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The Handel Gothic™ typeface has been a mainstay of graphic communication for over 40 years - all the while looking as current as tomorrow. Designed by Don Handel in the mid-1960s, and used in the 1973 United Airlines logo developed by Saul Bass, Handel Gothic was an instant success when released to the graphic design community. Its generous lowercase x-height, full-bodied counters and square... Read More

On the way back to the airport from the 1994 ATypI conference in San Francisco, Albert-Jan Pool and Erik Spiekermann discussed Pool’s prospects, Spiekermann knowing that his friend’s employer had just gone out of business. He suggested that if Pool wanted to make some money in type design, that he take a closer... Read More

In 1983, D. Stempel AG redesigned the famous Helvetica typeface for the digital age, creating Neue Helvetica for Linotype: a self-contained font family. Today, this family consists of 51 different font weights. It’s original numbering system for the weight designations came from Adrian Frutiger’s numbering system for the Univers family. The basic font weight, “Neue Helvetica Roman”, is at the... Read More

The first sketches for the FF Clifford typeface were done in 1994. These drew inspiration from Alexander Wilson’s Long Primer Roman type, which was used to set an edition of Pliny the Younger’s “Opera,” printed by the Foulis brothers in 1751. The Italic is loosely based on Joseph Fry and Sons’ Pica Italic No. 3, from their 1785 specimen. These Roman and Italic designs combine to create FF... Read More

Jan Tschichold designed Sabon™ in 1964, and it was produced jointly by three foundries: D. Stempel AG, Linotype and Monotype. This was in response to a request from German master printers to make a font family that was the same design for the three metal type technologies of the time: foundry type for hand composition, linecasting, and single-type machine composition. Tschichold turned to the... Read More

In designing Minion font, Robert Slimbach was inspired by the timeless beauty of the fonts of the late Renaissance. Minion was created primarily as a traditional text font but adapts well to today's digital technology, presenting the richness of the late baroque forms within modern text formats. This clear, balanced font is suitable for almost any use.

Fournier was made by Monotype In 1924. The design is based on types cut by Pierre Simon Fournier circa 1742, some of the most influential designs of the eighteenth century. Fournier's types were 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 emphasis... Read More

Fournier was made by Monotype In 1924. The design is based on types cut by Pierre Simon Fournier circa 1742, some of the most influential designs of the eighteenth century. Fournier's types were 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 emphasis... Read More

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. While inspired by the past, Arno is distinctly contemporary in both appearance and function. Designed by Adobe Principal Designer Robert Slimbach, Arno is a meticulously-crafted face in the tradition of... Read More