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ATF Brush adds five new weights, swash alternatives, ligatures, and underline tails. ATF Brushīrush has been a beloved script for plumbers, mechanics, bodegas, and lunch counters since 1942. Source: Fonts In Use, Virginie Morgand / Born Bad Records. Accentuated by a drop cap alphabet of tools digitized by Stefan, ATF Garamond intentionally focuses primarily on readability, making the text look studious without distracting.
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Tânia Raposo and Ellmer Stefan chose to set the body text of the second issue of Opuscolo in ATF Garamond. It also includes the alternates and swash characters from the original face. The new ATF Garamond expands upon this legacy of quality and craftsmanship, bringing some qualities from metal type and letterpress printing often lost in digital adaptations of historic faces.ĪTF Garamond includes eighteen fonts across three optical sizes-Subhead, Text, and Micro (available by request)-and three weights, including a new Medium that did not exist in the metal. When ATF Garamond was designed in 1917, it was among the classic’s first revivals. The Garamond family tree has many branches. Since the content is only semi-true, Alternate Gothic adds an ironic sense of factuality to the book’s outlandish headlines. The publication pictured, Anecdote, Myth & Hyperbole: Texas, from A to Z, is a spiral bound artist book exploring 24 wild “news” stories encountered by Annette Dennis during a 24-month stint in Texas. This family can be used to pack a lot into a narrow space, and the breadth of the family makes it easy to create variations for different formats and media. ATF Alternate Gothic provides a wider range: ten weights with four widths each (40 fonts total). Originally available in one bold weight, the typeface came in three widths for flexibility in copy-fitting layouts. ATF Alternate GothicĪTF Alternate Gothic is an expansion of Morris Fuller Benton’s classic 1903 design.
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Source: Fonts In Use, Dossier Industries. Rebuilt from the ground up for contemporary applications in mind, American Type Founders Collection typefaces add to the legacy of their predecessors with additional weights and widths, robust character sets, and new OpenType features unavailable in the 1900s. It wasn’t until Mark van Bronkhorst-along with Alan Dague-Greene, David Sudweeks, and Ben Kiel-set out to reinterpret ATF’s typefaces that modern designers could use these classics effectively in their work. Naturally, the shift to digital type and desktop publishing brought on many ATF copycats and poor revivals.
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As the most prominent type foundry of the metal era, ATF was the go-to for handset type in the United States for the first part of the 20th century.ĪTF also led the way in technical developments in both design and production for decades, establishing the backbone of the American typographic texture. Here’s a look at some new designs featuring these timeless designs.įormed in 1892 as a consolidation of 23 independent type foundries, the American Type Founders (ATF) catalog serves as the basis for many of today’s most popular typefaces. Thanks to the ATF Collection’s digital revivals, classic American Type Founders faces have reentered the popular typographic discourse.