Chelsea Studio is based on hand lettering from architectural sketches by Charles Rennie Mackintosh.

Inspired by old French poster art. This typeface was cut from an old rubylith.

Q Typ is a quirky little fun font inspired by those lovely cotton sticks.

This is The Classic font of XX century. Based in a typeface created by

The archetype of the Brush Script, designed for ATF by R.E. Smith in 1942.

Kauhuaatos is a writable picture font, ideal for scaring anybody by text or prints.

Broxa was designed with a flat brush and inspired by Roman Sans Serif Alphabet

The ornamental font is based on original decorative paper cut masks by Iryna Korhcuk.

Gert Wunderlich’s Maxima font family in a new, most extended redesign by RMU Typedesign.

This font was inspired by lettering found on old tradecards from the 19th century.

William Caslon’s design as made regular by ATF at the beginning of this century.

Inspired by Alf Becker's Rounded Block letterstyle. Nice 30's/40's era appeal.

The design of Montada was inspired by the manual printing of mixed wood types.

This design is based on custom design work by DTP Types Limited in 1990.

The most familiar of brush scripts designed by Pete Dombrezian for ATF in 1951.

Brand Law is a Serif Font Family. This font is designed by Hanif Arifinsyah.

Ornaments 5 are based on the Amsterdam Primula ornaments designed by Imre Reiner, 1949.

In For The Birds, the letters are made by bird feet or bird tracks.

Castiana is an elegant font inspired by old books, medieval typography, and rustic art.

Digitally engineered by Steve Jackaman. Originally in five weights, Steve produced three additional weights.

The first weights of Neue Haas Grotesk were designed in 1957-1958 by Max Miedinger for the Haas’sche Schriftgiesserei in Switzerland, with art direction by the company’s principal, Eduard Hoffmann. Neue Haas Grotesk was to be the answer to the British and German grotesques that had become hugely popular thanks to the success of functionalist Swiss typography. The typeface was soon revised and released as Helvetica by Linotype AG. As Neue Haas Grotesk had to be adapted to work on Linotype’s hot metal linecasters, Linotype Helvetica was in some ways a radically transformed version of the original. For instance, the matrices for Regular and Bold had to be of equal widths, and therefore the Bold was redrawn at a considerably narrower proportion. During the transition from metal to phototypesetting, Helvetica underwent additional modifications. In the 1980s Neue Helvetica was produced as a rationalized, standardized version. For Christian Schwartz, the assignment to design a digital revival of Neue Haas Grotesk was an occasion to set history straight. “Much of the warm personality of Miedinger’s shapes was lost along the way. So rather than trying to rethink Helvetica or improve on current digital versions, this was more of a restoration project: bringing Miedinger’s original Neue Haas Grotesk back to life with as much fidelity to his original shapes and spacing as possible (albeit with the addition of kerning, an expensive luxury in handset type).” Schwartz’s revival was originally commissioned in 2004 by Mark Porter for the redesign of The Guardian, but not used. Schwartz completed the family in 2010 for Richard Turley at Bloomberg Businessweek. Its thinnest weight was designed by Berton Hasebe.