Albertus Alternatives

ITC Symbol font was designed by Aldo Novarese, a simple, straightforward design of understated elegance. It has just the hint of a serif to aid legibility. Book and medium weights have a light, even color and are perfectly complemented by the bold and black weights. The italics are clear and simple, a comfortable companion to the roman.

Friz Quadrata font is the work of a number of collaborators. The first weight was created by Swiss designer Ernst Friz and made its first international appearance with the design release of Visual Graphics Corporations. ITC then arranged with VGC so that Victor Caruso could add a bold weight to the original. Finally, in 1992, French designer Thierry Puyfoulhoux designed italic weights for... Read More

ITC Élan combines a gothic simplicity with elegance in a distinctive yet subtle typeface design. There is also a feeling of architectural strength which is derived primarily from an optically even line-weight and a sense of vertical stress. The small, almost Latin, serifs add distinction at both display and text sizes. The large x-height, minimum stroke variance, and open counters are ideal... Read More

The original typeface was designed by Albert Kapr between 1971 and 1973 for Typoart in Dresden. Kapr was the font designer and teacher as well as book author on type design of former East Germany. He also was an expert on this kind of type design, and thus, it is no surprise that he created Leipziger Antiqua, a design combining features of both Latin and broken scripts. The result is a stunning... Read More

ITC Quorum was designed by Ray Baker to neatly fill the gap between serif and sans serif. The typeface displays a distinctive, subtle design that illustrates a gothic simplicity. Baker cleverly combined traditional and formal letterform elements with contemporary design considerations and aesthetics. ITC Quorum is an excellent choice for advertising and publication graphics.

When Adrian Frutiger developed this font in 1980, he was influenced by the ancient scripts often found on stones in Normandy or Ireland. This is by no means a direct interpretation of such scripts, however. Icone™ has asymmetric flaring serifs, a distinct lack of straight lines, and the comfortable legibility that is characteristic of Frutiger types. Icone reflects the successful attempt to... Read More

Novarese font is the work of designer Aldo Novarese. He created 218 typeface cuts but as he was writing his book, Alfabeta, he decided to include only those he considered indispensable. He divided his fonts into 4 categories and in the designing of Novarese, took the best characteristics of each group and combined them into this font. In the style of Latin stone scripts of the second century... Read More

The Souvenir typeface was originally drawn by Morris Fuller Benton in 1914 as a single weight for the American Type Founders company. It was revived in 1967 by Photo-Lettering and optimized for phototypesetting equipment. ITC was formed in 1971 and, with the help of Photo-Lettering, introduced ITC Souvenir as one of its first font families. ITC Souvenir was designed by Ed Benguiat and comes... Read More

Satero was designed by Prof. Werner Schneider in 2007. Never before have we had so much written material to consume; this is the age of mass-communication. Unfortunately, the decision of which typeface to use is too often made lightly. The typeface is one of the most elementary means of language, and it can play a major role in a text's legibility and the amount of time the reader needs for it.... Read More

I began my work on Emona while still struggling with Birka. I took the superellyptic form as the basic shape, and that gives the typeface some of its characteristics. It is strictly vertical. It is easy to classify it in the same section as Bodoni & Company.Emona is what Ljubljana, the capital of Slovenia, was called in the Roman days.Emona was released in 1992.

Christoph Dunst designed Novel for use in editorial design – which he thinks shouldn’t be too surprising given its name. Yet he also wanted it to work for corporate typography. The design stems from the concern that most typefaces that are popular for corporate typography somehow feel a bit strong and stiff. This is why he set out to create a design that has a swashy and calligraphic appearance... Read More

The Delima font family has something of the Clarendon or Ionic influence but is distinguished by a lighter serif treatment. The contrast between thick and thin strokes is not pronounced, weight stress is vertical. Delima's serifs are short but strong, allowing close letter spacing to give good economy. Lowercase x-height is very generous, internal counters are open. This combines to give Delima... Read More

Marathon was originally designed by Rudolf Koch in 1931 for Schriftgiesserei Klingspor. It is a roman with short ascenders and descenders. The serifs are small, but longer at the ends of the arms of E, F and L, M is rather splayed and is without top serifs, like M in other typefeaces designed by Rudolf Koch. The lowercase g has no link and an open tail, again like the g in other Koch types. U... 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

ITC Dyadis font is the work of Austrian designer Yvonne Diedrich. It is named for the Greek word "dyas", meaning duality and explores the duality of serif and sans serif letterforms, blending their styles and focusing on their connection with one another. The forms were inspired by the typefaces of the 1920s and 30s and combine the legibility and elegance of a serif font with the simplicity... Read More

Codex was designed by Georg Trump and introduced by the font foundry C.E. Weber in 1954. Based on the German Gothic script of the 13th century, this font has the character of handwriting. Its capital letters are extremely big in comparison with the lower case, hence good for contrast in short text, however, this characteristic makes the font better suited to languages which use fewer capital... Read More

Linotype Brewery is part of the TakeType Library, chosen from the contestants in the International Digital Type Design Contests of 1994 and 1997. This text font is available in six weights from light to black and was designed by Gustav A. Grinberg. An outstanding characteristic of the font is its light stroke contrast and its constructed forms. Its tiny, triangular serifs first become... Read More

Grafiko, produced by Linotype Design Studio has an alphabet with little stroke width contrast and tiny triangular serifs similar to those of Copperplate. The forms were obviously influenced by the Jugendstil. The high x-height, for example of the B, E and R, the slope of the N and the close curve of the J makes Grafiko a typical alphabet of the turn of the 20th century. Other distinguishing... Read More

Ad Hoc is a fake. My intention was to design a typeface with the looks of the characters drawn on paper with a marker pen. But they are all drawn on a monitor, with no scanner ever involved. That's the reason why they look so regular.Ad Hoc is Latin and stands for, approximately, "for this reason". The expression itself is often used for something unplanned, improvised.Ad Hoc was released in 1992.