widths and weights, but they’re nearly all sans serifs. Large serif families are... Read More

When Hal Taylor saw the 1930 logo for the Stetson Shoe Company of Weymouth, Massachusetts, he didn't run out and buy a pair of loafers. Instead, he seized on this striking example of an Art Deco logotype as the basis for a new typeface design. “I was impressed with the delicate and sophisticated letter forms,” Taylor recalls, “particularly the enlarged cap S -- in any other case it would have... Read More

The story of Scripps College Old Style is a heart-warming and inspiring chronicle about a young librarian, a handful of students, a wealthy grandmother, a dedicated educator -- and two eminent American type designers. The story begins in 1938, when Dorothy Drake, the newly hired librarian at Scripps College, a small women's college in southern California, became an impromptu dinner companion of... Read More

The full ITC Legacy collection of fonts, which includes faces that first became available in the early 1990s, is based on the Eusebius typeface by Nicolas Jenson, the French engraver, printer and pioneer typographer who created the design centuries ago in 1470. Jenson's original design featured distinctive slab serif shapes and asymmetrical foot serifs, which Arnholm carried over into his work.... Read More

ITC Luna is the work of Japanese designer Akira Kobayashi. He turned to the designs of the 1930s for his inspiration for both ITC Luna and ITC Silvermoon. "Luna is designed to fill the gap between a pure Art Deco display face and an ordinary text face," says Kobayashi. "It has an Art Deco style but is still fairly easy to read. It can be used in short passages of text. As for individual... Read More