ITC Legacy¿ was designed by American Ronald Arnholm, who was first inspired to develop the typeface when he was a graduate student at Yale. In a type history class, he studied the 1470 book by Eusebius that was printed in the roman type of Nicolas Jenson. Arnholm worked for years to create his own interpretation of the Jenson roman, and he succeeded in capturing much of its beauty and character. As Jenson did not include a companion italic, Arnholm turned to the sixteenth-century types of Claude Garamond for inspiration for the italics of ITC Legacy. Arnholm was so taken by the strength and integrity of these oldstyle seriffed forms that he used their essential skeletal structures to develop a full set of sans serif faces. ITC Legacy includes a complete family of weights from book to ultra, with Old style Figures and small caps, making this a good choice for detailed book typography or multi-faceted graphic design projects. In 1458, Charles VII sent the Frenchman Nicolas Jenson to learn the craft of movable type in Mainz, the city where Gutenberg was working. Jenson was supposed to return to France with his newly learned skills, but instead he traveled to Italy, as did other itinerant printers of the time. From 1468 on, he was in Venice, where he flourished as a punchcutter, printer and publisher. He was probably the first non-German printer of movable type, and he produced about 150 editions. Though his punches have vanished, his books have not, and those produced from about 1470 until his death in 1480 have served as a source of inspiration for type designers over centuries. His Roman type is often called the first true Roman." Notable in almost all Jensonian Romans is the angled crossbar on the lowercase e, which is known as the "Venetian Oldstyle e."" ITC Legacy® Sans font field guide including best practices, font pairings and alternatives.

Claude Garamond (ca. 1480-1561) cut types for the Parisian scholar-printer Robert Estienne in the first part of the sixteenth century, basing his romans on the types cut by Francesco Griffo for Venetian printer Aldus Manutius in 1495. Garamond refined his romans in later versions, adding his own concepts as he developed his skills as a punchcutter. After his death in 1561, the Garamond punches made their way to the printing office of Christoph Plantin in Antwerp, where they were used by Plantin for many decades, and still exist in the Plantin-Moretus museum. Other Garamond punches went to the Frankfurt foundry of Egenolff-Berner, who issued a specimen in 1592 that became an important source of information about the Garamond types for later scholars and designers. In 1621, sixty years after Garamond's death, the French printer Jean Jannon (1580-1635) issued a specimen of typefaces that had some characteristics similar to the Garamond designs, though his letters were more asymmetrical and irregular in slope and axis. Jannon's types disappeared from use for about two hundred years, but were re-discovered in the French national printing office in 1825, when they were wrongly attributed to Claude Garamond. Their true origin was not to be revealed until the 1927 research of Beatrice Warde. In the early 1900s, Jannon's types were used to print a history of printing in France, which brought new attention to French typography and the Garamond" types. This sparked the beginning of modern revivals; some based on the mistaken model from Jannon's types, and others on the original Garamond types. Italics for Garamond fonts have sometimes been based on those cut by Robert Granjon (1513-1589), who worked for Plantin and whose types are also on the Egenolff-Berner specimen. Linotype has several versions of the Garamond typefaces. Though they vary in design and model of origin, they are all considered to be distinctive representations of French Renaissance style; easily recognizable by their elegance and readability. ITC Garamond? was designed in 1977 by Tony Stan. Loosely based on the forms of the original sixteenth-century Garamond, this version has a taller x-height and tighter letterspacing. These modern characteristics make it very suitable for advertising or packaging, and it also works well for manuals and handbooks. Legible and versatile, ITC Garamond? has eight regular weights from light to ultra, plus eight condensed weights. Ed Benguiat designed the four stylish handtooled weights in 1992." In 1993 Ed Benguiat has designed Handtooled versions.

Ernest is a handmade typeface with an unique yet strong personality. Say it bold with this font. Punk & Wave styles. Ideal for type based designs.

Almost Love type is handwriting style. Nice to application for wedding invitation, tees design, cover, writing text, wedding moment, logo photography , signature and many more.

How To Consume Oxygen was created with the plan of emulating words written on a fluted-steel 'warehouse'-type door in advanced state of rusting.

Display type-family in op-art style with Latin, Greek and Cyrillic scripts support. Award: The Best Of Ukrainian Design in Typestyle and typography 2016.

Vintage French tin stencils with various phrases were the model for Paris Stencil JNL. The type design is available in both regular and oblique versions.

Cattleman JNL is a reinterpretation of a classic ultra-condensed wood type in the French Clarendon style often associated with Western-themed fliers and posters.

A revival of one of the popular wooden type fonts of the 19th century. Suitable for text, a narrow, thin Antique, with flat unbracketed serifs.

A revival of one of the popular wooden type fonts of the 19th century, condensed, bold, flat thick serifs, a very useful design for display.

A revival of one of the popular wooden type fonts of the 19th century, suitable for display, geometric slab serifs unbracketed, short descenders, very condensed.

A redesign of Typoart's Thannhaeuser Fraktur. You can access the long s either by typing the integral sign [∫] or activating the OpenType feature historical forms.

Vintage wood type with a strong Clarendon influence served as the model for Slabserif Wood JNL, which is available in both regular and oblique versions.

We have a penchant for types that connect to form a ribbon or band. Here's another one, and no amount of words will excuse it.

Modeled after an image of an almost complete set of Latin Condensed wood type, Cattle Trail JNL is available in both regular and oblique versions.

How cute can you get? Cattapilla's open type version has extra ligatures and stylistic alternates, perfect for scrapbooking, greeting cards, announcements or any creative project.

An antiqued looking Caslon type letter, very retro but works well for many of today's applications. This font also works very well for text settings.

A semi-heavy face slightly condensed, inspired by the Germanic & European type fonts. Applications include captions, packaging, invitations, cards, posters, ads, book jackets, and manuals.

A revival of one of the popular wooden type fonts of the 19th century, suitable for text or display, short ascenders and descenders, serifs triangular.

A revival of one of the popular wooden type fonts of the 19th century, suitable for display, geometric slab serifs unbracketed, short descenders, very condensed.

A special effect type from the French foundry of Beaudoire & Cie. We changed a couple of characters to improve the overall harmony of the alphabet.

Greenhorn is a hand-traced comic type for headlines. Funky, irregular and smiling. The first inspiration comes from the unique lettering of a classic czech cartoonist.

The eText fonts from the Monotype Baskerville have been specially tuned by our type design experts for a better on screen readability for instance in PDFs.

Kvant is a custom font which is applicable for any type of graphic design - web, print, motion graphics etc. and perfect for t-shirts and logos.

Sudoku is a custom font which is applicable for any type of graphic design - web, print, motion graphics etc and perfect for t-shirts and logos.

2 font faces that combine together with attached lower case glyphs. A combo type-face that can be used with or without joining its lower case.

Colo is a custom font which is applicable for any type of graphic design - web, print, motion graphics etc and perfect for t-shirts and logos.

The charm of wood type -- especially in reproductions from worn specimens -- is the combination of hand-crafted letters and numbers and a connection with the past.

Duplex is a custom font which is applicable for any type of graphic design - web, print, motion graphics etc and perfect for t-shirts and logos.

A modified remake of one of the popular wooden type fonts of the 19th century. This is an extra bold, shadowed, sans serif suitable for display.

Backpage Article JNL and its oblique counterpart are a variant to the popular sanserif wood types used in newspaper headlines and on broadsheets in years past.

Raffish is a display typeface with its formal base in Dutch type designer Henk Krijger's seminal typeface Raffia - the most decorative and handsome of script typefaces.