ITC Classic Fonts

ITC Chivalry ITC Chivalry is a calligraphic hybrid built on the tradition of combining Roman capitals with italic lowercase letters. Drawn by Missouri lettering artist Rob Leuschke, who used a flat-nib pen on textured watercolor stock and then converted the drawings into a digital font, the design combines an “old world” feel with “new world” legibility.

ITC Oldbook In ITC Oldbook, designer Eric de Berranger succeeds in doing two things at once: this distressed design elegantly simulates the weathered look of antique printing while remaining unusually readable at text sizes.

ITC Tactile Innovative yet highly legible, ITC Tactile is not afraid of paradox. Designer Joe Stitzlein has given this unusual typeface a range of seemingly contradictory design features that come together in a versatile, distinctive whole. In three weights, with complementary italics and small caps.

ITC Souvenir Not every typeface design is a hit the first time it’s released. ITC Souvenir waited decades to go from painful obscurity to wildly overexposed. Now that the pendulum has swung comfortably back to the middle, this ninety-years-young design is finally free to be its charming, affable self.

ITC Avant Garde Gothic Pro Avant Garde has been a typographic touchstone since its creation in the late 1960s. The legend continues to grow with the release of Avant Garde Gothic Pro in OpenType format.

ITC Benguiat If at first you don’t succeed, design, design again. At least that’s what Ed Benguiat did. The result was ITC Benguiat, a typographic classic that almost didn’t make it out of the reject pile.

ITC Legacy Serif Inspired by one of the first roman typefaces, ITC Legacy Serif is the result of painstaking labor after a decade-long gestation. The end result is one of ITC’s most beautiful and versatile typeface families.

ITC Garamond Did the world need another version of Garamond? Apparently it did – when ITC released two weights of a display version of the popular text face in 1975, the public demanded more. Now ITC Garamond is a complete typeface family. It’s not the most traditional interpretation of the 16th century original, but it may well be the most distinctive.

ITC Galliard One quality of a true classic has to be endurance. This virtue appears in spades in the tale of ITC Galliard, which had its origins in a sixteenth-century design by Robert Granjon, and was a secret dream of both Mike Parker’s and Matthew Carter’s for decades before its ultimate release.

ITC Weidemann From Gutenberg to today, project commissions have resulted in some of the most striking typeface designs. Among these is ITC Weidemann, a classic old style face first designed for the German Bible Society as “Biblica,” then revised, expanded and renamed in honor of its designer.

ITC Korinna The third time was the charm for Korinna. It began life in 1904 as a German art nouveau design, was reborn in a modified American version, and finally achieved classic status with ITC’s sensitive but pragmatic revival in 1973.

ITC Cheltenham It’s Cheltenham, a typeface that few typophiles have a kind word for, and yet somehow has managed to persist in popularity for a hundred years.

ITC Leawood ITC Leawood was both a first and last in the timeline of type design — released in 1985, it was the first ITC font developed with new digital font technology, and the last design undertaken by noted Canadian designer Les Usherwood.

ITC Tabula Two years in the making – after languishing in a drawer for several months – ITC Tabula is both: handsome and easy to read.

ITC Franklin Gothic It took nearly a century, but Franklin Gothic finally got the weights it deserved. This classic sans serif by Morris Fuller Benton has enjoyed several revivals in its popularity over the years, but it wasn’t till 1991 that ITC made sure Franklin Gothic offered the variety and flexibility that today’s designers need.

ITC Kabel This classic example of late 1920s German geometric design remains a powerful tool for setting display text. Look closely, though, and you’ll see how designer Rudolf Koch imprinted his own personal creativity on the structured assignment he was given.

ITC Fenice All the beauty of 18th century classic typeface designs, but adapted for today’s typographic requirements – that’s ITC Fenice, by Aldo Novarese. Based on the Bodoni model but made warmer and much easier to use, this neoclassical classic belongs in every typeface library.

ITC Eras This distinctive, legible sans serif is a wonderful blend of French style and sans serif practicality. With an angled, rather than vertical, stress and proportions that are more Roman than geometric, ITC Eras is a modern classic that can be used wherever a readable but not generic sans serif is called for.

ITC Bodoni ITC Bodoni is one of the most carefully researched and accurate interpretations of Bodoni’s typefaces ever attempted. The process involved two trips to Parma, Italy, and hundreds of hours of research.

ITC Goudy Sans ITC Goudy Sans is different than most sans serif typefaces, which tend to have a quiet, conservative structure. Instead, ITC Goudy Sans is friendly, almost playful, with an unusual cursive italic.

ITC Berkeley In 1937, a friend asked Goudy if he would consider drawing a face for the exclusive use of the University of California Press at Berkeley, the result was a classic design.

ITC Stone Sumner Stone, an introspective, thoughtful person was trained as a mathematician. His approach to creating a new typeface is a logical one, where design decisions are reached after careful contemplation.

ITC Charter When Matthew Carter drew ITC Charter in 1987, his goal was to create a typeface that was equally at home in an office memo, a fine book or an advertising headline.

ITC Highlander Oswald Cooper never created a sans serif type (he didn’t like them much). Dave Farey discovered some display lettering exercises in serifless letterforms and went to work creating a prototype.

ITC Tyfa The story of ITC Tyfa is a story of three artists spanning almost forty years: Josef Tyfa, P. L. Nervi and Frantisek Storm.

ITC Freddo James Montalbano originally saw his future as printing type, not designing it. ITC Freddo was inspired by a sign-lettering manual from the 1930s.